V 
 
 
The Publication Committee of the Grolier Club 
 
 certify that this copy is one of an edition of three 
 
 hundred and fifty copies on Holland paper, all of 
 
 which were printed from type in the month of 
 
 April, 1892. 
 
CATALOGUE 
 
 OF AN EXHIBITION 
 OF PAINTED MANU 
 SCRIPTS AND BOOKS 
 

nil. hoi RS OF THE 
 
Catalogue of an ex 
 Jl\ hibition of illu 
 
 MINATED AND PAINT 
 ED MANUSCRIPTS TO 
 GETHER WITH A FEW 
 EARLY PRINTED BOOKS WITH ILLU 
 MINATIONS— ALSO SOME EXAMPLES 
 OF PERSIAN MANUSCRIPTS— WITH 
 PLATES IN FACSIMILE AND AN IN 
 TRODUCTORY ESSAY 
 
 THE CALLIGRAPHER AND THE PRESENTATION 
 OF A BOOK £* MINIATURES FROM A MANU 
 SCRIPT IN THE BIBLIOTHEQUE DE CAMBRAY 
 
 NEW-YORK THE GROLIER CLUB 1892 
 
• 
 
 Copyright, 1892, by 
 TlIK C.ROLIER CLLi 
 
INTRODUCTION 
 
 HIS is the second attempt of 
 the Grolier Club toward 
 an exhibition of painted 
 manuscripts. The first was made 
 shortly after its foundation, about 
 eight years ago, when the ma- 
 terial available for the purpose 
 was much less than at present. 
 Beautiful as some of the specimens now shown may 
 be, the collection as a whole presents no adequate ex- 
 emplification of the art of book-making previous to the 
 invention of printing, or to the final triumph of this art 
 over that of the calligrapher, the illuminator, and the 
 miniaturist. Such an exhibition would be impossible 
 in this country. None of the examples in our catalogue 
 date further back than the commencement of the thir- 
 teenth century. It was, however, after this period that 
 the most artistic and fascinating volumes, enriched with 
 miniatures, were produced. The majority of those ante- 
 rior to that time are more interesting from an archae- 
 ological and literary point of view. 
 
 vii 
 
 M9476' 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 . ptiim writings upon papyrus rolls have little in 
 
 i >'r:n<>;: with the modern book made of separate leaves 
 
 bound logetbej Papyrus was, however, employed to 
 
 [tent in volumes made in die early centuries of 
 
 the Christian era; but the majority of the manuscript 
 
 books of which we have positive knowledge arc written 
 
 upon vellum. This proving the hast perishable and 
 
 the most satisfactory, papyrus ceased to be used to any 
 
 it extent in Europe after the sixth century, while 
 
 examples of earlier date are excessively rare. 
 
 There are preserved in some of the older libraries 
 richly ornamented leaves and fragments of vellum bo< 
 
 thought to date from the third century of the Christian 
 and with these properly commences the history of 
 
 the modern hook. 
 
 i he earliest existing manuscripts of importance av<- 
 
 now in the Vatican library at Rome, in the Imperial 
 Library at Vienna, and in the National Library at Paris. 
 The)- an of Virgil, oi Terence, and ofportioi 
 
 the Bible Experts differ as to the exact time of their 
 production: some place the execution of one of the 
 copies of Virgil in the Vatican as early as the fourth 
 century, others have thought it to date from the preced- 
 ing century; but there seems little doubt that it was 
 
 written in the latter part of the fourth or commencement 
 of the fifth century. These volumes, like the part- of the 
 
 Bible In the Vienna library, and the Roman Calendar 
 
 viii 
 
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 I BIBLE 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 (also in Rome), have painted miniatures, and in com- 
 mon with many others are not only transcriptions but 
 probably copies from still older originals. 
 
 The majority of the earliest manuscripts are artistically 
 Greek, and mostly written in the Greek and Latin lan- 
 guages. The Byzantine Empire created a type of art of 
 its own — a religious art, having its source in the Roman 
 decadence, and influenced by the Greek and the semi- 
 barbaric styles of the Orient. The earlier books, there- 
 fore, may be generally classed artistically as either Greek, 
 Latin, or Byzantine. 
 
 It is a popular idea, owing probably to the fact that 
 during the middle ages most of the learning was con- 
 centrated in the monasteries and religious houses, that 
 all the manuscripts were made by the monks. This is 
 not true. Although no doubt many were produced by 
 them, a large proportion was the work of professional 
 scribes, illuminators, and miniaturists. They formed, 
 during the centuries preceding the discovery of print- 
 ing from movable types, and even for one hundred years 
 after that time, a vast army of workers, under the pro- 
 tection of kings, princes, and prelates, by whom they 
 were encouraged, restricted, or granted special privi- 
 leges as whim or necessity determined. 
 
 To the scribe, the illuminator, the miniaturist, and their 
 patrons we owe not only the preservation of literature, 
 but it is they who bridged over for us the great gulf 
 2 ix 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 dividing the arts and literature of Greece and Rome 
 from those of modern Europe, making a Renaissance pos- 
 sible. Eventually the art of printing from movable type 
 annihilated these laborious benefactors, who during a 
 
 century after its di (about the > ear 1440) worked 
 
 on in emulation of the printer, vying with him in the pro- 
 duction of beautiful books. He in turn employed the 
 illuminator to add additional luster to his work. The 
 struggle was an unequal one, and the beginning of the 
 nth century saw the complete extinction of the 
 miniaturist and of the painter of ornaments and initial 
 letters. The scribe perpetuated himself in a measure as 
 engrosser of deeds, patents, wills, and the like, until at the 
 u day he has degenerated into the "typewriter." 
 Printing has been styled " the art preservative of all 
 arts, - ' but as we turn from the fascinating pages of a 
 manuscript to those of the printer, attractive as they 
 may be, ire see that he has converted the calligrapher 
 into a t\ pe-founder, the miniaturist into a designer for 
 WOodcutS and copperplates, and the illuminator into an 
 
 engraver. The- text cunningly written upon fine vel- 
 lum, the delicate gilded initials, the quaint and fanciful 
 borders to the pages, the historiated capital letters, the 
 
 richly painted artistic miniatures — all these are arts <>i 
 the past which no amount of printing can n store. 
 
 Trad-- after the sixteenth century eclipsed art. so far 
 
 1 an- concerned. 
 
 X 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 Independently therefore of the paramount value of 
 manuscripts as preservatives of all literature previous to 
 the invention of printing, they possess a fascinating in- 
 terest to art students. Unfortunately the bindings of 
 gold, silver, and ivory, inset with rare gems, of which 
 there are strange traditions, have almost all disappeared, 
 victims to a cupidity which has nothing in common with 
 either literature or art. 
 
 In order to obtain a clearer insight into the various 
 departments of industry and art entering into the pro- 
 duction of illuminated and painted manuscripts, they may 
 be divided for consideration into four classes : 
 
 First. As to the vellum or parchment. 
 Second. The work of the calligrapher or scribe. 
 Third. The art of the illuminator. 
 Fourth. The miniaturist. 
 
 VELLUM AND PARCHMENT 
 
 JjJellum is the best of all materials used for manu- 
 }mK scripts. Judging from examples of printing 
 upon it in the fourteenth and fifteenth centuries, 
 it would seem to claim superiority over paper for the 
 modern printed book, but those employing it for this pur- 
 pose know that it is now unattainable of a quality at all 
 approaching in perfection that made either in the middle 
 ages or during the Renaissance. The old vellum is smooth, 
 
 xi 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 i. and white, and retains these qualities indefinitely. 
 That in several of the Bibles exhibited, and made about 
 the year 1200. is more delicate, pure, and flexible than any 
 paper, old or new, and with any reasonable care it will 
 probably remain the same for hundreds of years to come. 
 Vellum was made of the skins of animals ( mostly sheep 
 and goats), prepared with chalk to insure the removal of 
 
 isy matter, and rubbed down to an uniformly smooth 
 surface with pumice or some similar substance. Immense 
 quantities were produced all through the middle ag 
 although cotton paper was used in the ninth, and linen 
 paper began t<> be made in the tenth century. The 
 height of luxury in manuscripts was the employment of 
 
 len letters upon purple-stained vellum. The cele- 
 brated "Book of 1 lours" of the Emperor Charlemagne 
 was of this character; although purple vellum was made 
 previous to his day. and as early as the fourth or fifth cen- 
 tury. Yellow or saffron-colored vellum was also used in 
 manuscripts in the fifteenth century. 
 
 A remarkable characteristic of the old vellum is the 
 tenacity with which it retains the ink and the colors. 
 
 which together seem to possess the imperishable quali- 
 
 iliar to tlie vellum alone. Parchment is only a 
 
 or less finished kind of vellum. The true art ol 
 
 making either is lost. That now manufactured blackens 
 
 on exposure to the atmosphere, developing brown spots 
 
 mbling stains, so that th<- possessor of nineteenth- 
 
 xii 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 century books printed upon vellum or parchment will 
 transmit them to his successor with these deteriorations. 
 Before passing to the work of the calligrapher, manu- 
 scripts known as palimpsest should be mentioned. One 
 great source of the destruction of the early books was the 
 tendency to ignore or consider as worthless that which 
 had ceased to interest, and substitute something "newer" — 
 a custom prevailing also in our time. It was found that 
 the writing upon vellum could be rubbed off, and other 
 works transcribed upon the same sheets. The oblitera- 
 tion never completely effaced the more ancient charac- 
 ters, which in many instances have been deciphered. A 
 work of Cicero was thus discovered beneath a religious 
 homily. There is an instance of a lapse of nine hundred 
 years between the first and the second writing upon the 
 same leaves. 
 
 THE WRITING AND THE MATERIALS EMPLOYED BY 
 THE CALLIGRAPHER 
 
 fJ^'g^ HE art of calligraphy forms in itself a study sus- 
 wt/5 rSw ceptible of extensive research. Mr. Astle, who 
 <$%§j%^j^ is quoted by Dibdin in his rather rambling dis- 
 course upon old manuscripts, wrote an oft-quoted treatise 
 upon it, published in a folio volume in 1803. 
 
 The majority of the manuscripts extant are, as before 
 stated, written in Greek or Latin, and largely by Greeks 
 who migrated into Italy and adjacent countries, carrying 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 their arts and artistic traditions with them, and trans- 
 mitting them to their descendants. The earliest letters 
 employed were round, bold capitals, known as Oncial, or 
 Uncial. This style of writing prevailed up to the ninth 
 century, or even later, when minuscules, or small letters, 
 
 were used — at first sparingly, and soon increasingly, 
 
 until only the titles and headings of subdivisions v. 
 written in capitals. Cursive writing followed, formed 
 by the partial uniting of the letters, developing main 
 varieties. The Italian manuscripts were written in Ro- 
 man characters, similar in form to those now ordinarily 
 employed in printing. 
 
 The Emperor Charlemagne, in the latter part of the 
 eighth century, undertook the reformation of the scribes, 
 creating a more intelligent interest in books and liter- 
 ature and regulating the copying and reproduction 
 of manuscripts by laws. In 789 we find the monas- 
 teries enjoined to the preservation of correct texts "in 
 order that requests should not be made to God in bad 
 language 
 
 In the centuries immediately following, however, de- 
 generation again set in, and it was nut until the elev- 
 enth that what is known generally as black-letter, Or the 
 
 Gothic form, w.is introduced Some of the must peri 
 
 and beautiful of this species of writing may be seen in 
 
 the Bibles <>f the- early part of the thirteenth century now 
 exhibited It does not need the eye of a printer t<> dis- 
 
 \iv 
 
ILLUMINATED AND PALNTED MANUSCRIPTS 
 
 cern its wonderful evenness, nor the perfection of what 
 he would call the "justification " of the pages. From an 
 artistic point of view this writing has not been surpassed. 
 Upon these models the early printers based the forms of 
 their type. 
 
 The older calligraphers and copyists are mostly un- 
 known. Occasionally signatures of some of them are 
 found in volumes, or records have preserved from entire 
 oblivion the names of others noted in their generation. 
 It might not now be considered in good taste to embalm 
 the hand of a clever artist, but about 1470 this was done 
 with that of the scribe Dom Jacopo Fiorentino ; the 
 brethren "preserving that hand of his, which had been 
 so excellently employed, in worthy keeping to his endless 
 memory." Those interested in the biography of minia- 
 turists, illuminators, and calligraphers are referred to Mr. 
 Bradley's dictionary, in three volumes, published in Lon- 
 don, 1887- 1889. It is the first approach to any satis- 
 factory systematic record of these artists. 
 
 Of the materials used in writing little is positively 
 known. The instruments employed by scribes were the 
 camel's-hair brush, or its equivalent, fine reeds or vege- 
 table fiber, and later, especially after the twelfth century, 
 quill pens. The absence of hair-lines in the earlier 
 writing indicates the use of a blunter and less elastic 
 instrument than the sharpened quill. 
 
 The black ink was probably burned ivory or bone, 
 
ILLUMINA7ED AND PAINTED MANUSCRl 
 
 ind with great care. The red, employed for headings 
 
 of divisions and lubrication, was cinnabar (red sulphate 
 of mercury). The secret of the durability of all pigments 
 
 employed is undoubtedly in their purity, and in patient 
 
 and thorough grinding by hand, as well as in the ma- 
 terials mixed with them to insure adherence to the 
 
 vellum. Further particulars of the colors used in manu- 
 scripts will be given in connection with the subjei ' 
 miniature painting. 
 
 INITIAL I.l I I ERS AM) ORNAMEN l - 
 
 Pi.ihol-gh calligraphy, illuminating, and minia- 
 'rf/i\*f> tare painting have been classed as separate 
 
 SiggjjgJ arts, sometimes two of them, and occasionally 
 
 the whole three, were practised by the same individual. 
 This, however, appears to have been rarely the case in 
 
 the more important manuscripts. In some of them t! 
 
 i- evidently collaboration in the writing. The initial 
 letters also are frequently by one hand, the borders by 
 another, and the miniatures the work of several artists. 
 
 Up to the ninth century initial letters were compar- 
 atively Small, hilt at IK) period Were the Looks Without 
 
 more or less elaborate embellishments. 
 I illuminal designers who, though creating 
 
 ornament [uisite beauty and originality, frequently 
 
 allowed imagination to had them into curious conceits. 
 
 xvi 
 
ntOM THE IIIJ CZ 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 In the tenth century they began to take strange lib- 
 erties with the alphabet, constructing initials of ex- 
 traordinary proportions, covering in some instances a 
 quarter or more of the page. Around them, up and 
 down the margins, and across above and below the 
 text, weird ramifications of the designs were spread in 
 fantastic variety, until imagination exhausted itself in 
 creating and the eye in following them. They em- 
 brace adaptations of every phase of form suggested by 
 animate and inanimate nature ; of the natural and the 
 unnatural. We find the letters constructed of fishes, 
 animals, and birds, twisted into fantastic shapes, or com- 
 bined with the human figure. 
 
 Conventional styles of ornament are characteristic of 
 the prevailing conceptions of art in the various epochs. 
 Very beautiful letters are found in Flemish and French 
 manuscripts of the thirteenth century, and they improved 
 both in beauty and refinement with the progress of the 
 Renaissance. When historiated. or containing miniatures 
 within the designs, the effect and interest are enhanced. 
 
 The borders to the pages, introduced more extensively 
 after the thirteenth century, are often not only wonder- 
 fully elaborate, but one hesitates which to admire most, 
 their delicacy, or the brilliancy of the effect of the scroll- 
 work and flowers. In exquisite taste and profusion. 
 violets, carnations, daisies, strawberries, and green leaves, 
 interspersed with small human figures, birds, animals, 
 3 xvii 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 and fantastic monstrosities, comically hideous, and height- 
 
 I with burnished gold, are harmoniously combined. 
 
 It has been suggested that these borders were intended 
 
 originally as typical of the gay attractions of the outer 
 
 world, and the hideous monsters rioting in them its dark 
 or retributive side — a mystical warning to the owner of 
 the I [orac or Miss.d. 
 
 Gold was universally and very skilfully employed in 
 
 • ration. In the early Byzantine hooks it formed the 
 background for writing and illuminations; the gold i 
 dently being applied in the leaf and then burnished. 
 Sometimes it was upon a raised ground, giving the « 
 of having been embossed. The art of insuring its ad- 
 herence to the vellum, so that time and the handling of 
 tlie- leaves fail to loosen it, is now somewhat of a myster) . 
 I- eems to have been applied upon a preparation resem- 
 bling chalk or white lead. The gold used in the paint- 
 ings was ground extremely fine, and the powder mixed 
 with white (»i eggs or some species of gum to insure its 
 adherence to the vellum. Powdered silverwas treated in 
 
 the same manner. Gold was also sometimes mingled 
 with the colors in miniature painting. 
 
 i . best blue was tiie ultramarine, so called because 
 
 of the "blue stone" or lapis la/uli from beyond the 
 
 It was laboriously ground, as were the other colors. 
 
 i hard stone slabs. [ndigO (a vegetable production 
 
 mil" in India) was also used. Cobalt was another min- 
 
 xviii 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 eral from which blue was made, and this is the same 
 material with which the "old blue" or nankin china was 
 painted. The red was principally cinnabar and red lead, 
 or a mixture of both; the yellow, the Eastern ocher; 
 umber was employed for the browns ; the white was fine 
 white lead, and the green verdigris and terra verde, a 
 blue-green ocher. 
 
 The beautiful gray tints used with such fine effect in 
 draperies, and especially in the painting known as cam- 
 aieu-gris, were made with the white lead mixed with the 
 black, obtained, as already explained, by burning wood, 
 ivory, or bone. The term "camaieu" is applied gener- 
 ally to all paintings in tones or tints of one color. They 
 were executed in blue, red, and in gold shaded with a 
 mixture of black, as well as in gray. 
 
 Volumes might be written describing the various styles 
 of illumination prevailing in the different centuries, and 
 their many phases, without compassing the subject. Their 
 varieties are infinite, or, like the harmonies or discords in 
 music, exhaustless. 
 
 The Byzantine ornamentation was in its barbaric gor- 
 geousness more pronounced in style than that of any 
 other school, excepting the early Greek, and is easily dis- 
 tinguished. The amateur will have little difficulty, after 
 having studied the pictorial art of different periods and 
 countries, in judging whether illuminations are Greek, 
 Byzantine, Italian, Flemish, French, German, English, or 
 
 xix 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 Spanish; or in determining to which particular school 
 they stand related. 
 
 Art: migratory in the middle ages. They 
 
 carried their styles and methods into countries other 
 than their own, and combined them with those there 
 prevailing. This is as clearly demonstrated in miniature 
 painting as in other arts. 
 
 THE MINIATURIST 
 
 __ • --in crowning charm in the old manuscripts is, 
 
 hD after all, in their miniatures. They have been 
 
 
 •' : ^> 
 
 1 1 leas 01 
 
 the means of conveying to us clearer and better 
 the arts, habits, and customs of the middle ages 
 up to the time of, and through the best period of the 
 Renaissance than any other agency. 
 
 The only paintings surviving from the earliest Chris- 
 tian centuries are mosaics (if they may be so classed), 
 mural decorations, and a comparatively lew small ex- 
 amples, on stone or some almost equally imperishable 
 material, found in Roman catacombs, and now mostl) 
 gathered into the Vatican museum. After these the 
 
 manuscript books are the only artistic records. In them 
 
 we may see delineated the gradual supremacy ol Chris- 
 tianity over paganism. Beginning with the Vatican 
 
 Virgil (containing fifty miniatures), the Terences, and 
 other manuscripts ahead)' mentioned, although rude in 
 
 xx 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 execution, we find the paintings invested with a certain 
 dignity, repose, and simplicity, the result of Greek tra- 
 dition and inspiration. All the Italian manuscripts show 
 this influence. In early Christian books David may be 
 found pictured in the form of Apollo, and the represen- 
 tations of the Deity modeled after the types of Jupiter. 
 In Byzantine manuscripts the figures of the Evangel- 
 ists and Saints frequently have an impressive strength 
 little short of grandeur. It was not the custom in the 
 earlier centuries to depict the subject of Christ's death 
 on the cross. The Christians shrank from its ignominy. 
 That, with the image-worship which appeared in later 
 painting, was not introduced in manuscripts until the 
 seventh century, and only became general later on. 
 
 A partial artistic reformation began in the eleventh 
 century, based not upon tradition, but the study of nature, 
 aided by a return to the best Greek models. Modern 
 realism took the place of the old symbolism, although 
 the progress toward this emancipation, or regeneration, 
 was slow. The real dawn of the Renaissance was not 
 until the thirteenth century, when it appeared almost 
 simultaneously in Flanders and Italy with the advent of 
 the Van Eycks and Memling in the Low Countries, and 
 of Cimabue and Giotto in Italy. The arts, however, 
 did not make equal progress in the various countries of 
 Europe. For a considerable period Flemish art domi- 
 nated that of Germany and France. In the latter entire 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 lorn from tin- old Roman and Byzantine ideas in 
 miniature painting was not effected until the fourteenth 
 
 ui)'. The same is tr tin, while in England 
 
 omparatively little practised, and in an in- 
 ferior manner. In fact, English art in manuscripts alv. 
 
 lacks -race and finish when compared with that of the 
 Continent. 
 
 of the Van Eycks, Memling, and Giotto, 
 
 and of the schools they established, represented by Van 
 
 W'eyde. Hans Memling, Fra Angelico, Andrea Man- 
 
 . '.. Botticelli, Perugino, and others whose names are 
 
 familiar to all art-lovers, extended into the sixteenth 
 century. Many of these artists painted miniatures in 
 
 hoi/ 
 
 These small pictures are frequently classed as an in- 
 ferior department of art, and held in too slight an i 
 mation, as compared with paintings on a large scale. 
 ring greater ana. This is a mistake; for to paint 
 miniatures well requires a skill and talent equal to that 
 demanded for most large pictures, Possibly their com- 
 parative inaccessibility, in Looks, accounts for their beau- 
 and worth being less familiar, and meeting with 
 more tardy recognition than their importance warrants. 
 
 \ complete history of pictorial art in civilized Europe 
 must embrace that found in manuscripts. Any one de- 
 siring proof of this, as well as .if the capabilities ol minia- 
 ture pain tin-, i i asked to inspect the Lectionar) of Giulio 
 
 xxii 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 Clovio in the Lenox Library. On its pages will be found 
 a wealth of conception, coloring, and artistic treatment, 
 recalling the age of Michelangelo, Titian, and Raphael, 
 of which Clovio was an ornament, and whose name is 
 worthy of mention in connection with theirs. 
 
 An advantage possessed by miniatures upon vellum 
 is their superior chance of longevity. As already shown, 
 there exist painted vellum books about fifteen hundred 
 years old, and unless overtaken by violent destruction 
 the illuminations and miniatures by Clovio, and those in 
 the present exhibition, will retain their freshness and 
 beauty long after the pictures by Raphael and Titian 
 have crumbled away. 
 
 At the time of Louis IX. of France (in the early part 
 of the thirteenth century) some beautiful manuscript 
 books were made, and notably among them is the famous 
 Psalter of St. Louis, preserved at Paris, and also the 
 Roman de Saint-Greal, both containing miniatures re- 
 markable for originality of treatment, brilliancy, and 
 delicacy. At this period the decorations and paintings 
 in the Bibles, missals, and religious books generally, 
 are finer than those illustrating profane literature, or in 
 the romances of chivalry, which had begun to occupy a 
 conspicuous place among the writings of the time. 
 
 In the fourteenth century not only the religious books, 
 but the classics, such as Ovid, Horace, Virgil, and Cicero, 
 were rewritten with increased richness and splendor of 
 
 xxiii 
 
ILLUMINATED AXD PAINTED MANUSCRIPTS 
 
 adornment. Words can do very little, however, toward 
 portraying the fascinating- beauties found in the manu- 
 scripts produced in Furope during the fifteenth and six- 
 teenth centuries. Kings, nobles, and prelates had attached 
 to their courts, and among their retainers, scribes and 
 miniaturists, by whom they caused sumptuous volumes 
 to be made. Charles Y. of France ; his father, Louis of 
 Orleans; the Dukes of Burgundy, Philippe le Hardi, 
 Philippe le Hon; and the Due de Herri, are anion- those 
 whose passion for hooks led to the creation of the re- 
 markable collections of manuscripts of chivalry, romance, 
 chronicles, and devotion, forming- the famous Hurgundian 
 Library, once numbering several thousand volumes, many 
 of which are still preserved in Brussels. 
 
 When notable books were completed, whether sacred 
 or profane, their presentation was signalized by religious 
 ceremony; mass was said in the cathedrals, and pageants 
 attended their installation in the library. The blemish 
 and French courts in those times moved from place to 
 place in Flanders and France. Brussels was the center 
 ot .t flourishing school of miniaturists, as were Bruges and 
 others of the large blemish cities in the fifteenth century. 
 Indeed, Paris was at this period comparatively small. It 
 the Emperor Charles V. of Germany who once twitted 
 
 the ambitious Francois I. in the Baying, repeated in ('.and 
 (or Ghent) to this day, "Je mettrai ton Paris dans mon 
 gant" The Emperor was an amateur of books, and in 
 
 X x i v 
 
iMatjcqtmirtnramQtitrtmiQiargUtnft 
 ""brgticnrmftr 
 
 ndmtmmu 
 
 gttfiftifitfpn 
 
 I mor gtffumnr 
 torn ^dicrdia 
 ?' oflrrtmflm* 
 mwMMP trmwrfwoi 
 iir bmicatrtrqummoabubatnuHnKr 
 oimm aUf tnmnOrOmflttm mtnumtt 
 iiaxm mtrmt mi qtiawcmoa torn 
 ttoitm Dtr tmttttr ranur trum* tiotr 
 atttaamidikm onttokm mirotmit 
 mmnai tntrnvtivctotttiftiiu mtif 
 to flan/ op torn mtrrtncfictairm qwe 
 trot tmrtmrrtftiihr fcepemrn mm 
 timrti ^irDtiffnrou&rtfiimi^fm 4 
 fra mi fit otimur oir ot oimm Dtr moe 
 mi oi gra mti paw mrnrn tuqrrrt mar 
 
 FROM THE UOR/E 
 No. 13 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 one of the intervals of his warfare with Francois sent him 
 a present of fine volumes he had caused to be elaborately 
 bound at Venice. 
 
 There is in the library of St. Mark's in that city a very 
 fine breviary, once belonging to Cardinal Grimani, with 
 miniatures of extraordinary beauty, many of them said 
 to be by Hans Memling. The Cardinal purchased the 
 manuscript of a dealer, and while the association of his 
 name with it causes him to be remembered through cen- 
 turies, a strange irony of fate leaves that of the maker 
 of the book buried in the oblivion of uncertainty. 
 
 Another remarkable manuscript, and perhaps the most 
 noteworthy of the fifteenth century, is the "Book of 
 Hours" of Anne de Bretagne, wife of Louis XII. of 
 France, the work of Touranian artists. This city was the 
 center of a school of art of which Jean Foucquet, living 
 from about 141 5 to 1485, became the most brilliant figure. 
 He went to Rome to study, returning to Tours where 
 he practised his art. He and his followers during more 
 than a century enriched manuscripts with ornaments and 
 miniatures of the choicest description. Unfortunately 
 most of them failed to sign their work, so that the author- 
 ship even of the superb pages in the "Hours" of Anne de 
 Bretagne is a matter of conjecture. Although Foucquet 
 has been credited with having painted them, they are 
 now considered to be in part the work of an artist named 
 Bourdichon, court painter to Louis XI., Charles VIII., 
 
 4 XXV 
 
ILLUMINATED AND PAINTED MA M'SCRIPTS 
 
 and Louis XII. Examining this manuscript as repro- 
 duced through the modern process of chromolithography, 
 although failing as it do<-s to render the vivid brilliancy 
 <>t' the original, it would appear that the extreme limits of 
 the art had been reached. Even Foucquet, however 
 
 i in his celebrated volume of Josephus, and the Livy 
 .it Paris, was destined to l>e excelled by Giulio Clovio, 
 who, eclipsing all his predecessors, left no worth)- suc- 
 
 >r. hie was born in 1498, and lived until 1578, work- 
 ing in Rome and Other Italian cities. He had Giulio 
 Romano for a friend and adviser, if not as master. Both 
 
 cquet and Clovio had many scholars and assistants 
 who perpetuated their styles of painting. 
 
 The art of the miniaturist in manuscripts reached a 
 high stage of perfection in Florence. Attavante, born 
 there in 1455, and living until 1520, executed remarkable 
 works. Both he and Geervaest David, record of whom 
 is made by Vasari, and who studied at Rome, and lived at 
 
 Bruges, in the latter part of the fifteenth and the begin- 
 ning of the sixteenth century, painted hooks with orna- 
 and miniatures of great merit. 
 The name of another talented artist should be recorded: 
 that of Geoffrey Tory, a Frenchman, who combined with 
 miniature painting the occupations of designer, engraver, 
 author, and printer. With his death, according i" Bernard 
 
 in [533, may l»<- said to Virtually close the history ^( the 
 written and painted hook. 
 
 X x v i 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 An account of manuscript painters and writers, however 
 brief, would probably be considered incomplete without 
 some allusion to Nicolas Jarry, a Parisian, born early in 
 the seventeenth century. He was a clever calligrapher, 
 and pleasing miniatures are sometimes found in volumes 
 done by him. His transcription of the celebrated "Guir- 
 lande de Julie," a volume composed of verses by various 
 admirers of the beautiful Mademoiselle de Rambouillet, 
 and ornamented with floral ornaments by the artist Rob- 
 ert, has principally served to bring his name and work 
 into repute. 
 
 Manuscripts, to be adequately appreciated and enjoyed, 
 require careful and patient study. They appeal preemi- 
 nently to the refined and cultivated taste. The choicest 
 of them are the outcome of religious fervor, which de- 
 manded the best that artistic inspiration could furnish. 
 In the Breviaries, Psalters, Bibles, and above all in the 
 Horae, or Books of Hours, are found the majority of the 
 choicest miniatures and illuminations. The Horae usually 
 commence with a calendar, very frequently adorned with 
 paintings appropriate to each month of the year, and the 
 signs of the Zodiac. The four Evangelists follow in their 
 appointed places ; after them come events in the life 
 of Christ, the Passion and Crucifixion; succeeded by 
 scenes taken from the Old Testament; finally concluding 
 with representations of the Saints and Martyrs. The 
 pictures of the Virgin are usually executed with the 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 utmost skill of the artists, and kneeling before her is often 
 placed the portrait of the person for whom the volume 
 u as made. 
 
 In a poem by Eustache Dechamps, of the tin 
 urles V. of France, the requirements of a fine lad) as 
 
 to her •• Book of Hours" arc quaintly rhymed: 
 •• Heures me fault de Notre Dame. 
 
 Si comme il appartient a fame 
 Yenne de noble pat I 
 Qui sorent de soutil onvnige, 
 1 >'or et d'azur, riches et cointe, 
 
 Bien ordenneea et bien pointes, 
 
 De fin drap d'or tres-bien couvertes: 
 Et quand elles seront ouverte 
 Deux fermaulx d'or qui fermeront." 
 
 (Hours of our Lady should be mine, 
 Fitting for a noble dame 
 
 lofty lineage and name ; 
 Wrot most cunningly and quaint 
 In k f <.ld *nd richest azure paint; 
 Rare covering of cloth of gold 
 Full daintily it shall enfold ; 
 I »r open to the view, exposed 
 Two golden clasps to keep it closed.) 
 
 The Illuminated printed books competed with and suc- 
 
 led the manuscripts. Blank spaces were usuall) left 
 
 in them at the commencement of chapters or divisions, 
 
 which the illuminator idled with colored capitals more or 
 
 xxviii 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 less ornamented. Borders were also added, and occasion- 
 ally whole pages occupied by miniatures, which were also 
 interspersed irregularly in the text. Examples of these 
 in volumes printed by Schaeffer, Jensen, Aldus, de Spira, 
 Hardouin, Simon Vostre, Annabat, and others are in- 
 cluded in the present exhibition. They are upon vellum 
 and paper. 
 
 A few Persian and Arabic manuscripts are also shown. 
 None of them date further back than the sixteenth cen- 
 tury. They are not common, and when richly ornamented, 
 and containing miniatures, are exceedingly rare. There 
 are few fine examples in this country, nor are they 
 numerous in European libraries. They are remarkable 
 for brilliancy of coloring, neatness, elaboration of design, 
 and treatment, and are well worthy of study, presenting 
 much that is characteristic and attractive in Persian art. 
 They are written upon an extremely tough and imperish- 
 able paper, made of vegetable fiber, in characters formed 
 with the camel's-hair pencil. 
 
 THE PATRON AND COLLECTOR OF MANUSCRIPTS 
 
 ^^MM FEW words as to some of the patrons of the 
 ■T/; /Q§ artists and of noted amateurs and collectors of 
 SSIM81 manuscript books at the time of the Renais- 
 sance may not be out of place. The Dues de Bourgogne 
 have been mentioned in this connection. There are 
 
 xxix 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 others who should not be passed unnoticed, for without 
 their enlightened encouragement the splendid books of 
 the Renaissance could not have existed 
 
 A name which has become historical, mainly owing to 
 
 OCiation with art, literature, and books, is that of 
 Cardinal d'Amboise. Horn in 1460, It- became Prime 
 Minister to Louis XII. in 1408, and afterward received 
 
 animal's hat from Julius II. A biographer calls 
 him "the Maecenas of France." lb- aided, perhaps more 
 
 than any of his contemporaries, to revive and stimulate 
 in that country the taste for the masterpieces of calli- 
 graphy and miniature. In the palatial Chateau -Gaillon, 
 built for him, he assembled a superb and costly collection 
 of manuscripts, many of which are extant and now en- 
 rich the National Library at Paris, comprising what is 
 known as the "Amboisian Library." 
 
 |<an le Hon (John II. of France), who became king 
 in [350, will be a familiar name to any one who has 
 visited the- Paris National Library. lb- was tin- first 
 
 of the French monarchs to bequeath books t (1 the na- 
 tion, and it is principally in this connection he is now 
 remembered 
 
 In the fifteenth century there existed at Budapest a 
 
 famous library formed by Matthias Corvinus, King ol 
 
 Hungary. lb- employed learned agents to buy bocks, 
 
 and scribes and miniaturist, to create them. A great 
 
 deal has been written about this library, the Stormy 
 
 XXX 
 
ILLUMINATED AND PALNTED MANUSCRIPTS 
 
 career of its owner, and its fate. Out of many volumes 
 (stated by some authorities at 50,000) about 150 only 
 are now identified, being mainly in public collections. 
 Its dispersion began at Corvinus's death in 1490, and in 
 1526 the Turks destroyed the remainder with the thor- 
 oughness characteristic of their exploits in this line. As 
 vellum books were not found adapted for building fires 
 and lighting pipes, they used the printed paper vol- 
 umes for this purpose, and simply cut out the miniatures 
 from the former, attracted, like children, by their brilliant 
 colors. 
 
 In no city in Europe did the arts meet with more en- 
 thusiastic encouragement and support than in Florence 
 during- the fifteenth and sixteenth centuries; and no fam- 
 ily ever contributed more toward fostering the taste for 
 literature than that of the Florentine Medici. Cosmo 
 de Medici, his grandson Lorenzo the Magnificent, and 
 Leo X. the son of the latter, surrounded themselves with 
 clever literary men and artists, and filled their palaces 
 with treasures of ancient art which served as models in 
 the decoration of the superb manuscripts of the time. 
 The Laurentian Library was founded by them, and con- 
 tains a large proportion of the literary collections of the 
 Medici family. 
 
 Francois I., King of France (1494-1567) was a liberal 
 patron of the miniaturist and scribe. His relations with 
 Italy were principally of a warlike nature, but the most 
 
 xxxi 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 valuable of his conquests in that country were the Italian 
 
 artists he induced to come to Paris, and who served to 
 
 further the growth of the French Renaissance. In the 
 
 nch National Library an- about fifty-five manuscripts 
 
 ited l>v the king's orders. 
 
 |can Grolier was king's counselor, and one ot the trea- 
 surers of France, under Francois I. In a bibliograph- 
 ical record of 349 books now existing, which formed part 
 of his library, we find eight manuscripts upon vellum. 
 
 It is an interesting fact that these patrons and col- 
 lectors of literary treasures lived in turbulent times, and 
 all were active and aggressive men, engaged in public 
 affa:: nsions and war. It will be also observed 
 
 that the collection and preservation of manuscripts was 
 the work of individuals, and not of governments, com- 
 munities, <,r states, which, as a rule, only provided de- 
 positories lor wdiat an enlightened taste and patronage 
 created and gather* 
 
 There are few objects more attractive, and none more 
 
 satisfactory, than a beautiful book; but when to artistic 
 
 beauty there is allied the flavor of antiquity, even if this 
 
 be no greater than four or five hundred years, the charm 
 is irresistible. The accounts in history of the destruction 
 of books form the most painful pages of the records of 
 
 the past We know that men must die. but we like their 
 
 good works to live. In the present age when vandalism 
 is regarded in the light of a crime, safeguards environ 
 
 x x x i i 
 
-^&*w ,v - mim l.it-ia hum 
 
 kZ^SJfe it v > mciun an 
 
 iSSsdviiV' in UmuIi in mean 
 
 FROM THE LIVRE D HEURES 
 
 No. 38 
 
ILLUMINATED AND PAINTED MANUSCRIPTS 
 
 libraries and depositories of art, and the plea of military 
 necessity is not considered an excuse for such destruc- 
 tion as overtook the ancient library at Alexandria in 
 the year 47 b. c, when 700,000 manuscripts are said to 
 have been destroyed. Christians do not now, as did the 
 Emperor Leon in the year 703, seek to destroy books 
 in order to eradicate what they consider recorded errors. 
 Determined to abolish the worship of images (a vexed 
 subject in early ages), this Emperor Leon deliberately set 
 fire to the library of Constantinople, containing 36,000 
 manuscripts, and the twelve custodians and professors 
 perished with them rather than forsake their books, or 
 yield to their mutilation. 
 
 The number of fine manuscripts in existence in Europe 
 is still large, although very small in this country. That 
 many more will be brought here is probable, although 
 the most noted that have survived to the present cen- 
 tury are apparently permanently placed in the great Euro- 
 pean libraries and museums. 
 
 Keats before his death said: "I have truly loved the 
 spirit of beauty in all things." It is this spirit leads us to 
 value and preserve these fine old books. Art appeals to 
 cultivated tastes in many other forms, but never with 
 a greater charm than in these records of the past, the 
 work of the scribe, the illuminator, and the miniaturist. 
 
CATALOGUE. 
 
 EUROPEAN MANUSCRIPTS. 
 
 I PSALTERIUM. Manuscript on Vellum. 4 °. XIII 
 Century. 
 
 English manuscript, containing sixteen small miniatures in 
 medallions, and nine large historiated initial letters with raised 
 backgrounds of burnished gold. 
 
 Bound by Riviere, in red morocco gilt, and inlaid with black 
 morocco. 
 
 Size, 5f x 8 inches. 
 
 2 BIBLIA SACRA. Manuscript on Vellum. Small 
 Folio. XIII Century. 
 
 This volume is very beautifully written (two columns to each 
 page) on the purest and finest of vellum, and probably shortly 
 after the year 1200. It contains the whole of the Old and New 
 Testaments in Latin, after the text of Saint Jerome. There are 
 seventy-six small miniatures in the initial letters, with figures 
 in French costumes of the time painted in gold and colors. 
 
 I 
 
XLOGUE 
 
 At the end is a dictionary of Hebrew nam 
 This Bible is stated to have been in th ion of Saint 
 
 . King of France. 
 
 uld be difficult to fmd a more perfect example «f a book 
 of its kind. 
 
 B >und in old French red morocco, :^ilt edg 
 . 7 x 10} inches. 
 
 3 BIBLIA SACRA LATINA CUM PROLOGIS 
 SANCT1 HIERONYMI. Manuscript on Vellum. 
 4 . XI 11 Century. 
 
 An Italian manuscript on extremely fine vellum. Written at 
 Cremona, about I -75. by Viviani Sani. A beautiful and re- 
 markable volume, both as to execution and condition. There 
 are fifty historiated initials and fifty-three other capitals, all 
 illuminated in gold and colors. 
 
 Bound in flexible rough calfskin, edges gilt and gauffered, 
 i nches. 
 
 \ LORRIS (C.)KT JKHAX I)K MEUNG. Li Roman 
 de la Rose. French Manuscript on Vellum. Small 
 Folio. XIV Cen i uky. 
 
 Upon one hundred and eighty leaves, in two columns, with 
 two large and thirty-One small miniature-. Written and illu- 
 minated for King Charl< 
 
 2 
 
W^W>. 
 
 Ol CH kSCOl 
 
 T\I I IN R IMF 
 STARSF II 
 
 ON DIG N VTRJ 
 VA J I COR I 
 ITS S PR] M 3 GiOVF 
 
 NIL FUROR I 
 QVATSTDFR-A ,1 
 
 [RHVOM D A Q\ ■ E L C H I S 
 PFLVARIO 5TI1 
 
 N G O I R A G ! \ 
 F R*A L E Y\NE .ST I 
 
 II VATS DOl OR E 
 OVI S LA CHI PEH PRO 
 INTENPA AMORF 
 STFRO TROVAR P1ETA > 
 CHI PFRDONO 
 \[\ BFN VIGGIO HOKLSI CO 
 VtF Ai 
 FAVOIA FVI GRATSJ I 
 ONDE 50VENIF 
 DIUIMFDESMO MFCOlvi; 
 
 VFRGOGNO 
 
 F DEI MIO VAN"GGIAR- 
 
 VFRGOGMA Fl FRVCIO 
 
 F 1 P FNT 1 RS MI C ONO SC 
 
 c HI VR VM1 N 
 
 : h f- qyA & 
 
 MONDO I P M \ L SOGN< 
 
 FROM THE HORATII CARMINA 
 No. 37 
 
CATALOGUE 
 
 Binding orange morocco inlaid with red, green and black 
 morocco, doubled with red morocco, decorated with fleurs-de- 
 lis, by Lortic. 
 
 Size, 8 x 1 1 j inches. 
 
 5 PSEAUTIER GOTHIQUE. Manuscript on Vellum. 
 Large 4 . XV Century. 
 
 French manuscript, with borders composed of scroll-work and 
 flowers to each page, and thirty-one miniatures — thirteen large 
 and eighteen small. 
 
 Bound in red velvet with silver clasps, edges painted and 
 gilded. 
 
 Size, 7 x 9f inches. 
 
 6 GRINGORE. Les Abus du Monde. Manuscript on 
 Vellum. 8°. XV Century. 
 
 French, written upon sixty-eight leaves of vellum, with four- 
 teen full-page miniatures. 
 
 The first printed edition of " Les Abus du Monde " is by 
 Pierre le Dru, 1509, and contains all the miniatures reproduced 
 in woodcuts. 
 
 Presented by the author to the Due d'Estourteville. This 
 MS. passed to Marie de Lorraine, wife of James V, King of 
 Scotland, and afterward to his daughter Mary Stuart. 
 
 It subsequently formed part of the libraries of Chas. Nodier, 
 Yemeniz, and Bancel, and the latter had it rebound. 
 
 3 
 
Binding blue morocco, Janseniste, double with white vellum 
 utmenta of alternate thistles and marguerfr 
 Trautz-Bauzonnet 
 
 LIVRE D'HEURES. Mam - rifi on Vellum. 4 . 
 
 Written in the Italian Style, with six pages of miniatures and 
 number of tine initial letters painted upon bur- 
 nished gold background. 
 
 old French red morocco, gilt edges, by Derome. 
 ; J inches. 
 
 L RL ZENO. "IN LIBROS Mil- MORUM 
 RERUM GESTARUM CAROL1 ZENI." Manu- 
 
 l Kil'i <>\ VeLH M. FO] I". XV ( ENTl RY. 
 
 Latin; three hundred and eighty- 1 WO pages, in Roman script. 
 
 An illuminated and historiated border ami capital on the first 
 
 tnd nine other illuminated capitals. Tope PhlS N. tO 
 
 whom this volume was presented, was born in 1405 and died in 
 
 ! in old red m Id tooling. 
 
 xii im / 
 
CATALOGUE 
 
 9 LIVII HISTORIARUM DECAS PRIMA. Manu- 
 script on Vellum, in Roman Script. Folio. XV 
 Century. 
 
 Illuminated border to first page, in which are introduced the 
 Caraccioli arms, and an initial F historiated with a view of 
 Rome. Seven initial letters illuminated in gold and colors. 
 
 This manuscript was brought from Palermo by Dr. Askew, at 
 whose sale it was purchased by Sir W. Burrell. Purchased by 
 Mr. Wodhull in 1798. 
 
 Bound in old russia, borders of gold. 
 
 Size, 1 On 
 
 10 HOR^ (AVEC CHANT NOTE). Manuscript on 
 Vellum. Small 4 . XV Century. 
 
 Written on three hundred and sixty leaves of fine vellum, 
 and ornamented with a large number of illuminated initial let- 
 ters, fifteen of which contain miniatures, the most of them upon a 
 checkered or fleur-de-lis background in gold and colors. 
 
 Bound in red morocco, silver clasps. 
 
 Size, 5 x 6f itiches. 
 
 I I HORy^E. Manuscript on Vellum. 4 . XV Century. 
 
 Flemish ; containing thirteen miniatures. 
 In the original stamped morocco binding. 
 Size, 5f x 8 inches. 
 
 5 
 
12 PSALTERIUM, CANTICA, IIVMM. SYMBOLA 
 
 \ III. WASH ET Al'< )S1 « \L( »k( M. ETC, Man- 
 Vellum. Lai i i . XV Ci 
 
 anish manuscript of tine proportions and execution. It 
 contains twelve miniatures with elaborate borders, and a number 
 of large initial letti 
 
 md in old ci imson velvet 
 
 : JliS. 
 
 II< >k.K BEA T.K MAkl.K VIRGINIS. M \m - km i 
 
 VBI ! IM. .} . XV Ci \ I'lTV. 
 
 This manuscript, which i tional beauty and richness, 
 
 • :d, about 14S5, for Corneille Crosinck, Lieutenant 
 
 Holland, and his second wife, Hildegarde Van Alke- 
 
 made. Their arm- are found emblazoned twice on one of the 
 
 borders, and their initials are painted on others. Thcbord- 
 
 litial htters, which are very numerous, are of great variety 
 and elaboration. There are fourteen large miniatures, measuring 
 3^ x 5 inches exclusive of their borders ; also many smaller ones. 
 l paintings, evidently by several different Flemish artists, 
 
 are of the school of the Van I'.ycks. 
 
 Bound in crimson velvet, gilt edges; with silver clasps bearing 
 
 the initials (". 1 1, in relief. 
 
 .vl inches. 
 
*;. £»&£■• »£ :•• 
 
 t (l 
 
CATALOGUE 
 
 14 PRECES PI^:. Manuscript on Vellum. 8°. XV 
 Century. 
 
 The text written in Roman letters. 
 
 A French manuscript, with sixteen large miniatures and forty- 
 four small. The calendar is of unusual richness, and the borders 
 of flowers, birds and insects are very delicately painted upon 
 gold ground. 
 
 Bound in red morocco, doubled with green, tooled with gold, 
 gilt edges. 
 
 Size, 4-g x i\ inches. 
 
 I 5 HOR^E. Manuscript on Vellum. 4 . XV Century. 
 
 Flemish ; with borders to each page, and sixty-four minia- 
 tures, interesting for their rude quaintness of expression and 
 execution. 
 
 Bound in brown morocco, gilt edges, by F. Bedford. 
 
 Size, 5x7^ inches. 
 
 16 OFFICES OF THE VIRGIN. Manuscript on 
 Vellum. 4 . XV Century. 
 
 By a French scribe; with four miniatures, and burnished 
 gold borders to each page. 
 
 Bound in old red morocco, tooled sides, gilt edges, by Du 
 Seuil. 
 
 Size, Ss x 72 inches. 
 
 6 7 
 
ALOGUE 
 
 17 OFFICIUM BEATiE MARI.1-: V1RGINIS SECUN- 
 DUM a WSUETUDINEM A\< .1.1.1:. M 
 
 Vl I 1.1M. 4 . XV ( . 
 
 From the prayers in this book being addressed to English 
 Sail I as from the costumes of many of the figures, and 
 
 tile general character of the art in the miniatures, it would 
 appear • lish. Sir Francis Paigrave, however, judged 
 
 it to be French, ami Sir F. Madden and Mr. Shaw oms I 
 it Flemish. It was possibly executed by foreign artists in 
 England. The ornamentation throughout is extremely rich. 
 There are twenty-three large miniatures and twenty smaller. 
 
 Bound in brown morocco, doubled with red morocco, mosaics 
 in colors on the sides, gilt edges, by Lortic. 
 nckis. 
 
 l8 lloK.H UEATM VIRGINIS. French :\L\m script 
 i m. 4 . XV Century. 
 
 Borders, heightened with gold, to each page, and fourteen 
 large miniatures. < )n the blank leaves at beginning ami end have 
 been painted coats of arms within green and blur borders. 
 1 in old French red morocco, paneled sides, gilt l 
 
 Size, 6\ 84 inches. 
 
CATALOGUE 
 
 19 FLEMISH BOOK OF HOURS. Manuscript on 
 the Finest Abortive Vellum. 4 . XV Century. 
 
 The borders of each page are of very delicate scroll-work, 
 interspersed with flowers and small fruits. The large miniatures 
 (twenty-nine in all) are examples of Flemish art at its best period. 
 There are several hundred initial letters, illuminated and height- 
 ened with gold. 
 
 Bound in brown morocco, tooled sides and gilt edges, by 
 F. Bedford. 
 
 Size, 5f x 7j inches. 
 
 20 HOR/E BEAT^ MARINE VIRGINIS CUM ALIUS 
 OFFICIIS. Manuscript on Vellum. 8°. XV Cen- 
 tury. 
 
 A Flemish manuscript, with borders to each page; thirteen 
 large and forty-six small miniatures. 
 
 In the old calf binding, with sides stamped and tooled in gold, 
 gilt edges. 
 
 Size, 5-g- x j\ inches. 
 
 21 HOR.#; BEAT^E MARI^ VIRGINIS. Manuscript 
 on Vellum. Small 4 . XV Century. 
 
 By a French scribe. Ornamented with five large miniatures, 
 and borders of flowers, fruits and insects, in gold and colors. 
 Bound in old French red morocco, with silver-gilt clasp. 
 Size, 5 X 6| inches. 
 
 9 
 
CATALOGUE 
 
 22 B< >OK < >!• HOURS. M • Vl i.i I'M. 8 . 
 
 XV v. 
 
 Flemish. It has twelve large, delicately executed miniatures, 
 with richly illuminated borders. 
 
 ad in brown morocco, panels in <^>M on the sides, gilt 
 edg Bedford. 
 
 < /its. 
 
 llok.l-: BEATiB VIRGINIS MAkLK IX USUM 
 ROMAN UM. Manuscript on Vellum. Small 4 . 
 
 XV Cl N II RY. 
 
 Probably Flemish work. The borders, composed of scroll- 
 work, flowers, fruits, birds ami insects, upon yellow -round, are 
 of unusual brilliancy. It contains twelve large and eleven -mall 
 miniatures of the school of Mending. 
 
 ml by 1'". Bedford, in brown morocco, gilt edges. 
 
 ■St inches. 
 
 2\ HORjE. Manuscript om Vellum. Smali 4 . I ■■:■ 
 
 ; RY. 
 
 A French manuscript, written upon one hundred and twenty- 
 
 : very fine vellum, with delicate borders to each 
 
 .11 and twelve large well-painted minia- 
 tures, remarkable for breadth and boldness of treatment 
 
 10 
 
FROM THE BOOK OF HOURS 
 No. 41 
 
CATALOGUE 
 
 Binding of old green Renaissance velvet, upon oak boards, 
 gilt edges. 
 
 Size, 4f x 5f inches. 
 
 25 HOR.E BEATy£ MARINE VIRGINIS. Manuscript 
 on Vellum. 4 . XV Century. 
 
 French. Written on one hundred and sixty seven leaves, with 
 delicate borders; twelve large finely painted miniatures, and 
 many beautiful initial letters, some historiated. According to 
 an inscription at bottom of the first page, following the cal- 
 endar, it belonged to the " Monastery Celle Abbatis Sept r ." 
 
 Bound in old French red morocco, sides in gold panels, gilt 
 gauffered edges. 
 Size, 6 x 8f inches. 
 
 26 BOOK OF HOURS. Manuscript on Vellum. Large 
 8°. XV Century. 
 
 Written upon one hundred and forty-five leaves; each page 
 surrounded with brilliant and elaborate borders; also fifty-nine 
 miniatures (twenty-three large and thirty-six small), all most 
 carefully executed. The larger measure 3x5! inches. Although 
 the work in this manuscript is evidently French, it combines 
 a mixture of Flemish, French and Italian styles of treatment, 
 especially in the borders, some being pure arabesque, others 
 composed of fruits and flowers, in the manner of the Touranian 
 
 II 
 
CATALOG 
 
 School, and all in gorgeous coloring. The arms of the person 
 fur whom the book was executed are painted in several p] 
 
 rders. 
 Bound in old crimson velvet, gilt i : . 
 ■ ' ■ 8f inches. 
 
 27 HEURES. Manuscrifi om Vellum. 8°. X\ T Cen- 
 
 I IKY. 
 
 1 >: French execution. The borders are ornamented in the 
 Italian arabesque style, upon grounds of various colors. The 
 book has eleven full-page miniatures. 
 
 Hound in Lavalliere morocco, inlaid with red morocco, gilt 
 edges. The last mosaic binding done by Joly. 
 " x G\ inches. 
 
 2N BOOK OF HOURS. Manuscrifi m Vellum. 8°. 
 
 XV Cl Ml KV. 
 
 Flemish ; with delicate borders of flowers, fruits and scroll-work 
 upon gold ground. It has fourteen full-page miniatures of 
 Scriptural scenes, and twelve small miniatures in the calendar. 
 I he arms of the former owner are repeated several times iii va- 
 rious parts of the book. 
 
 Hound by Joly, in brown morocco, with an original pattern in 
 
 mosaic on the sides, and doubled with reil morocco tooled in gold. 
 The original gilt and painted edges preserved. 
 
 inches* 
 
 1 2 
 
CATALOGUE 
 
 29 PRECES PI^. Manuscript on Vellum. Small 4 . 
 XV Century. 
 
 Flemish. With eleven full-page miniatures, and borders in 
 gold and colors. 
 
 Bound by Cape in green morocco doubled with red morocco, 
 with dentelle borders, gilt edges. 
 
 Size, 4f x 6f inches. 
 
 30 PSALMONIUM. Manuscript on Vellum. 4 . XV 
 Century. 
 
 Probably French. With twenty miniatures and a number of 
 delicate borders, some upon gold ground. 
 
 Bound in brown morocco with mosaic medallions on sides, gilt 
 edges, by Cape. 
 
 Size, 7 j x 5 \ inches. 
 
 3 I HOR^E. Manuscript on Vellum. 4 . XV Century. 
 
 Of French execution, and containing eleven large miniatures 
 of unusual delicacy and beauty. They are divided into upper 
 and lower sections, picturing the various phases of the subjects 
 treated. Some of the borders are composed of small figures. 
 
 Bound by Le Gascon in red morocco, inlaid with colored mo- 
 roccos, and covered with fine gold tooling in points and dotted 
 lines, gilt edges. 
 
 Size, 4j x 6§ inches. 
 
 13 
 
J3 H« >RATIUS CARMINA. M- . Vellum. 
 
 In Foua Eari v XV Ci m 
 
 An Italian manuscript, written on one hundred ami forty-one 
 
 leaves. 
 
 It contains by way of frontispiece a painting upon yellow 
 
 vellum in camaieu heightened with gold. The title "Q. Oratii 
 Flacci Venusini Carminum liber primus incipit M. Antoninus 
 MauFocenus Patricius Venet Sibi et Suis. V. F." i- upon an 
 entablature, with a Faun ami a Satyr on either side playing 
 
 upon flutes. The original owner of the book, Marc Antonio 
 Morosine, whose arms are emblazoned in an elaborate b i 
 
 was a Venetian and a patron of Aldus, who dedicated to him 
 his edition of Lucan, published in 1502. The manuscript is in 
 roman Utters, with notes in italic writing. There are beautiful 
 initial letters and borders to each division of the text. The last 
 leaf contains a life of Horace in Latin. 
 I!< >und in old vellum. 
 i lies. 
 
 33 FRENCH .WD LATIN HOURS OF HUBERT 
 I>r BERRY D'ARTOIS. Mam - ripi ok Velli m. 
 1 F< 'i [o. XV Century. 
 
 A magnificent French manuscript, written upon two hundred 
 
 and thirty-seven leaves of vellum. Each of the four hundred -\\\^\ 
 
 seventy-thrc lelicate and elaborate border com- 
 
 . fruits, bin! beasts, among which 
 
 are centaurs, and nondescripts. There are also bun- 
 

 
 ) 
 
 atxtmnn 
 ctfacf ar j 
 
 nuOtm <tf ww Oicvi ifuf f<\ 
 fue cvo mv affdiiya . \f^>tt 
 
 p(it)aCHntt{\uvi8i\(H an 
 jvuHUMMcatiu fiirt.o:ano 
 
 ^jj^miftvue Scan 
 
 r 
 
 FROM THE HOR/E 
 
 No. 49 
 
CATALOGUE 
 
 dreds of fine capital letters, thirty-two large miniatures and 
 twenty-four smaller in the calendar; all painted with great skill 
 and brilliancy. The arms of Hubert du Berry, impaled with 
 those of Pericard, are emblazoned in various parts of the volume. 
 
 Bound in red velvet, the edges painted upon the gilt. 
 
 Size, 7f x \o>\ inches. 
 
 34 BOOK OF CALLIGRAPHY. In Folio. XV Cen- 
 tury. 
 
 A series of elegant designs executed upon vellum with great 
 skill and accuracy. They comprise samples of ornamental al- 
 phabets, borders, etc., in colors and gold. A unique and valu- 
 able volume, as illustrative of the history of illumination. The 
 designer is Guinifortus de Vicomerchato, and the work was done 
 about 1450. 
 
 The binding is cotemporary vellum. 
 
 Size, g\ x 1 3^- inches. 
 
 35 HOURS OF THE VIRGIN. Manuscript on Fine 
 Vellum. 4 . XV Century. 
 
 A Flemish manuscript with rich borders of flowers, birds 
 and insects upon a gold ground. It also has thirteen large 
 and small miniatures, exquisitely painted in the best style of 
 Flemish art of the period. The draperies in some of the sub- 
 jects treated are possibly by a different hand from that which 
 
 7 15 
 
CATALOG Ul 
 
 •.ted the heads, which are remarkable tor fineness and 
 beauty. The miniature of the Virgin and Child is consid 
 by the most competent expert the work of Hans Mem- 
 
 Bound in old red morocco, covered with fine 
 the mannei won, but probably executed in Holland, 
 
 i \es. 
 
 j6 SUETONI1 TRANQUILLE DE DUODECIM CM- 
 SARIBUS; OPUS ELEGANTISSIMUM FELICI- 
 1 ER E I PRINK > 1 >K JULU I CjESARE. Manu- 
 
 :.n t upon Paper. F< h v >. X\ I ry. 
 
 is surrounded by an elaborate border, with 
 subjects painted in medallions. The book was evidently the 
 property of a bishop, as indicated by the miter over the coat ol 
 arms. 
 
 Bound in brown morocco, gilt ed. 
 t,%\ x I I i i tic Ins. 
 
 HORATU CARMINA. Manuscripi oh Vellum. 
 
 FOI I". XV Cl NTURY. 
 
 An Italian manuscript, with five beautiful borders, hea.: 
 
 ..Id and colors, and historiated initial letters, painted 
 imaieu, heightened with gold This manuscript is in very 
 t'me and perfect condition, ami exemplifies one of the I 
 
 10 
 
CATALOGUE 
 
 of Italian art. The arms of the original owner are at the bottom 
 of the first page. 
 
 Bound by Charles Lewis, in purple morocco, gilt gaufre edges. 
 
 Size, i\ x i \\ inches. 
 
 38 LIVRE D'HEURES. Manuscript on Vellum. 4 . 
 XV Century. 
 
 A French manuscript written upon one hundred and twenty- 
 seven leaves. The calendar is in French, each page containing 
 two miniatures, making twenty-four for this portion of the book. 
 There are two hundred and fifty-four borders to the pages, and 
 in all sixty-five miniatures, of which thirteen are page size. The 
 work is possibly French, but there are indications of Flemish 
 influence. 
 
 Bound in Lavalliere morocco, doubled with green ; the sides 
 and back ornamented with a rich mosaic of colored moroccos, 
 arid the inside of the covers covered with gold tooling "a la 
 fanfare" ; the work of David and Marius Michel. 
 
 Size, 5 x 6f inches. 
 
 39 HOR^E. Manuscript on Vellum. 4 . XV Century. 
 
 Flemish ; with borders to each page, and thirty-four minia- 
 tures — eight large and twenty-six small. 
 
 Bound by Thouvenin, in red morocco, richly tooled and 
 doubled with green morocco, also tooled in gold, gilt edges. 
 
 Size, 6\ x 8^ inches. 
 
CATALOGUE 
 40 HORifL M\Ni v ript on Vellum. 4 . XV Century. 
 
 I »I French execution, and written upon one hundred and 
 hty-seven leaves. It contains twenty-six full-page miniatures, 
 
 surrounded by rich borders of scroll- work with birds, flower-, 
 fru:- rsonages dressed in various contempo- 
 
 rary costumes. The miniatures, with background of landscapes 
 and architecture, are beautifully painted. 
 
 D the inside of the cover is the indorsement, in Spanish, 
 dated 1575, of the commission of the Lords of the Inquisition, to 
 the effect that the manuscript had been examined by them. 
 The\- have made one or two erasures in the text. 
 Bound in crimson velvet, red edges, with silver clasps. 
 .dies. 
 
 41 BOOK OF HOURS. Manuscript on Vellum. 4 . 
 XV Century. 
 
 Written in France, about 1435, -ind upon one hundred ami 
 itv-ninc leaves. It has elegant borders of burnished gold 
 surrounding each page. There are sixteen large miniatures, of 
 unusual richness and careful execution. The borders to these, 
 which are remarkably brilliant, are Supposed to be by the same 
 artist who dec-rated the Bedford Missal At the bottom of 
 of the miniatures is the coat of arms <.A the Levis family : 
 
 tin as sable on a gold field 
 
 Bound in crimson n. --■■ plaque in silver on 
 
 the side, and silver cla |] 
 6 X &\ inches. 
 
 18 
 
PROM rill : 
 
CATALOGUE 
 
 42 HOR^E BEAT^ VIRGINIS. Manuscript on Vel- 
 lum. 4 . XV Century. 
 
 Contains' twelve large miniatures within full borders ; also a 
 large number of initial letters of burnished gold. 
 
 Bound in brown morocco, tooled sides and back to a Grolier 
 pattern, gilt edges. 
 
 Size, 5f x 8f inches. 
 
 43 LIVRE D'HEURES. Manuscript on Vellum. Small 
 4 . XV Century. 
 
 A French manuscript, with colored borders to each page, 
 and nine miniatures. 
 
 Bound by Cape, in red morocco, with mosaics, covered with 
 fine tooling in gold, and doubled with brown morocco, with 
 dentelle borders, gilt edges. 
 
 Size, 4j x 6f inches. 
 
 44 HOR^E. Manuscript on Vellum. 8°. XV Century. 
 
 Flemish manuscript, with borders to each page, and eleven 
 large and forty-six small miniatures. 
 
 Lyonese stamped and tooled binding of calfskin upon oak 
 boards, gilt edges ; with the name Marie Chariot in gold on 
 either side. 
 
 Size, 4% x 7-g inches. 
 
 19 
 
45 HORM i i i : \ i i : m arm-; virginis. M 
 
 v. 4 . XV I ■ 
 
 h mantu cuted ft >r s.>inc ooble lady, whose 
 
 [trail is found kneeling before the standing figure of the Yir- 
 and Child, and is su] retol Anjou, wife of 
 
 nry VI 
 
 The \\<>rk of two artists is distinguishable in the paintiii 
 which there is an unusual number: fifty-one of . and 
 
 tlty-four small. These miniatures, as well as the bordi 
 
 the me delicacy and beauty. Some of the 
 
 .ire in the French languag 
 ■ 1 by Riviere, in red morocco, doubled with green, richly 
 
 • 
 
 7 inches. 
 
 4(1 Ih'k.K KKAT.K MAKLK VIRGINIS. Manus 
 
 \'i 1 1 i\i. Small 4 . X\ 1 \.\. 
 
 A Flemish manuscript, containing ten full-page miniatures 
 with bo: including smaller miniatures or historiations. 
 
 ind in the original brown -tamped m 
 . S x 7 inches. 
 
 47 HORjE. M • w Vellum. 8°. XV Century. 
 
 iteen miniatures, somewhat rude in execution, 
 
 and without bor<: 
 
CATALOGUE 
 
 It has been placed in an English chased-silver binding, with 
 silver clasps and chain, probably made in the seventeenth 
 century. 
 
 Size, 4 j x 6 1 inches. 
 
 A$ HORyfL. Manuscript on Vellum. Small 4 . XV 
 Century. 
 
 Written upon the thinnest of fine Italian vellum, and probably 
 in Italy. It contains twelve small and extremely delicate minia- 
 tures in grisaille (red, blue and brown), heightened with gold. 
 
 Bound in old brown morocco, tooled sides, by one of the Eves. 
 
 Size, 4 x 5f inches. 
 
 49 HORyE. Manuscript on Vellum. Small 4 . XV 
 Century. 
 
 Beautifully written French manuscript, enriched with twenty- 
 six small miniatures of great delicacy of execution ; thirty-nine 
 borders upon gold or colored ground, upon which are painted 
 seven hundred and forty-six flowers, representing a large portion 
 of the French flora of the epoch ; also seventy butterflies, eight 
 birds, eighty-six branches of foliage and twelve hundred and 
 forty-five illuminated letters. This enumeration gives some idea 
 of the amount of work upon even the less elaborate manuscripts, 
 of which this is an example. 
 
 In the original vellum covers. 
 
 Size, 4f x 6§ inches. 
 
 21 
 
CATALOGUE 
 50 PRECES 1'I.K. Mani on Vellum. 8°. XV 
 
 i.Y. 
 
 • m Fren< b execution, with five fall-page miniatures, and bor- 
 ders of burnished gold and colors. The text embraces the mu- 
 sical annotation written upon red lines. 
 
 Bound by Chambolle-Duru, in brown morocco, blind-tooled, 
 gilt edges. 
 
 nckts. 
 
 51 link/K PEMBROCHIANiE. English Manuscript, 
 1 > 1: Hundred and Ninety-five Leaves of Vi i 
 lum. In Folio. About 1440. 
 
 A remarkable and sumptuous volume of unusual historic and 
 artistic interest. It was written for William Herbert, first Earl 
 of Pembroke, and according to the most competent living author- 
 ities upon such subjects, is entirely of English execution. In tin- 
 middle of the sixteenth century it was still in the Pembroke family 
 
 and in the hands of the grandson of the first Earl, who caused 
 
 additional pages to be written with illuminations, including the 
 Pembroke arms, and his portrait in a kneeling posture. The sup- 
 plemental painting and writing, consisting of the Te Deum and 
 prayers in English, is greatly inferior to that in the original 
 rk, which contains two hundred and sixty-eight miniatures, 
 many richly illuminated borders, and a vast number of decorated 
 
 initial Lett 
 
 :: to have found its way into Italy, \\ hence 
 it was obtained about 1880 by Mr. F. S. Ellis, of London, who 
 
 23 
 
PROM THE HoR I PI M 
 
CATALOGUE 
 
 published in that year an account of the book, with detailed de- 
 scriptions of each miniature, accompanied by facsimiles of several. 
 
 The binding is in old crimson Renaissance velvet, upon wooden 
 boards, having clasps and corner-pieces of silver engraved in the 
 manner of Nielli, and probably dates from the latter part of the 
 sixteenth or the early part of the seventeenth century. 
 
 Size, 8 j x u-^ inches. 
 
 52 MINIATURE. On Vellum. By Giulio Clovio. XVI 
 Century. 
 
 The subject is the Crucifixion. St. John and soldier stand 
 on the right, St. Mary Magdalen is at the foot of the cross, 
 while on the left the Virgin has fallen fainting in the arms of 
 the holy women. The whole is beautifully drawn, and the ex- 
 pression of the faces admirable. Mr. Bradley, in his life of 
 Clovio, states that the artist in his early days studied especially 
 Diirer and Michelangelo. Later he was taken up with the 
 work of Raffaelle, and still later with the Netherlandish painters, 
 and "worked with a vast amount of patient stippling." 
 
 This miniature formerly belonged to the Celloti collection, 
 sold at Christie's in London in 1825. Later (1856) it was in 
 the Wilson collection. It is engraved by Shaw in his " Decora- 
 tive Arts of the Middle Ages," and considered by him to have 
 belonged to the volume executed for Gregory XIII, mentioned 
 by Baglione in his work published in 1642. 
 
 Framed. 
 
 Size, 5f x o>\ inches. 
 
 8 23 
 
53 HORiE, Manuscrifi on Vellum. Small 4 . X\'I 
 
 .111 exquisite example of Italian v. 
 the school of Giulio Clovio. An inscription at the end in French 
 
 • 9 that it was written in the Noble House and Ah': 
 
 at Atnand, in the Year of Grace 1537, at the 1 
 
 in (inelin. Tile miniatures, <>f which there 
 
 eleven, page size, are extremely hue and brilliant, and the 
 
 drawing of these and the d( re in 
 
 the best Italian taste of the time. The initial letters, of which 
 there are many, are also very beautiful. The vlume is in the 
 
 fin ndition throughout 
 
 Bound by Joly, in red morocco, doubled with the same, and 
 ornamented with tooling and mosaic of different colors, the 
 .;fre. 
 
 1 nctus. 
 
 S4 PRECES I'M-:. Manuscript on Vellum. Large 4 . 
 . w XVI Centi ry. 
 
 A French manuscript written in bold Gothic letters, with some 
 
 ..f the inscriptions and prayers in the French language. It has 
 hundred and eighty-three miniatures, of which thirty- 
 
 bt are full-page, and ^nv hundred and forty-five smaller, 
 
 varying in siz< of the paintings extend across two p 
 
 >ut thirteen inches in length. 
 
 Hound in red morocco, tooled sides, gilt edg< . by l • Pui 
 inches. 
 
 -M 
 
' THE HOR 1 PI MBRO MAN 1 
 
 5 1 
 
CATALOGUE 
 55 PASSIO DOMINI. i6°. XVI Century. 
 
 Seventeen Italian miniatures upon vellum, depicting the 
 Miracles of Christ, with descriptive text to each painting. 
 
 Bound by C. Lewis, in olive morocco, doubled with morocco 
 of the same color, tooled in gold, gilt edges. 
 
 Size, 3 \ x 4f inches. 
 
 56 HOR^: BEAT^ MARINE VIRGINIS. Manuscript 
 on Vellum. i6°. XVI Century. 
 
 A French manuscript, with eleven full-page miniatures and 
 many smaller; twelve historiated borders to the calendars, all 
 finely executed and of extreme delicacy. 
 
 Bound in old French olive morocco, gilt edges. 
 
 Size, 2\ x 3f inches. 
 
 57 HEURES. GOTHIC. Manuscript on Vellum. i6°. 
 Early XVI Century. 
 
 Contains twelve large and twenty-one small miniatures, also 
 forty-six borders of flowers and fruits, in colors and gold. 
 
 Writing in the book states that it was, on the 20th of Decem- 
 ber, 1552, bequeathed to the Reverend Father in God M. Nico- 
 las, Abbe of St. Jay, by the Demoiselle Margharite Orohin. 
 
 Newly bound in brown calf, blind-tooled, with the original 
 clasp containing a miniature head of Christ. 
 
 Size, 3 1 x 6\ inches. 
 
 25 
 
CATALOGUE 
 
 n Vellum. 8°. XV] 
 
 !.Y. 
 
 Flemish. Containing eleven large and seventy-two 
 
 miniatures, the latter introduced in broad ornamented borders. 
 .ire not in the best style of the art, hut ex- 
 tremely interesting, owing to their vigorous execution and the 
 somber. I ne pervading them all. This book 
 
 an additional interest from havin 
 
 ription of Jeanne de Malberbe, dated I bably 
 
 the of the family of Malherbe. the French 
 
 md in black morocco, by Kochler. 
 | inches. 
 
 »] i [< II M BEATiE MAR1.1-: VIRGIN1S. M an. - 
 
 . Vl I I.l If. S\I \I.I. .\ . XVI Cl M "I KV. 
 
 An Italian manuscript, with three rate minia- 
 
 tures and borders combined. 
 
 Hound by (iruel in brown morocco, blind-tooled, 
 
 silver da 
 
 >:< /tcS. 
 
 lONAVENTURiE SAN< I I PS VLTERIUM 
 
 \ I .V. MAkl.K VIRGINIS. M\m s< km i ow Vi i- 
 
 LUM. I -' . XVI ( I - I i RY. 
 
 Written in Roman letters within gold line I '■■' COD 
 
 hi fine miniatures, beautifully painted by the Italian 
 26 
 

CATALOGUE 
 
 artist Frederico Baroccio of Urbino. The book was presented 
 to Queen Christina of Sweden by Pope Alexander VII. She, 
 before her death, gave it to her chaplain. 
 
 Bound in black morocco, with silver clasps. 
 
 Size, 3f x 7f inches. 
 
 6 I LA GUIRLANDE DE JULIE. Manuscript on Vel- 
 lum. XIX Century. 
 
 Facsimile of the second and smaller of N. Jary's celebrated 
 manuscripts containing the poems addressed to Mile, de Ram- 
 bouillet. This copy was made by V. Bouton. 
 
 Bound in blue morocco, with garlands of foliage on the sides, 
 gilt edges. 
 
 Size, 5 x y\ inches. 
 
 62 LATIN MISSAL. Manuscript on Vellum. Folio. 
 XV Century. 
 
 A German manuscript written in bold Gothic letters, two 
 columns to the page, with six very large and sixteen smaller 
 miniatures. Rich borders of flowers, insects, birds and scroll- 
 work. 
 
 The first two leaves have the arms of the original owner 
 emblazoned in rich colors, full size of the page. 
 
 Bound in old black morocco, gilt edges. 
 
 Size, gf x 13-^ inches. 
 
 27 
 
CATALOG 
 
 63 rOURANIAN MISSAL. Manuscrifi on Vellum. 
 
 1"' -1 1 >. XVI Cen 1 ikv. 
 
 Beautifully written upon very tine vellum, in < i« >t Hie characters, 
 
 Columns t>> the page. As a work of art, this volume ranks 
 
 with tlu • ■ land The miniatures, of which there are five 
 
 • them measuring 7 < IO inches) ami seventeen 
 smaller (2 >. all surrounded by elegant borders, are 
 
 the work of Touranian artists of the school of Jean Foucquet 
 
 Their execution is admirable, ami, although French, they sh«>\\ 
 the influence of the Italian art of the period. 
 Bound in old crimson velvet, ^ilt edges. 
 OX 13 \ inches. 
 
 n.j Oil ICIl'M BKA'IVE VIRCINIS MARIA Mam - 
 '. \ I! LUM. I') . XV Cem I IKY. 
 
 A most delicate and beautiful example of Italian work of the 
 latter part of the fifteenth century. It was executed in 
 by Sigismundus de Sigismundis for Francesco Sfondrato, who 
 ame Bishop of Cremona .mA. in 1534. Cardinal. 
 
 The following IS the inscription by the artist, written in red 
 ink, n<ar the middle of the volume: 
 
 "Expliciunt septem psalnrl penitenoales in 1 -pi die 
 
 XXII Octobris MCCCCLXXXXVIII. per Sigismundum de S 
 mondis de Carpo." 
 
 .en miniatures (two with the Sfondrato arms), 
 
 ind man}- illuminated capital l> • 
 
CATALOGUE 
 
 The borders to the miniatures, which are arabesque in style, 
 contain numerous small medallions with heads. 
 Bound in blue velvet, gilt edges. 
 Size, 3-g- x 4^ inches. 
 
 63 HOR^E. Manuscript on Vellum. 8°. XV Century. 
 
 A French manuscript, with nine full-page miniatures care- 
 fully painted. 
 
 Bound by Duru, in brown morocco gilt, with the sides and 
 back enameled in green and red to a Grolier design, gilt 
 edges. 
 
 Size, 4^ x 6| inches. 
 
 66 ANTIPHONALE. Manuscript on Vellum. XV 
 Century. 
 
 A Flemish manuscript adapted for church service, but exe- 
 cuted with more than usual care; the text and music orna- 
 mented with a vast number of small drawings of heads and 
 masques cleverly done with the pen. There are eighteen minia- 
 tures varying in size, some of them joined to borders consisting 
 of flowers, birds, etc., painted upon yellow ground. 
 
 In one of the borders is the date of its execution (1541). 
 
 Bound in the original oak boards covered with stamped 
 leather, with brass bosses, corners, clasps and feet. 
 
 Size, 1 2 x 1 6f inches. 
 
 29 
 
CATALOGUE 
 67 HORiB m:\T.K VIRGINIS MARINE. Mam - 
 
 \ S LL 4 . XV ( ! \ I URY. 
 
 A French manuscript written upon one hundred and fifteen 
 leaves of vellum, with fourteen full-page miniatures, and many 
 illuminated borders and initial let! 
 
 B tund in purple velvet, gilt edges, and silver-gilt clasps. 
 
 lies. 
 
 68 HORiE BEATjE VIRGINIS. Manuscript on Vbi 
 1 r\i. 1 2 . XV Century. 
 
 A Fl misfa manuscript finely written, with thirteen larj 
 a number of small miniatures. There are also man>- borders 
 composed of flowers, insects, figures and animals. 
 
 .1 in dark-blue velvet, gilt edges, with engraved silver- 
 gilt corner-pieces and clasps. 
 ukes. 
 
 69 II ( >k.K. Mam -1 hi on Vellum. Smali 4 . XV 
 
 I 1 
 
 An admirable manuscript upon three hundred and thirty-four 
 for th R ;ente Anne dc Beaujeu, daughl 
 It is remarkable f«>r the beauty and ■ 
 nality of its miniatures, of which there are twenty-four in the 
 ndar and one hundred and Beven full size <>t th< p 
 
 in the life of Christ, subjects taken from the old 
 30 
 

CA7AL0GUE 
 
 Testament, and others, secular in character, picturing fetes, pro- 
 cessions, banquets, etc. These miniatures, of a high order of 
 merit, are of the school of Jean Foucquet, if not in part by this 
 master, who at the time of their painting (1477) was still living 
 and about 60 years old. The book was probably ordered by 
 Louis XI for his daughter, as he had caused one of a similar char- 
 acter to be executed for Marie de Cleves, Duchesse d'Orleans, 
 mother of Louis XII. 
 
 Bound in red morocco, by Le Gascon, gilt edges, with clasps. 
 
 Size, 4t x 5t inches. 
 
 70 MISSAL. Manuscript on Vellum. 8°. XV Century. 
 
 A manuscript of the Flemish School, containing thirteen full- 
 page and twenty-one small miniatures ; richly colored scroll bor- 
 ders with varied designs on almost every page. 
 
 Bound in old black leather, with gilt coat of arms of the period, 
 silver clasps. 
 
 Size, 4 x 6-§- inches. 
 
 71 MISSAL. Manuscript on Vellum. i6°. XV Cen- 
 tury. 
 
 A manuscript of the Venetian School, containing six full-page 
 miniatures and nineteen small ones, on rich arabesque ground 
 of pique gold, after the manner of the enameled frescos of San 
 Marco. 
 
 Bound in crimson morocco, eighteenth century. 
 
 Size, 3 x Af\ inches. 
 
 9 31 
 
CATALOGUE 
 
 72 MISSAL. M 1 I'm. Small .; . XV 
 
 A French manuscript of the Lyons School, containing fourteen 
 fall-page miniatures. 
 
 Bound by Lortic Freres, 1889. 
 \ x $i inches. 
 
 73 MISSAL. Manuscript. Small 4 . XVI Century. 
 
 Chiefly interesting on account of rich silver repousse Louis 
 XV binding, with repousse silver l'. 
 6 inches. 
 
 74 MISSALE ROMANORUM. Manuscript on Vi 
 8°. XV Century. 
 
 Sixteen fall-page miniatures and - mall ones. 
 
 ■(! by Matthews, in dark-blue crushed levant. 
 Size, 4^ x G'l inches. 
 
 7^» PRECES. M ; OH Thin VELLUM. Smaii 4 . 
 
 XVI Century. 
 
 ript <>n twenty- two leaves of vellum. One full- 
 with rich: All 
 
 32 
 
FROM THE TOURANIAN MISSAL 
 No. 63 
 
CATALOGUE 
 
 the other pages with exquisite insects and flowers in their natu- 
 ral colors on the margins. The book was praised by the former 
 owner, T. F. Dibdin, in 1828, as of unsurpassed delicacy and 
 beauty. 
 
 Bound by Lewis, in smooth morocco, with a side of the origi- 
 nal old stamped leather binding inserted on the inner side of 
 the back cover. 
 
 Size, 3 j x 47? inches. 
 
 76 OFFICIUM PURISSIMAE ET IMMACULATAE 
 CONAPTIONES DEIPARI VIRGINIAE MARIAE, 
 AD MATUTINEM. Manuscript on Vellum. Small 
 4 . XVII Century. 
 
 French manuscript on fine vellum. Full of the most perfect 
 pen-and-ink minute interfacings and initials in black and gray. 
 
 Bound in crimson morocco with gilt border, probably eigh- 
 teenth century. 
 
 Size, 3-4 x 4-| inches. 
 
 77 MISSAL. Manuscript on Vellum. Small 4 . XV 
 or XVI Century. 
 
 Six full-page miniatures surrounded by rich floriated borders, 
 the six opposite pages having borders to match. Numerous 
 gilt and illuminated initials throughout the text. 
 
 Bound in green morocco, with gilt metal framework cover- 
 ing the outside of the front cover, an ivory carving of the Cru- 
 
 33 
 
MOGUL 
 
 i in the center, and four color on the corners; 
 
 :i ill gilt clasps. Between the stones are metal seals em- 
 blematic of Luke. John, Matthew, and Mark. Red edges, with 
 gilt design running through the red 
 Inches. 
 
 78 SPANISH PATENT OF NOBILITY. Manuscriw 
 
 Vi 1 : 1 if. Foi I". Will Cl-.N I IKY. 
 
 i in 1 7 10 by Philip V, King of Spain, to Don Francisco 
 r. Four large, rich, and fine pain- 
 Hound in Spain, eighteenth century, in brown leather with gill 
 
 • 11, 1 inches. 
 
 7^> PRAYER BOOK. Manuscript on Vellum. Smali 
 
 4 . XV Cl N I URY. 
 
 Flemish. Calendar, twelve leave-. Text, one hundred ami 
 
 twenty 1< 
 
 Five miniatures in capita] letters; thirty-eight small ; subject 
 in margin; done with pen in filigree- red and blue. 
 
 In the original binding in oak boards and brown calf, with 
 b and fleurs-de-lis on covers. Silver-gilt clasps, one repre- 
 senting St Catherine, the other St. Anne, Virgin and Child. 
 
 Purchased in i860 at the sale of the late lean de Meyer at 
 Ghent 
 
 * kts. 
 
 34 
 
CATALOGUE 
 
 80 SPANISH PATENT OF NOBILITY. Manuscript 
 on Vellum. Folio. XVIII Century. 
 
 Issued by Philip V, King of Spain, in 1721 to De La Barra. 
 Six full-page miniatures, thirty-six richly illuminated lines, with 
 miniatures for initials. 
 
 Bound in old maroon silk velvet, with brocade ribbons instead 
 of clasps. 
 
 Size, 7| x 1 if- inches. 
 
 I SPANISH PATENT OF NOBILITY. Manuscript 
 on Vellum. Folio. XVIII Century. 
 
 Issued by Charles III, King of Spain, in 1775 to Don Ramon 
 Zazo y Ortega. Four full-page and twenty smaller miniatures. 
 
 Bound in Spain, eighteenth century, in crimson leather with 
 gilt border. 
 
 Size, 7| x 1 if inches. 
 
 82 ITALIAN DIPLOMA. Manuscript on Vellum. In 
 Folio. XVII Century. 
 
 Issued by the University of Padua in 1680 to a Doctor of 
 Medicine. Two full-page miniatures, and twenty- four pages 
 with broad illuminated borders. 
 
 Blue cardboard cover. 
 
 Size, 6f x 9^ inches. 
 
 35 
 
CATAI.C 
 
 s " MINIATURE, on Vellum. XV Century. 
 
 ■ initial letter O inclosing a miniature of the Holy 
 Trinity and six Apostles. 
 hes. 
 
 84 BOOK OF HOURS. Manuscript oh Vellum. a°. 
 
 XV Cen i 1 kv. 
 
 Written in the German language, in Gothic letters, and con- 
 taining five miniatures painted upon gold backgrounds. 
 In a silver-gilt repousse and engraved binding, gilt edges. 
 Size, 4] x 6 inches. 
 
 85 SIX LEAVES Cut prom an Illuminated Manu 
 
 Vl I.I IM. XV Cl-.M IKY. 
 Flemish. The large initial letters historiated as follows: 
 
 Fust. Tin: Nativity. 
 
 Size, d\ x 61 indies . 
 
 Second. Adoration 01 the Magi. 
 
 6J x 6| inches. 
 
 Third. God Speaking to David. 
 
 ' j inches. 
 rth, 1 in. RESURRE4 nOH. 
 
 i hes. 
 
 Fifth and Sixth, HOLY FAMILIES. 
 
 Fifth — size, 4x4! inches Sixth — size, .; 
 
 36 
 
■ 
 
CATALOGUE 
 
 86 HORy^E. Manuscript on Vellum. Small 4 . XV 
 Century. 
 
 A French manuscript, containing eleven miniatures with bor- 
 ders. The first one represents the owner of the book kneeling 
 at an altar, with two Saints standing behind him, and on the 
 reverse of the leaf his coat of arms and initials. 
 
 Bound in old French red morocco (with the arms of Jean du 
 Bouchet, Conseiller du Roi, who died in 1685), edges gilt. 
 
 Size 3f x 5f inches. 
 
 87 VOLUME Containing Twenty Miniatures on Vel- 
 lum. Small 4 . XV Century. 
 
 A series of small Italian miniatures, inlaid in vellum leaves, 
 within gold borders. They represent the Passion of Christ and 
 pictures of Saints. 
 
 Bound in crimson velvet, gilt edges. 
 
 Size, 3§ x 5 -j inches. 
 
 88 HOR^: BEAT^ MARINE VIRGINIS. Manuscript 
 on Vellum. Small 4 . XV Century. 
 
 A French manuscript, written upon two hundred and twenty- 
 three leaves, with twenty miniatures in grisaille, mostly repre- 
 senting the Passion. 
 
 Bound by Lortic, in red morocco, inlaid with green morocco, 
 delicately tooled, gilt edges. 
 
 Size, 3f x 4f inches. 
 
 37 
 
CATALOG IE 
 
 MINIATURE, Ow Vellum. XV Century. 
 
 initial letter N with a miniature of the Morning after 
 
 the Resurrection. 
 
 >'>\ inches. 
 
 90 OFFICES OF THE VIRGIN. Manuscript on Vbi 
 ii m. io . XV Century. 
 
 French manuscript, containing three miniatures with borders, 
 and various large initial letters in gold and colors. 
 ind in old blue morocco, gilt edges. 
 Sise, nckes. 
 
 Ql OFFICES OF THE VIRGIN. Man i Vei 
 
 I I If. S.MAI. I 4 . XV Cl M 
 
 Flemish ; with a number of delicately painted borders of flow- 
 ers, insects, etc. 
 
 Bound in russia leather, gilt ed 
 i nckes. 
 
 92 PETRARCA (F.) RIME Manuscripi on Vellum. 
 
 s . XV Cl mi i;v. 
 
 An Italian manuscript, written in italics, with the capital let- 
 in ^old on blue ground. Ornamented with five mil-] 
 designs with miniatures (on< n and one 00 purpl< 
 
 3S 
 
CATALOGUE 
 
 lum), in the style of Mantegna. The upper part of the fron- 
 tispiece consists of an elaborate entablature in which are the 
 portraitures of Petrarca and Laura. The miniature, upon purple 
 vellum, painted in gold and silver, represents the Triumphi. 
 Rabbits and birds are introduced in the border to the title. 
 The arms of the owner, at the bottom of the page, surmounted 
 by a cardinal's hat, have been erased. 
 
 In old Medicean stamped binding, with medallions on the 
 sides ; gilt gaufre edges. 
 
 Size, 6x9 inches. 
 
 93 HOR^ BEAT^ MARINE VIRGINIS. Manu- 
 script on Vellum. 4 . XV Century. 
 
 Flemish ; with eleven miniatures within borders. 
 Bound in green morocco, doubled with red morocco, and cov- 
 ered with minute gold tooling in the style of Le Gascon. 
 Size, 6f x 9 inches. 
 
 94 A VOLUME Containing a Series of Thirty-two 
 Early Miniatures, upon Vellum, of Initial Letters, 
 hlstoriated with flgures. 4°. xv century. 
 
 These paintings, cut from various manuscripts, are mounted, 
 and bound in brown morocco, silver corners and clasp, with 
 carved medallions in ivory inserted in the covers. 
 io 39 
 
CATALOGUE 
 
 95 CLOVIO (GIULIO), SCHOOL OF. ATTRIB- 
 UTED BY MR. BRADLEY TO G* a BOCCAR- 
 DINO. Miniature on Vellum, representing thi 
 Martyrdom op St. Luke and the Fall op the I 
 XV] Century. Miniature on Vellum, representing 
 the Crucifixion of St. Francis. XVI Century. 
 
 On back of each of above is an intercessory prayer to the 
 saint represented. 
 
 v of each miniature, including border, ~\ x 5 J inches. 
 
 96 LIBER PRECUM. Manuscript on Vellum. 4 c . XV 
 Century. 
 
 Calendar in French ; prayers in Latin ; three hundred and 
 •nty-four pages; fifteen large miniatures. An illuminated 
 border to each page and a large number of initial letters in 
 gold and colors. 
 
 Bound in old red morocco, gold tooling, with arms of Villeroy, 
 Archbishop of Lyons, on side. Edges painted with flowers over 
 the gilding. 
 
 Sice, 6] X9 inches. 
 
 117 OFFICIUM B.V.M. Italian Manuscript on Vellum. 
 
 1 6 . XV Cek 1 1 RY. 
 
 Latin, three hundred and twenty-nine pages; fifteen illumi- 
 nated and historiated capita] letters. 
 Hound in silver-gilt repousse*, ornamental designs with arms 
 
 in outer. 
 
 Sice, 2\ :< 3J. inches. 
 
 40 
 
O On 
 
 li 
 
 x 
 
CATALOGUE 
 
 98 HOR^ B. MARINE VIRGINIS SECUNDUM USUM 
 ROMANUM CUM CALENDARIO. Manuscript on 
 Vellum. 8°. XV Century. 
 
 Latin, three hundred and six pages within illuminated borders 
 composed of flowers, fruit, birds, etc., ornamented with eleven 
 full-page miniatures and twenty-four small subjects in calendar. 
 
 Bound in old red morocco inlaid with varicolored leathers, 
 and elaborately tooled. Arms of a former owner in center. 
 This book subsequently belonged to the Marquis de Menars, and 
 has his arms illuminated on fly-leaf before the calendar. 
 
 Size, 4f x 7 inches. 
 
 99 HOR^ INTEMERAT^ VIRGINIS MARINE SE- 
 CUNDUM USUM ROMANUM. Manuscript on 
 Vellum. Small 4 . XV Century. 
 
 A French manuscript by a first-rate artist, with eighty-two 
 superb miniatures, some of them in camaieu gris heightened with 
 gold. The borders surrounding each page are extremely rich 
 and varied, with flowers, fruits, insects, vases, columns, dragons, 
 shells, etc. The initials F. M. are introduced in several places, 
 and at the end is the coat of arms of the owner, and the inscrip- 
 tion " Horas presentes facit facere Franciscus de Mello pro So- 
 rore sua Domina Maria Manuel." 
 
 Bound in old Italian red morocco covered with gold tooling, 
 gilt edges. 
 
 Size, 5j x 7f inches. 
 
 4i 
 
CATALOGUE 
 
 loo IIOK.K B. MARIiE VIRGIN IS. Manuscrifi o» 
 Vellum. i6°. XV Ceni ury, 
 
 Latin, four hundred and twenty n vtn pages. The calendar 
 is curious and unusual, containing a number of zodiacal signs 
 
 and drawings. Large number of illuminated borders with 
 figures of insects, birds, and nondescripts. 
 Bound in modern vellum. 
 . 3 x 4 1 inches. 
 
 ■\; 
 
PERSIAN AND 
 INDIAN MANUSCRIPTS. 
 
 10 1 HADJA HAFIZ. Persian Manuscript. Large 8°. 
 (s. D.) 
 
 Manuscript on a bluish paper, powdered with gold, written 
 within gold lines. The complete works of the poet Hafiz. Illu- 
 minated preface and title-page. 
 
 Folding leather binding, stamped and painted with gold. 
 
 102 RISSALIHI — NOURICH. TREATISE UPON 
 MYSTICISM AND POETRY. Persian Manu- 
 script. 8°. I234 OF THE HEJIRA. 
 
 A beautiful manuscript written on an ornamental gold ground 
 within lines of gold and colors, with thirteen miniatures and four 
 elaborately decorated pages. 
 
 Persian enameled binding, painted inside and outside the cov- 
 ers with flowers and birds. 
 
 Size, S x 7i inches. 
 
 43 
 
CAT ■ 
 
 103 TASHRIHOOL AKWAM. Indian Manuscript. 
 
 . i". 1825. 
 
 This manuscript contains one hundred and twenty-two minia- 
 tures illustrative of the different castes <>f Hindustan, with an his- 
 torical account of them, commencing with Vishnu, who had his 
 origin in the Divine Essence. The pages of the text and the 
 miniatures are within gold borders. 
 
 Hound in blue morocco, gilt edges, by Chas. Lewifl 
 
 Size, 8 1 x \i\ inches. 
 
 104 BOSTAN UL MOHADDITHIN, BY CM AH ALI 
 SAHIB OF DELHI. Persian MANUSCRIPT WRITTEN 
 
 in Fine Characters. 8°. About 1771. 
 
 The first two and the last two pages are richly ornamented in 
 gold and colors. 
 
 Bound in red morocco. 
 6 x 8 J inches. 
 
 IO5 HIE BOOK OF THE KINGS OF PERSIA. 
 An Old Persian Manuscript. Folio, (s. d.) 
 
 Sixty-four paintings, portraits of kings, holy men, women, 
 
 etc . : with perfection and elaboration. Each miniature 
 
 irrounded with decorated border. 
 
 In Persian enameled binding, with conventional flowers and 
 foliage in bright colors. 
 ,QX 12 inches. 
 
f ■ 
 
 
 fi*« 
 
 OUjJ 
 
 %-»:■&*■ 
 
 ! 
 
 I 
 
 I 
 i 
 I 
 
 »V; 
 
 
 FROM THE BOOK OF THE KINGS OF PERSIA 
 
 No. 10^ 
 
CATALOGUE 
 
 1 06 ARABIC PRAYER BOOK. Manuscript with 
 ixterlineal persian translation. 8°. xviii 
 Century. 
 
 Beautifully written within gold lines on a delicate green 
 ground, and decorated with several brilliantly illuminated pages 
 in gold and colors, in which are represented the Kaaba at 
 Mecca and the Mosque at Medina. 
 
 Persian folding binding, painted with flowers, etc. 
 
 Size, 6\ x 9f inches. 
 
 107 THE KORAN. Persian Manuscript. Large 8°. 
 
 An old manuscript written upon thin paper between ornamen- 
 tal gold lines and within gold borders. It has six illuminated 
 pages. 
 
 Persian binding, painted with flowers. 
 
 Size, 5f x 9f inches. 
 
 108 KORAN. Persian Manuscript. 8°. XVIII Century. 
 
 An exquisite piece of work, written upon gold ground, with 
 the translation in Arabic interlined in red. There are delicate 
 illuminations and borders accompanying the text, and elaborate 
 introductory pages. 
 
 Persian binding, brilliantly enameled outside and inside the 
 covers. 
 
 Size, 5 x 8} inches. 
 
 45 
 
CATALOGUl 
 
 109 AKBUR NAMMEH. Persia* Manuscript. Folic 
 XVII Century. 
 
 Written in Arabic, and containing a large number of brilliant 
 and delicately executed minatures. 
 
 In Persian binding, with paintings on the sides of ^irls dan- 
 cing before the court. 
 
 ■ 14.4 inches 
 
 110 I'KRSIW MANUSCRIPT. 12 . XVIII Century, 
 
 Finely written and illuminated with miniatures and ornaments 
 of flowers in gold and colors. 
 In Persian painted binding. 
 Si:,-, $\ x 5.I inches. 
 
 ill Persian Manuscript on Vellum. Folio. XVII ok 
 
 XVIII Cl mi RY. 
 
 A poem by Sadi in tin- middle of the' pages, surrounded by a 
 mi by ELoustan, the latter serving as a margin. Six minia- 
 tures 12x8 centimeters, three full-juge illuminated illustr. 
 and three small illumination^. 
 
 Ornamented binding, supposed to be of eighteenth century, in 
 brown in ith gold arabesque designs in relief; double' 
 
 in blue and maroon morocco, with designs in relief. 
 hcs. 
 
 46 
 
FROM THE BOOK OF THE KINGS OF PERSIA 
 No. IO5 
 
CATALOGUE 
 
 I 12 VOLUME OF PERSIAN MINIATURES. In Folio. 
 
 Twenty-eight old Persian paintings, embracing a variety of 
 subjects finely executed. 
 
 Bound in old English red morocco, gilt edges. 
 Size, 12 x 15 inches. 
 
 113 KORAN. Arabic Manuscript. Folio. XVIII Cen- 
 tury. 
 
 Beautifully written between ornamental gold lines, and with 
 borders in gold to each page, composed of flowers and foliage. 
 The illuminated pages are of extremely fine execution. 
 
 In an elaborate Persian binding, painted inside and out with 
 flowers in gold and colors. 
 
 Size, 7\ x 1 2 inches. 
 
 114 "TAHFETUL EBRAD." A Collection of Admo- 
 nitions in Verse, by Sheikh Abdul Rahman. Per- 
 sian Manuscript of the year 992 of the Hejira, 
 or about A. D. 1600. 
 
 The text is written within broad decorated borders. There 
 are two miniatures, and several elaborately decorated pages. 
 Old Persian folding binding, gilt and painted. 
 Size, 7j x \\\ inches. 
 
 11 47 
 
\LOGUl 
 
 115 KORAN (The 30th Pai : jian Manuscript. IX 
 i in I i XV Ci n ruRV A. I).). 
 
 Written in large gold letters, with ornaments of blue and 
 
 -i.m cloth bindii 
 
 Size, Sj x IlJ /;/, 
 
 I m PERSIAN MANUSCRIPT. In Folio. XVII] I i . 
 
 RY. 
 
 A Romance, written in double columns within gold lines. 
 me elaborately decorated preliminary pages, and a large num- 
 
 : of brilliantly colored miniature-. 
 
 Persian binding in red morocco stamped and painl 
 
 Sise, 5-J x ioJ, inches. 
 
 48 
 
7~~TT 
 
 FROM THE PERSIAN MANUSCRIPT AKBUR NAMMEH 
 No. IO9 
 
PRINTED BOOKS 
 WITH ILLUMINATIONS. 
 
 117 HEURES A L'USAGE DE ROUAN. Large 8°. 
 Imprime pour Simon Vostre, Paris, 1508. 
 
 The large Hours of Simon Vostre, printed upon vellum, with 
 engraved borders to each page ; twenty-four fine paintings upon 
 the large plates, and many illuminated initial letters. 
 
 Bound by Cape, in brown morocco, gilt and blind-tooled, gilt 
 edges. 
 
 Il8 PONTANI OPERA OMNIA. Three Volumes. 8°. 
 Venice: Aldus, 15 18. 
 
 The title-page surrounded by a brilliant border designed in 
 gold upon a red ground, and initial letters throughout painted 
 in gold and colors. 
 
 Special copies of books from the Aldine press were some- 
 times illuminated in this manner. 
 
 Bound by Cape, in crimson morocco, with panels of olive 
 morocco on the sides; tooled in gold, in the style of the Re- 
 naissance, gilt edges. 
 
 49 
 
\LOGUE 
 i lu LIVRE D'HEURES. I . Paws: Antoinb 
 
 Y: \KI'. I.lSS. 
 
 . upon paper, with the whole of the borders ami en 
 plates c«>! 
 
 Bound by Lortic, in brown morocco, blind-tooled, and doubled 
 with red morocco, ^ilt ed 
 
 120 HEURES A L'USAGE DE ROME. 8°. Pari- : 
 Kardouyn, 1505. 
 
 Printed upon vellum, with eighteen engravings richly and 
 carefully painted. 
 
 Hound in green morocco, with gold borders on the gid< 
 s, by Derome. 
 
 121 LE PREMIER SECOND ET TIERS VOLUME 
 DEEUGUERRAN DE MONSTRELLET ENSUY 
 UANT FROISSART Nagubres Impkimi \ Paris. 
 I >i < France, 1 >angi 1 1 krri . Des 
 
 Despaigni I'l Bretaigne db Gascogni di Flandres ET 
 L11 >nvoisins. Imprimez i Paris four Anth 
 
 Verard (aboui 1500). Threi Volumes in rwo. Fouo. 
 
 C< 'l>>' on vellum, printed in gOthic t>'p<-. with six miniatures full 
 
 • • md on<- hundred and fifty-nine small, r. 
 
 The binding is a chef-d'oeuvre of Lortic, in dark morocco inlaid 
 with variegated colors, and elaborately tooled with .1 combination 
 
 50 
 
CATALOGUE 
 
 of ornaments taken from sixteenth-century motives. It is the 
 only one of the pattern executed by this binder, and was ex- 
 hibited by him at the French Exposition in Paris in 1878. 
 Size, 9^- x \2\ inches. 
 
 122 HORE DIVINE MARIE SECUNDUM USUM 
 ROMANUM. 8°. Hardouyn, 1518. 
 
 Printed upon vellum, with engraved borders, and having the 
 large plates painted in gold and colors in imitation of miniatures. 
 
 Bound in black morocco, blind-tooled, gilt edges, by F. 
 Bedford. 
 
 123 ARETINUS (BRUNUS), DE BELLO ITALICO 
 ADVERSUS GOTTHOS. Folio. Venetiis : N. 
 Jensen, 147 1. 
 
 With painted initial letters and fine border in colors on the first 
 page. 
 
 Bound in red morocco, borders of gold, gilt edges, by Bozerian 
 Jeune. 
 
 124AURELII AUGUSTINI. DE CIVITATE DEI. 
 
 Folio. Venice, 1470. 
 
 Printed upon vellum, with the first page of the text and the 
 initial letters illuminated in gold and colors. 
 Bound in brown morocco, by Marius Michel. 
 
 51 
 
CATALOGUE 
 
 125 CICERO. rUSCULANiB QUiESTIONES. Foua 
 Vbnetiis, per Nicolaum Jensen, 1472. 
 
 . printed upon eighty-four leaves of vellum, with the 
 initials painted with great care in gold and colors. Four copies 
 only of this book are known upon vellum. 
 Bound in old blue morocco, gilt ed 
 
 126 HORE BEATE MARIE VIRGINIS AD USUM 
 PARISl£SEM. Smm i. 4 . Paris, [498. 
 
 Printed upon vellum in gothic type, with the view of imitating 
 
 .0 nearly as possible the manuscript books of Hours. The capi- 
 tal letters and the borders are all executed in free-hand in colors, 
 while the subjects of the large illustrations are engraved in out- 
 line only, to facilitate the work of the miniaturist, who has 
 painted them in a conventional, mechanical manner. The result 
 is deceptive to a casual observer. 
 
 Bound in old brown morocco inlaid with colored leathers, 
 and tooled to a Grolier pattern. 
 
 Size, A,\ x Oh inches. 
 
 127 HEURES A L'USAGE DE ROME roirr mj 1 
 Imprimees a Paris par Guillaume Anabat, 150;. 
 
 Lai GE 8°. 
 With very richly engraved bonier-; the large plate- as well 
 
 a- the small ones in the text And all the capital letters painted 
 
 in colon, and heightened with gold. 
 
 Hound in old Renaissance red velvet, gilt ed| 
 
 52 
 
CATALOGUE 
 
 128 HOR^ DIVINE VIRGINIS MARIE. Printed on 
 Vellum in Roman type, by Germain Hardouyn, Paris ; 
 no date, but with almanac for i52o to 1532; ninety- 
 six leaves; twenty-nine lines to page. 
 
 Twenty-one full-page and twelve quarter-page illuminated 
 miniatures. 
 
 Bound by Matthews, in crimson crushed levant morocco 
 extra, gilt back and gilt edges. 
 
 Size, 4x6 inches. 
 
 129 JUSTINIANI IMPERATORIS AUTHENTIC^ 
 SIVE NOVELLA CONSTITUTIONES, ETC. 
 Codicis cum Glossis. Folio. Moguntle : P. Schiaf- 
 
 FER, 1477. 
 
 Initial letters and borders illuminated in gold and colors. 
 Bound in old russia. 
 
 Size, 11 x i5j inches. 
 
 130 iEMILII PROBI (i. e., CORNELII NEPOTIS). 
 
 Folio. Venetiis : N.Jensen, 1470. 
 
 The first edition, ornamented with initial letters in colors, and 
 a beautiful and elaborate Italian miniature border surrounding 
 the first page. 
 
 Bound in green morocco with tooled sides and back, gilt 
 edges, by Roger Payne. 
 
 53 
 
i~i HEURES Imprimeis par Jean db la Roche; Paris. 
 
 1514; POUB ("'in MRK DO I 
 
 Printed on vellum in gothic type, nineteen illuminated full- 
 e miniatures, fourteen illuminated smaller miniatures, nine 
 illuminated full -page ben. 
 
 . '. • mp of the " Abbaye de Tard." 
 Binding full red morocco, with fine gold tooling; probably 
 done in France during the eighteenth century. 
 
 . 5 x S inches. 
 
 132 VALLENSIS (LAURENTII) COMMENTARI1 
 GRAMMATICE SE< UNDUM ELEGANTIAM 
 
 LIXGIAE LATLVH. Fm.io. Vknetiis: N. Jra 
 1471. 
 
 Illuminated border to first page (in which are the Wodhull 
 arms), and seven initial letters illuminated in gold and colors. 
 
 Bound in old citron morocco, borders of gold; probably by 
 1 1 n >me. 
 
 ■ I x 13^ inches. 
 
 133 HEURES A L/USAGE DE ROME 8°. Paris: 
 
 Vnabat, Imprimeur, 1500. 
 
 Printed upon vellum, and with all the engraved plal 
 : i< lily painted in gold and o ' 
 ind in dark brown morocco, blind-tooled, gill 
 
 Th 
 
 54 
 
n 
 
 -\u« 
 
 • nomine b-'n Tift tin lmii «•- ■'un Rift t.iiid.tbito erf** 
 tribute ur a .ir C-n at p f n ■l-m nomic en ft; qfto. 
 
 MJMJiiBMilrfr'i — — - •.vpnbilm ; iir.iquoo-c m 
 pn 1?6 rr.ro t Jiiif' pc ft r ancy tru (l face vibi- utrFcc a< 
 quvpof-qo* mco-ct no tuaviec ft b.lorJtifl IbriFiintrir" 
 ut-ff-broff ciuaruiman dciu I iinh'tt-ltcftl 
 .ej.jscrffompiv ."J" 
 b<Tlt>«'u bcbta; • 
 icc-tannf faluatot 
 urptmp.i(Tionct 
 
 C t (tr pc6«fjc»j 
 
 m cruet- 
 
 eCC nfh-ffTTc* U 
 
 nncvn-H 
 
 »<rbcbcr«dibu 
 
 noaicJBmOioici 
 
 bisljabbcrcditj 
 
 terepeUedienvoi 
 
 rJ -triple. t ecltaro 
 
 risun « Cfiquis • 
 
 aJtno implwct V» 
 
 bccp8ruC<ojerp« 
 
 Siturl-C-uTqjadiC 
 
 | u .<f bmc roh-8 
 
 inen.Tf •■;.vn Arcrpfarfi.ttvcropoTtinirrcrTT. 
 o(TA ncfoK»nn>|tAn fur et reperr riigrtib? cvg-. t ire q 
 trims arcbioonnif- pmofiicrut bromjno hupio-lrd 
 pf^AntiqiiaOKq^ po(>fjctif««rutfuir»ftiiii«P« 
 affric-tii-C.tr off p.p aff qe hurra ^cl me <r nunq- fa 
 erut fub romanont-.pio.nl (i nuc pmu-ut frqrur vii vot 
 an«6/li6tat»aturenaiuQUttntcnta ut-fftrna rc-l-n. 
 ' " I'ttulViuf.-iit 
 
 
 tttct ralndin-frl 
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 FROM THE JUSTINIAN1 
 
CATALOGUE 
 
 134 PLYNII NATURALIS HISTORIA. Large Folio. 
 Venetiis: N. Jensen, 1472. 
 
 The initial letter contains the Bagneri arms, illuminated in 
 gold and colors ; opposite a curious flourish in colors of the 
 word Jesus, with sporting subjects and the Bagneri arms re- 
 peated. 
 
 From the Wodhull sale. This book has been designated 
 "The Glory of Jensen's Press." 
 
 Bound in gilt russia leather, by Roger Payne, with Wodhull 
 arms in gold on sides. 
 
 Size, 1 of x 1 5^- inches. 
 
 135 HEURES A L'USAGE DE ROME. 8°. Imprime 
 
 PAR GUILLAUME ANABAT, PARIS, LE I er OCTOBRE, I505, 
 
 pour Germain Hardouyn. 
 
 Printed upon vellum, with engraved borders to each page, and 
 having the full-page plates painted as miniatures. 
 Bound in old brown morocco, gilt edges. 
 
 136 BOUCHET (JEHAN). LAMOUREUX TRANSY 
 SANS ESPOIR. 4 . Paris: A. Verard. 
 
 Without date, but about 1500. Printed upon vellum in 
 gothic type, and containing twenty miniatures, illuminated in 
 gold and colors. 
 
 A very rare book, not quoted by Brunet. 
 
 Bound in old red morocco, gold borders, edges gilt. 
 12 55 
 
CATALOGUE 
 LIVRE D'HEURES. Large 8°. [mprimei 
 
 PAR GUILLAUME ANABAT POUE GlLLEI M GERMAIN 
 
 I I A! IX 'I V\, I 50;. 
 
 Printed upon vellum, with the border of every page richly and 
 
 elaborately painted in gold and colors. 
 ad in old red morocco, by 1 ><.• 
 
 50 
 
A LIST OF SOME OF THE MOST 
 
 IMPORTANT BOOKS UPON 
 
 OLD MANUSCRIPTS. 
 
 LES ARTS SOMPTUAIRES HISTOIRE DU COS- 
 TUME ET DE LAMEUBLEMENT AVEC TEXTE 
 EXPLICATIF PAR CH. LOUANDRE. Four Vol- 
 umes. 4°. Paris, 1857. 
 
 This work contains a large number of chromo-lithographic fac- 
 similes of miniatures and ornaments from old manuscripts. 
 
 LE MOYEN AGE ET LA RENAISSANCE. Histoire 
 et Description des Mozurs et Usages, du Commerce 
 et de l'lndustrie, des science, des arts, des lltte- 
 ratures et des beaux-arts en europe. direction 
 
 LlTTERAIRE DE M. PAUL LaCROIX. DIRECTION ArTIS- 
 
 tique M. Ferdinande Sere. Dessins fac-simile par 
 M. Rivaud. Five Volumes. 4 . Paris, 1 848-1 851. 
 
 Contains articles upon calligraphy, illumination, and miniature 
 painting, with chromo-lithographic reproductions. 
 
 57 
 
BIBLIOGRAPHY 
 
 DRESSES AND DECORATIONS OF THE MID 
 DLE AGES, i'. Henry Shaw, !•'. S. A. Two \ i 
 dues Largs 8°. London. 1843. 
 
 Contains a large number of colored illustrations from old 
 manuscripts, with descriptive text. 
 
 LABARTK (Jl'LKS). HISTolRl. DES ARTS IX- 
 DUSTRIELS AD MOYEN AGE ET A L'fePOQUE 
 DE LA RENAISSANCE. Six Volumes. 4° Paris: 
 
 LlBRAIRIE DE A. MOREL & ClE., [864- 1 866. 
 
 The worl. flour volumes of text and two of illustra- 
 
 tions in gold and colors. Reproductions of miniatures from 
 manuscripts are in Vol. II of the illustrations. 
 
 One hundred copies were printed on large paper. 
 
 I ES MANUSCRITS A MINIATURES DE LA 
 BIBLIOTHfeQUE DE LAON I. HI Mis AU 
 COIN I DE VUE DE LEUR ILLUS1 RA HON, 
 par Edouard Fleurv. Two Volumes. \ . Paris, 
 
 This i a most interesting work, presenting an analysts of the 
 
 various itykfl of ornamentation found in the manu-cri; I 
 
 illustrated by 1 .m fully executed plal 
 
 58 
 
BIBLIOGRAPHY 
 
 A DICTIONARY OF MINIATURISTS, ILLUMI- 
 NATORS, CALLIGRAPHERS, AND COPYISTS, 
 From the Establishment of Christianity to the 
 Eighteenth Century, by John W. Bradley, B. A. 
 Three Volumes. 8°. London, 1887- 1889. 
 
 THE ILLUMINATED BOOKS OF THE MIDDLE 
 AGES: An Account of the Development and Pro- 
 gress of the Art of Illumination, as a Distinct Branch 
 of Pictorial Ornamentation, from the IV to the 
 XVII Century. By Henry Noel Humphreys. Illus- 
 trated by a Series of Examples, of the size of the 
 Originals, selected from the most beautiful Manu- 
 scripts OF THE VARIOUS PERIODS, EXECUTED ON StONE 
 
 and printed in colors by owen jones. folio and 
 4 . London, 1844- 1849. 
 
 Although this splendid volume cannot be regarded as equal 
 in magnificence to the work of the Comte De Bastard, it is a 
 most meritorious and successful effort to produce a similar pub- 
 lication in England executed by the same process and at a mod- 
 erate expense. It contains thirty-nine very fine examples of 
 illuminated manuscripts of various ages and countries, excellently 
 drawn, colored, and gilded, derived from both British and 
 foreign libraries, arranged in a systematic order, with copious de- 
 scriptions, and an introductory sketch of the rise and progress 
 of the art of illumination. The work was originally published 
 in thirteen parts, in quarto at 12s. each, and in folio at £1 is. 
 
 59 
 
BIBLIOGRAPHY 
 
 AS! LE 1 HOS. . I ORIGIN AND PR< >GRESS I )] 
 WRITING. Second Edition. 4 . London, 1S03. 
 
 The first edition, published in 17S4, in 4 , i^ of little value 
 ired with that of 1803. 
 
 THI-; ART OF ILLUMINATING AND MISSAL 
 
 PAINTING: A Guide ro Modern Illuminators. Il- 
 
 r a Series of S m richly illu- 
 
 minai ed Manuscripts <>i various peri* >ds, a< i • impanh d 
 
 btoi ( Outlines, ro be coi ored by the Student 
 
 DWG I" THE THEORIES DEVELOPED IX Till work. 
 
 By Henry Noel Humphreys. Square 8 . London, 
 [849. 
 
 UNIVERSAL PALEOGRAPHY; or, Fa< -simi 
 Writings of all Nations and Pei imthe 
 
 bbratbd and authentk Manuscripts in ihk 
 Libraries and Archives 01 France, Italy, Germany, 
 and England, by M. J. B. Silvestri : accompanied by 
 an historicai ind descriptive Texi uro Introduction 
 iampoluon-Figeai \m» Aimi Champollion, Fils. 
 
 I LATED FROM THE FRENCH, iND EDITED, win I COR- 
 
 re< 1 ions and Notes, bi Slr Frederk Madden, K II.. 
 
 F. R. S., Keeper 01 1 m Di pari mini 01 Manus< rifts w 
 
 • : iiisn Museum. Two Volumes. 8 . London, 185a 
 
 So 
 
BIBLIOGRAPHY 
 
 THE LIFE AND WORKS OF GIORGIO GIULIO 
 CLOVIO, Miniaturist, with Notices of his Con- 
 temporaries and the Art of Book Decoration in 
 the Sixteenth Century, by John W. Bradley, B. A. 
 8°. London, i8qi. 
 
 PALAEOGRAPHIA SACRA PICTORIA : Being a 
 
 Series of Illustrations of the Ancient Versions of 
 the Bible, copied from Illuminated Manuscripts 
 executed between the iv and the xvi centuries. 
 By J. O. Westwood, F. L. S. 4 . London, 1 843-1 845. 
 
 PEINTURES ET ORNEMENTS DES MANU- 
 SCRITS, CLASSES dans un Ordre Chronologique, pour 
 
 SERVIR A L'HlSTOIRE DES ARTS DU DeSSIN, DEPUIS LE 
 
 yiEME s IECLE de l'Ere Chretienne jusqu'a la fin DU 
 XVI i£me p AR LE Comte A. De Bastard. Folio. 
 Livraisons I-X. Paris, 1835 -1843. 
 
 It is stated by M. Aime Champollion Figeac that each livraison 
 of this splendid production is charged 1,800 francs, and that the 
 whole expense of every copy will exceed 100,000 francs. If the 
 design should ever be completed, the work is intended to consist 
 of a series of geographical sections, exhibiting the character- 
 istics of the illuminations of various countries ; but only that 
 relating to France is now in the course of publication. 
 
 61 
 
BIBLIOGRAPHY 
 ILLUMINATED ILLUSTRATIONS OF THE BI- 
 
 BL1 . COPIED I HI Mil'l-I E 
 
 r.v J. ( ). Westwood. Small 4 . London, 
 
 iS 45- 
 
 Though the principal object of the first of these works was to 
 tit the writing of the manu ferred to, yet the num- 
 
 ber of illuminated ornaments and paintings connected with those 
 fac-similes is very considerable, and comprises many very inter- 
 esting examples. The descriptive text alto Is COpioUS, and full 
 
 of valuable information. 
 
 LIBRAIRIK DKJKAN DK KRAXCK, Dw Di B 
 
 I 1 du I\«»i Charles V, publh b i n sow bnto b poub 
 
 i a pr] i i'i 1 i'i 1 \ Vie db ci Prince : 
 
 [LLUSl 1-1 1 M i'i 1 S BEL] BS Mima HIRES Dl 
 
 , ICCOMFAGNEE DE NOTES BlBLIOGRAPHIQUES, 11 
 
 de Recherches pour servib \ l'Histoirb DBS 
 I >i ssro \; M01 1 n Ace. Pab i 1 Com i 1 Au 
 1 I >i B \ rABD. Foi i". Paris, 1834. 
 
 Only thirty-two plates of this very fine publication were 
 issued, with the memoir of the Hue De Berry, when the design 
 iven up and the ensuing splendid collection commenced, 
 in which wen- reproduced some of the illustrations intended for 
 this interesting < in both of these works the illustra- 
 
 tions are printed in colors and gold by the process ol chromo- 
 lithography. 
 
BIBLIOGRAPHY 
 
 A TREATISE ON PAINTING. Written by Cennino 
 Cennini in the Year 1437, and First Published in 
 Italian in 1821; Translated by Mrs. Merrifield. 
 8°. London, 1844- 
 
 ILLUMINATED ORNAMENTS SELECTED 
 FROM MANUSCRIPTS AND EARLY PRINTED 
 BOOKS, FROM THE SIXTH TO THE SEVEN- 
 TEENTH CENTURY. Drawn and Engraved by 
 Henry Shaw, F. S. A., with Descriptions by Sir Fred- 
 eric Madden, K. H., F. R. S., Assistant Keeper of the 
 Manuscripts in the British Museum. 4 . London, 
 1833- 
 
 This work was originally published in twelve parts, some 
 copies of which were printed on imperial quarto paper and 
 heightened with gold. It contains forty plates. 
 
 PALEOGRAPHIE UNIVERSELLE. Collection de 
 Fac-similes d'Ecritures de tous les peuples et de tous 
 les temps ; tires des plus authentiques documents de 
 l'Art Graphique, Chartes, et Manuscrits, existant 
 dans les Archives et les Bibliotheques de France, 
 d'Italie, d'Allemagne, et d'Angleterre, publies 
 d'apres des modeles £crits, dessines, et peints sur les 
 
 13 63 
 
BIBLIOGRAPHY 
 
 I.1EUX, PAR M. J. B. Sll 'iTOMi'ACMS d'ExPLI- 
 
 cat; H D MM. Cb 
 
 ■ i Aimi Champoi lion, Fua I 
 
 I Paris, [839-1842. 
 
 ! this extremely beautiful publication iraS to il- 
 lustrate the history and practice of the art of writing in all 
 
 08, the introduction of illuminations and miniatures is 
 only incidental, as such decorations might occur in the specimens 
 selected ; but in the who!, -, ries those examples are both numer- 
 ous and interesting, as well as faithfully and beautifully executed. 
 
 OEUVRE DE JEHAN FOUCQUET. TwoVolumes. 
 
 8 . Pari L. C rmi r, 1866. 
 
 The first volume contains fac-simil.- copies in chromo-lithog- 
 raphy of miniatures and borders executed by Foucquet 
 The second volume contains an account of the art: I 
 tries. 
 
 
I \l\ l km n <>i (MM ORN1 v I EBB \R\ 
 
 Bl KK I I I \ 
 
 Return (o desk horn uhidi honour. 1. 
 
 I his hook is ni i on the Ian date s tamped bdoir. 
 
 
 
 m 3 J948 
 
 RECCIR JUN 1 5 '8: 
 
 
iii in nun ii i 
 
 M9476' 
 
 NDa 
 
 THE UNIVERSITY OF CALIFORNIA LIBRARY