UNIVERSITY OF CALIFORNIA 
 AT LOS ANGELES
 
 A CATALOGUE OF 
 Manuscripts comprising 
 a portion of the Library of 
 Robert Hoe New York 1909 
 
 / ^
 
 CATALOGUE OF 
 MANUSCRIPTS
 
 ONE HUNDRED COPIES ONLY OF THIS 
 CATALOGUE HAVE BEEN PRINTED 
 UPON IMPERIAL JAPAN PAPER BY 
 THE UNIVERSITY PRESS, CAMBRIDGE
 
 A 
 
 Catalogue of Manuscripts 
 
 Forming a Portion of the Library 
 
 Of Robert Hoe 
 
 Privately Printed 
 New York 1909
 
 T 
 
 present volume is the sixteenth and last of the 
 catalogues describing the library of the late Robert 
 Hoe, and was finished after his death in London, 
 on September twenty-second. 
 
 This portion of the library is one of the richest and most 
 interesting, including over two hundred and fifty manuscripts, 
 ecclesiastical and classical, illustrating the art of the calli- 
 grapher, the illuminator, and the miniaturist from about 1200 
 to the present time. More than half of the number were 
 executed before 1600. 
 
 Among the seventy five " Horce " of French, Flemish, 
 Dutch, Italian, and English workmanship, dating from about 
 1365 to 1537, are the famous "Pembroke Hours" executed 
 in England about 1440, presumably for William Herbert, 
 first Earl of Pembroke, containing almost five hundred and 
 fifty exquisitely painted miniatures; also " Hours " made for 
 Anne de Beaujeu, daughter of Louis XI, for Margaret of 
 Anjou, wife of Henry VI of England, for Louis XII and 
 his first wife, Anne de Bretagnc, and for Maximilian I, as a 
 gift to his grandson, Charles I of Spain and V of Germany. 
 The superb " Missel de Charles VI" with over five hundred 
 y paintings, is also in this collection. 
 
 V Almost without exception the manuscripts are in immaculate 
 condition, as fresh and pure as when they left the hands of 
 x scribe and illuminator. 
 
 Acknowledgment is due to Dr. A. V. Williams Jackson 
 x and Dr. Abraham Yohannan, of Columbia University, for 
 x their kind assistance in the description of the thirty-eight 
 oriental manuscripts. 
 
 C. S. 
 
 1 
 
 415509
 
 THIS CATALOGUE WAS COMPILED 
 BY CAROLYN SHIPMAN
 
 I 
 
 EUROPEAN MANUSCRIPTS PREVIOUS 
 TO 1600
 
 THE CATALOGUE 
 
 ^ELIANUS AND ONOSANDER. 
 
 In hoc Codice continentur Helianus [Claudius ^Elianus] 
 de Instruendis Aciebus [Theodore Gaza interprete] et 
 [folio 42] Onosander de Optimo Imperatore [Nicolao Secun- 
 dino interprete. Ante 1490]. Folio, original brown morocco, 
 blind-tooled in a Medicean design, gauffred gilt edges. 
 
 A beautiful and curious Italian manuscript of translations from 
 Greek into Latin of two works of vElianus and Onosander, written in 
 roman characters upon fine vellum in the fifteenth century for King 
 Matthias Corvinus of Hungary (1443-58-90), the famous warrior and 
 bibliophile, whose illuminated arms are in the border at the foot of 
 folio 2 recto. 287 X 215 mm. 
 
 It contains 83 leaves, with 26 lines to the page. The illuminations 
 consist of 2 beautiful scroll borders (folios 2 and 4) in white, blue, and 
 green, painted in the Italian manner of the period, 4 large scroll initials 
 of similar design, and, in the first work, 31 military diagrams in blue, 
 red, green, and burnished gold, 2 historiated initials representing a 
 warrior and a battle-scene, and 45 other small illuminated initials. The 
 title, which is on the verso of folio 1, is written in gold within a rose- 
 coloured wreath border outlined with gold. The headings to the two 
 works and their prefaces are in letters of gold; the other headings are 
 in red. 
 
 ^SOPUS. 
 
 [First page] Arguments fabulay ^Efopi e greco in latinum. 
 [Colophon] Vita ^Efopi per Vynutum thettalu tradutta. 
 Veru qm ab eo nonulla fuerut prset' miffa. fortaffiae 9 r 
 grsecu ei 9 codex eet mm 9 emedata Ego bonus accurfi 9
 
 2 ANSELMUS ANTIPHONARIUM 
 
 prfan 9 eadem mea ofnia correxi . et emandam. Deo gras. 
 pro me R . . Lemaczoy. [Ssec XV]. Svo, original stamped 
 calf circuit binding, with brass clasps. 
 
 An Italian (?) manuscript of a Latin translation of ^Esop's Fables 
 written in gothic characters upon paper in the latter part of the fifteenth 
 century. 188X119 mm. 
 
 There are 80 pages, with 13 lines to the page, and initials and head- 
 ings in red and blue ink. 
 
 ANSELMUS, ST. See EPHRAEM. 
 
 ANTIPHONARIUM. S^c. XV. 
 
 Svo, brown levant morocco, sides blind-tooled in panels, 
 ornaments on the back, vellum linings, gilt edges, by Cham- 
 bolle-Duru. In a wrapper elaborately worked in rose silk 
 thread. 
 
 A French Antiphoner written in gothic characters upon vellum about 
 the middle of the fifteenth century. 164 X 107 mm. 
 
 It contains 139 leaves, with 21 lines to the page, the text being ac- 
 companied by musical notation written upon a staff of red lines. Folio 
 129 is blank. 
 
 There are 5 large and 2 small miniatures, all but one within archi- 
 tectural borders of shaded gold, blue, and red, 12 full-page borders of 
 foliage and scrolls painted in blue, red, and burnished gold, and nu- 
 merous simple lateral borders of blue and white heightened with bur- 
 nished gold accompanying some of the initial letters, of which there 
 are 173 in blue, red, and green on a ground of burnished gold. 
 
 The subjects of the miniatures are 1. (F. 1 v.) The Presentation in 
 the Temple; a group of seven persons. 2. (F. 26 v.) The Betrayal. 
 3. (F. 88 v.) The Last Supper. 4-6. (F. 118 v.) Three miniatures in 
 compartments, the two small ones at the top representing the Mar- 
 tyrdom of St. Agnes and the Scourging of St. Catherine, the largest one, 
 at the bottom, the Beheading of St. Catherine. 7. (F. 130 r.) The 
 Mass of St. Gregory. 
 
 At the foot of the border on folio 2 are the arms of the original owner 
 painted in gold and colours.
 
 ANTIPHONARIUM ARTE DELO BEN MORIRE 3 
 
 ANTIPHONARIUM. 1541. 
 
 Folio, original stamped leather binding (rebacked) over 
 oak boards, with brass bosses, corners, clasps, and feet. 
 
 A Flemish Antiphoner beautifully executed upon 236 leaves of vellum 
 in 1541, according to the date in the border on folio 115 verso. On each 
 page are 12 bars of music with accompanying words. 426 X 300 mm. 
 
 Throughout the text are 18 historiated initials, varying in size from 
 54X52 to 90X90 mm., some of them accompanied by brilliant borders 
 of flowers, birds, insects, etc., painted upon a yellow ground, in the 
 Flemish manner. The text and music are ornamented with many 
 small drawings of heads and masques cleverly executed with a pen. 
 In the border at the foot of folio 4 recto are three coats-of-arms, one of 
 which is repeated on folio 115 verso. 
 
 The subjects of the miniatures include the Virgin crowned and read- 
 ing a book, the Annunciation, the Nativity, the Adoration of the Magi, 
 the Resurrection, the Ascension, the Descent of the Holy Spirit, King 
 David praying, the Coronation of the Virgin, the Martyrdom of St. 
 John the Baptist, St. Martin, St. Catherine, St. Andrew walking on the 
 water, St. Paul on the road to Damascus, Jacob's Ladder, and the 
 Assumption of the Virgin. The miniatures are delicately painted in 
 brilliant colours, the initial portion being in camaieu d'or on a ground of 
 rose. 
 
 ARTE DELO BEN MORIRE. 
 
 [Folio 1 verso] Incomincia lo prologho del arte delo ben 
 morire traducto in vulgare sermone da luniano Maio a lo 
 inclito signiore misser Pasquale Dia Garlon Regio Castel- 
 lano Dignissimo. [Folio 16 recto] Incomincia lo prohemio 
 de larte del ben morire compofto da frate Alberto magno 
 de lordine de predicatori. epifcopo Retifponenfe. In nome 
 de la fancta & indiuidua trinita. Amen. [Folio 35 recto] 
 Finifce lo tractate dellarte del bene morire. Lauf deo. 
 Amen. loannef marcuf Cynicuf xpi et honeftatis famul* 
 Tribuf et Quinquaginta horis exfcripfit. [Ssec. XV.] 
 
 Folio, old red morocco, the arms of Cardinal Barberini 
 (1627-1671) in gold on both covers, gilt edges.
 
 4 ARTE DELO BEN MORIRE 
 
 Italian translations of Ars Moriendi by Juniano Maio and of "De 
 Arte bene moriendi" by Albertus Magnus, beautifully written in roman 
 characters upon vellum during the latter part of the fifteenth century 
 in Naples, where Maio was professor of Belles-Lettres. 277 X 198 mm. 
 
 It consists of 35 leaves, with 30 lines to the page. Folio 4 is blank. 
 There are 11 full-page sepia drawings enclosed in red borders and 1 
 small circular drawing, "Ultimum Terribilium," on the verso of folio 1. 
 This is surrounded by a gold border, like the heading to the Prologue 
 above it, which is written in letters of burnished gold. 
 
 On folio 2 recto is an inside border of flowers and foliage painted in 
 the Italian manner in colours heightened with gold, and at the foot of 
 the page are the illuminated arms of Pasquale Dia9 Garlon, to whom 
 the translation is dedicated. In the text are 5 large initial letters of 
 burnished gold on a ground of scrolls in white, red, blue, and green, 
 and 44 smaller capitals in gold on a decorated ground of red and blue. 
 
 The subjects of the large drawings are 1. (5 v.) "Tentatione diabolica 
 contra la fede;" a dying man is surrounded by a king, a queen, saints, 
 and four devils, bearing scrolls with inscriptions in red, "Infernus 
 factus est," "Fac sicut pagani," "Interficias te ipsum." 2. (F. 6 v.) 
 "La bona inspiratione de lo angelo de la fede;" an angel stands beside 
 the dying man, with a scroll, "Sis firmus in fide," crouching at the foot 
 of the bed are devils bearing scrolls, " Victi sumus," " Frustra laboravim', " 
 "Fugiamus." 3. (F. 7 v.) "Tentatione diabolica de la desperatione ; " 
 the dying man is accompanied by six devils with the scrolls, "Ecce 
 peccata tua," "Perversus es," "Fornicatus es," etc. 4. (F. 8 v.) "La 
 bona inspiratione de lo Angelo contra la desperatione;" the dying man, 
 an angel, the crucified Christ, St. Mary Magdalene, St. Peter, and a 
 cock perched on the bed-post. 5. (F. 9 v.) "Tentatione diabolica della 
 Impatientia ; " a fiend is crouching near an overturned table while the 
 invalid is kicking one of his three servitors. 6. (F. 10 v.) "Bona inspira- 
 tione de lo angelo de la patientia;" the dying man, quieted by an angel, 
 is surrounded by Christ, St. Sebastian, St. Barbara, St. Laurence, St. 
 Catherine, and St. Stephen. 7. (F. 11 v.) "Tentatione diabolica de la 
 vana gloria;" devils present the dying man with crowns. 8. (F. 12 v.) 
 "Bona inspiratione de lo angelo contra la vanagloria." 9. (F. 13 v.) 
 "Tentatione diabolica de avaritia;" fiends offer the dying man wine- 
 cellars, horses, and other possessions. 10. (F. 14 v.) "Bona inspira-
 
 AUGUSTINUS BIBLIA SACRA LATINA 5 
 
 tione de langelo contra la avaritia." 11. (F. 16 v.) The dead man 
 surrounded by the crucified Christ, saints, and fiends bearing the legends, 
 "Heu insanio," "Spes nobis nulla," "Confusi sumus," etc. 
 
 All of the drawings are beautifully executed and are identical with 
 the xylographic engravings in some of the printed editions of the Ars 
 Moriendi. 
 
 The manuscript belonged formerly to the Baron de La Roche Lacarelle. 
 
 AUGUSTINUS, ST. See EPHRAEM. 
 
 BEDA. 
 
 Opusculum venerabilis Bede prefbiteri in librum Actuu 
 Apoftolorum, cum Expositione de Nominibus Locorum; 
 et Expositio in septem Epistolas Canonicas, cum Prologis 
 S. Hieronymi. [Saec. XIV]. Folio, oak boards covered with 
 undressed deer-skin with the hair left on it. There are four 
 brass bosses in the corners of the front cover and a leather 
 clasp. 
 
 An English manuscript of Bede's Commentaries on the Acts of the 
 Apostles and on the Seven Canonical Epistles written in Latin in the 
 fourteenth century in gothic characters on parchment. 337 X 220 mm. 
 
 There are 101 leaves, with 36 lines to the double columns on each 
 page. The illuminations consist of 10 large initial letters in red and 
 green and 3 half-page borders of double bands of red with ornaments 
 in green, and vice versa. 
 
 The second part of the work begins on folio 34, "Incipit prologuf fci 
 ieronimi prefbiteri fup feptem, eplas canonicaf." 
 
 BERNARDUS, ST. See EPHRAEM. 
 
 BIBLIA SACRA LATINA. S^c. XIII. 
 
 Small folio, old French red morocco, gilt edges. In a 
 modern brown levant morocco case. 
 
 A very beautiful manuscript of the Vulgate, with St. Jerome's prefaces, 
 written in small distinct gothic characters upon the purest and finest of 
 Its lian vellum, probably soon after 1200. 258 X 185 mm.
 
 6 BIBLIA SACRA LATINA 
 
 It contains 446 leaves, with two columns to the page, and 51 lines to 
 the column. On folios 415-446 is a Latin glossary of Hebrew names. 
 There are 131 initial letters painted in colours on a ground of burnished 
 gold, of which 76 are historiated, containing figures in French costumes 
 of the period. All of the books except the Psalms have running head- 
 lines in blue and red, and there are hundreds of initial letters in red with 
 marginal tracery in blue. 
 
 This manuscript is said to have been in the possession of King Louis 
 IX of France (St. Louis, 1215-26-70), at Aigues-Mortes in 1248, just 
 before his departure for Egypt and the Holy Land on his first Crusade. 
 It would be difficult to find a more perfect example of its kind. 
 
 BIBLIA SACRA LATINA. S^c. XIII. 
 
 8vo, dark brown levant morocco, tooled in leaf-sprays in 
 the corners of the sides and on the back, doubled with light 
 brown morocco having borders of thistles and conventional 
 foliage, vellum guards, gilt edges, by Mercier. In a brown 
 levant morocco case. 
 
 A manuscript of the Vulgate beautifully written in small, distinct gothic 
 characters, two columns to the page, upon the thinnest vellum, in the 
 thirteenth century. 158 X 104 mm. 
 
 There are 653 leaves, the last 57 containing a glossary of proper 
 names ; 48 lines to the page. Folios 268 and 296, preceding and following 
 the Psalms, are blank. Folio 1, on which begins the Epistle of St. Jerome, 
 has an historiated initial containing a miniature of that saint, to which is 
 attached a lateral border in colours with ornaments at the top and bottom. 
 On the first page of Genesis (folio 5) is a lateral border containing 7 
 small oval miniatures of three-quarter figures. Throughout the manu- 
 script are numerous historiated and ornamental initials similarly painted, 
 with extensions forming borders, besides hundreds of smaller initials in 
 blue and red, with marginal flourishes and scrolls. The chapters are 
 numbered in red and blue ink and there are similar running head-lines 
 to all of the books except the Psalms. 
 
 The manuscript was formerly in the collection of the Duke of Sussex. 
 
 BIBLIA SACRA LATINA. S^c. XIII. 
 
 42o, old flexible rough leather binding, gauffred gilt edges. 
 In a modern case of maroon levant morocco.
 
 BIBLIA SACRA LATINA 7 
 
 A beautiful Italian manuscript of St. Jerome's version of the Bible, 
 with prefaces, written in minute gothic characters, two columns to the 
 page, upon very fine vellum at Cremona, about 1275, by Viviani Sani. It 
 is perhaps unique in containing both the name of the scribe and the place 
 of execution. 240 X 162 mm. 
 
 There are 350 leaves, with 60 lines to each of the two columns on the 
 page. Scattered throughout the volume are 56 historiated initials and 50 
 other capitals painted in brilliant colours and burnished gold. 
 
 The first initial (folio 1) represents St. Jerome writing, and is accom- 
 panied by an elaborate border. Above, in gold letters, occurs the word 
 "Cremona." On folio 3 verso is a still more ornamental initial, in eight 
 compartments, the one at the foot containing the Creation of Eve, the 
 Temptation, and the Expulsion from the Garden, the one at the top God 
 the Father, the intervening ones representing the Creation of the first six 
 days. Along the margin, in gold letters, is the name of the artist, "Viviani 
 Sani." 
 
 The running head-lines and chapter numbers on the margins are in 
 blue and red, except in Job, the Psalms, Ecclesiastes (folios 148-197) and 
 the New Testament (folio 277 et seq.), where they are in blue and gold, 
 with elaborate marginal decorations finished in red. On folios 275 verso 
 and 276 recto and verso, separating the Old and New Testaments, are 
 architectural paintings of pillars in red, blue, brown, and green. 
 
 BIBLIA SACRA LATINA. SJJJG. XIV. 
 
 Folio, dark brown levant morocco, the sides tooled in fillets 
 and corner ornaments of scrolls, the back in scrolls and Greek 
 crosses, doubled with light brown morocco with borders of 
 fillets and scrolls, vellum guards, gilt edges, by Mercier. In 
 a brown levant morocco case. 
 
 A beautiful fourteenth century manuscript of the Vulgate written with 
 great perfection of execution in small gothic characters upon vellum, and 
 arranged in two columns. 227 X 195 mm. 
 
 It contains 482 leaves, with 50 lines to the column, preceded by a leaf 
 containing the order of the books in the Old Testament, which ends with 
 folio 362. Folios 453-482 contain a glossary arranged with four col- 
 umns to the page.
 
 8 BIBLIA SACRA LATIN A 
 
 There are 102 finely executed historiated initials painted in colours, 
 chiefly red and blue, to 35 of which are attached borders of scrolls, gro- 
 tesques, etc., of half-page or full-page length. The initial letter "I" at 
 the beginning of Genesis (folio 4) extends the length of the page and 
 contains 8 small miniatures, 7 of the Creation, the last of the Crucifixion, 
 the Virgin Mary and St. John the Evangelist being at the foot of the 
 Cross. Some of the other initials contain from 3 to 5 miniatures. 
 
 All of the books except the Psalms have running head-lines in blue 
 and red, and throughout the volume are numerous large and small initial 
 letters in the same colours, with marginal flourishes. 
 
 It originally formed part of the collection of the Duke of Sussex. 
 
 BIBLIA SACRA LATINA. S^c. XV. 
 
 Veteris Novique Testament! Libri Omnes in dono accepi 
 ab I1H ac Rev 1 ^ Viro D. G. Vicecomiti. 4<o, old red mo- 
 rocco, gilt edges. 
 
 An Italian manuscript of St. Jerome's translation of the Bible, written 
 upon vellum in gothic characters, two columns to the page, in the fif- 
 teenth century, for a member of the Visconti family, who were Dukes of 
 Milan. 334 X 332 mm. 
 
 There are 679 leaves (43 lines to the page), of which folios 634-679 
 contain a glossary of the Hebrew, Chaldaic, and Greek words. 
 
 The first leaf is an illuminated title-page of later date than the manu- 
 script itself, containing an architectural border, from the top of which 
 hangs a red scroll with the title in gold letters. Below are the Visconti 
 arms in colours and gold, surmounted by a crown and supported by two 
 angels. 
 
 Folio 2 has a border painted in colours outlined with gold, and contain- 
 ing on the outer margin three medallions of Christ. At the bottom are 
 the Visconti arms. Throughout the volumes are 114 ornamental and 
 historiated initials with floral appendages on the margins. On folio 6 
 between the two columns of text are 7 miniatures representing the Crea- 
 tion; below is the Crucifixion. The initial letters on folios 500, 518, 564, 
 and 565 are larger than the others, and in the last two instances are de- 
 veloped into borders. Almost every page contains a small initial letter 
 in red or blue, with scroll ornamentation. The composition of the 
 paintings is quaint and mediaeval in style.
 
 BOCCACCIO BONAVENTURA 9 
 
 As usual the volume begins with the Epistle of St. Jerome, and each 
 of the 1,334 chapters into which it is divided is preceded by a prologue 
 on the author or on the book itself. The chapter numbers and running 
 head-lines are in blue and red, and on the wide margins are variants in 
 small gothic letters. The arrangement of versification antedates that of 
 Robert Estienne, 1525-59. 
 
 BOCCACCIO, GIOVANNI. 
 
 De la Ruyne des nobles Hommes et Femmes, translate 
 de latin en francais. XV Siecle. Large folio, brown levant 
 morocco blind-tooled in fillets, gilt edges. 
 
 A French manuscript of the French translation of Boccaccio's "Fall 
 of Princes, Princesses, and other Nobles," written in gothic characters 
 in two columns upon vellum during the reign of Charles VII (1422-61). 
 357 X 265 mm. 
 
 There are 230 leaves, with 42 lines to each of the two columns on the 
 page. The manuscript ends with the beginning of Chapter XXVII of 
 Book VIII ; Book IX, containing thirty-eight chapters, is lacking. 
 
 The illuminations consist of 93 miniatures (about 90 X 75 mm.) en- 
 closed in line borders of gold and colours ; at the sides are borders (about 
 150 mm. in length) of flowers and scrolls in colours and gold, also many 
 illuminated initials. The paintings are somewhat crude in execution, but 
 interesting as depicting the quaint costumes of the period. 
 
 This volume is a typical example of the rare early manuscripts of sec- 
 ular character. It was formerly in the collection of the Duke of Orleans. 
 
 BONAVENTURA, ST., CARDINAL AND BISHOP OF 
 
 ALBANS. 
 
 Psalterium Beatse Marise Virginis A Sancto Bonauentura 
 S. R. E. Cardinal! Epifcopo Albanenfi compofitum. [Saec. 
 XVI-XVII]. 12 mo, black morocco tooled in panels, silver 
 clasps, gilt edges. In a case of green levant morocco. 
 
 A fine Italian Psalter written upon vellum at the end of the sixteenth 
 or the beginning of the seventeenth century, in roman letters of black and 
 gold within gold line borders. 142 X 85 mm.
 
 10 BOWYER 
 
 It contains 115 leaves, including a title-page, and has 18 lines to the 
 page. There are 6 fine full-page and 2 small miniatures, besides 3 vi- 
 gnettes beautifully painted by Federigo Barocci (Baroccio) of Urbino 
 (d. 1612). The title is written in black and gold letters, with a miniature 
 at the foot representing the Virgin and Child enthroned in a Corinthian 
 niche in the base of which is a coat-of-arms ; a hilly landscape in the 
 background. At the end of the Preface (F. 6 r.) is the second small minia- 
 ture, dancing angels encircling a woman playing a lyre. The border is in 
 the form of a gold frame at the top of which are two angels holding a 
 crown and a wreath of laurel ; at the foot are two peacocks and another 
 laurel wreath. 
 
 The subjects of the full-page miniatures are 1. (F. 1 v.) St. Bona- 
 venture writing in his cell, two angels hovering above the open door. 
 2. (F. 6 v.) The Birth of the Virgin; Anna attended by five women. 3. 
 (F. 96 v.) The Annunciation. 4. (F. 104 v.) The Assumption of the 
 Virgin; the twelve Apostles surrounding the tomb. 5. (F. Ill v.) The 
 Virgin and Child enthroned upon a temple, which is upheld by two an- 
 gels ; below is a sail-boat nearing land. 6. (F. 115 r.) St. Francis of Assisi 
 kneeling in prayer before a crucifix. On folios 96 r., Ill r., and 114 v. 
 are culs-de-lampe of geometrical form painted in shaded gold on a 
 blue ground. All of the illuminations are beautifully executed. 
 
 This manuscript was presented by Pope Alexander VII (1655-67) to 
 Queen Christina of Sweden, who, at the time of her death, gave it to her 
 chaplain. 
 
 BOWYER, WILLIAM. 
 
 Heroica Eulogia Guiliel. Bowyeri Reg. maieft. archiuov 
 infra Tun-em Londinenf. Custodis. Ad illustriss. Rob. 
 Comit. Leigresceftrens. Venit veritas interdum in luce non 
 qusefita, 1567. Folio, pigskin stamped in scrolls, borders and 
 panels of conventional roses, vellum linings, gilt edges, by The 
 Club Bindery. 
 
 An English manuscript written in roman characters (text) and script 
 (notes) upon 141 fine vellum leaves during the latter part of the sixteenth 
 century. Folios 4, 5, 10, 43, 110, and 118 are blank. 329 X 245 mm. 
 
 The title is written in letters of blue, shaded gold, red, and silver, and 
 there are 15 large paintings and 23 large illuminated coats-of-arms.
 
 BREVIARIUM ROMANUM 11 
 
 The subjects of the large miniatures are 1. (F. 23) Henry IV (147 X 
 152 mm.) clad in armour and receiving a crown from a hand issuing from 
 a cloud. 2. (F. 29) A full-page painting of Edward I in a triumphal 
 car drawn by two horses, " Justa causa" and "Sana Conscientia." At 
 his feet are Duns Scotus and Wallace, behind him is a woman playing a 
 harp while the Pope is thrown on his back over the edge of the car. 
 " Magnanimitas " and "Politia" are astride the horses, "Belli necessa- 
 ria" and " Labor in defessus " run beside them. 3. (F. 36) Henry V in 
 armour upon a richly caparisoned horse, approaching a tower in which 
 stands an angel blowing two trumpets. 4. (F. 44) Edward II standing 
 beside a stream through which wades "Fortunae Volubilitas" bearing 
 a scourge and a crown. 5. (F. 76) Edward III in armour, standing 
 upon a lion and a unicorn, in his right hand a globe, "Michi terra," 
 in his left a ship, "Mareque." 6. (F. 93) Henry III in armour, one foot 
 in a stream, one on a firebrand, three naked women approaching him. 
 Above him is the legend, "Regnandi maxime peritus." 7. (F. 99) Rich- 
 ard II crowned by the Archbishop of Canterbury, and attended by 
 Henry Bowet, Bishop of Bath; at his feet an acolyte scatters incense. 
 (190X155). 8. (F. 103) "De monacho libidinoso," an abbess 
 boxing a monk's ears. 9. (F. 109) Henry VI. 10. (F. Ill) "De Episcopo 
 securo" a Bishop blessing a suppliant. 11. (F. 119) Edward IV in 
 royal robes receiving a crown from an angel. 12. (F. 127) "De Abbate 
 Ingluvioso," an abbot seated before a lectern, singing, his left hand 
 on a pig lying in a salver. 13. (F. 130) "De fratre hypochritico," a 
 monk discarding his garb and revealing himself in the dress of a gal- 
 lant. 14. (F. 136) "De monacho avaro," a monk covetously meas- 
 uring a piece of ground with a farmer. 15. (F. 141) A beautifully 
 drawn map of the British Isles painted in green and blue, heightened 
 with gold. 
 
 The paintings in this volume are rude in design and execution, but 
 brilliant in colouring. The manuscript is an interesting historical docu- 
 ment of the revolt against Catholicism during the reign of Queen Eliza- 
 beth. 
 
 BREVIARIUM ROMANUM. S^c. XIV. 
 
 Small 4>to, original calf with corner-pieces, bosses and four 
 clasps of brass attached to leather pieces, two on the side, one 
 at the top, and one at the bottom.
 
 12 BURY C^SAR 
 
 An Italian Breviary beautifully written upon fine vellum in large and 
 small gothic characters in the fourteenth century. It is rubricated and 
 is arranged in two columns. 144 X 113 mm. 
 
 Folios i-x and 1-548, divided into 1. Calendar, folios, i-vi; Tables, 
 vii-ix, Folio x blank. 2. " Psalterium, " ff. 1-110. 3. "Brevarium Ro- 
 manum (Proprium de Tempore"), ff. 111-340. 4. " Festivitates Sancto- 
 rum (Proprium de Sanctis"), ff. 341-495. 5. "Commune Sanctorum," 
 ff. 496-531. 6. "Orationes in diversibus festis," ff. 532-544 r. 7. "Psal- 
 terium divi Hieronimi," ff. 544 V.-548. The volume is evidently the work 
 of several scribes, the end (from the second column of folio 538 recto) 
 being in cursive characters. 
 
 There are 15 large initials, ornamental and historiated, painted in gold 
 and colours, and hundreds of small initials in red and blue, with scroll 
 ornamentation in the margins. 
 
 BURY, RICHARD DE. 
 
 [Philobiblon] [Colophon] Explici : phylobyblon Rychardi 
 de Bury epi. de amoe librov & fciav. Deo gras. [Ssec. 
 XIV]. Small 4>to, vellum wrappers, uncut edges. 
 
 An English manuscript written in gothic characters upon 44 vellum 
 leaves, with 24 lines to the page, presumably in the last part of the four- 
 teenth century. 145 X 105 mm. 
 
 The initial letters are in red ink. 
 
 Early manuscripts of this work are to be found in the British Museum 
 and the Bibliotheque Nationale. 
 
 CAESAR, CAIUS JULIUS. 
 
 Livre de Julius cefar. [XV Siecle]. Large folio, blue 
 levant morocco blind-tooled in panels in an Aldine design, gilt 
 edges, by Chambolle-Duru. 
 
 A French manuscript of a History of Julius Caesar written upon 
 paper, in lettres bdtardes, two columns to the page, during the first half 
 of the fifteenth century. 308 X 291 mm. 
 
 It consists of 227 leaves, the first 3 of which contain the Table of Con- 
 tents, with 42 lines to each column. Folios 4, 5, and 6 are blank. At the 
 top of folio 7 recto is a miniature, painted in camaieu d'or, (110 X 190
 
 C ASA CICERO 13 
 
 mm.) representing Caesar clad in armour, with a blue robe over his shoul- 
 ders, in his right hand an uplifted sword, in his left a scroll ; he stands 
 under a curtained canopy addressing a group of soldiers on his right and 
 of ecclesiastics on his left. The colouring of this miniature is brilliant, 
 the armour being of silver and gold. Surrounding the page is a scroll 
 border in blue and brown introducing grotesques, monkeys, asses, and 
 other animals. 
 
 Throughout the text are numerous initial letters in silver on a ground 
 of maroon, blue, and green. On a preliminary leaf and on folio 6 verso 
 are stamped the arms of Balthazard de Villars (1557-1629), President 
 of the Court of Judicature of Lyons and first President of the Parliament 
 of Dombes. 
 
 CASA, GIOVANNI BELLA. 
 
 loannis Casae de Potentivm ac Tenvivm inter se Officiis. 
 [Folio 24 verso] Prid. Non. Nouemb. MDXLIII. Svo, con- 
 temporary dark brown morocco, covered with a design of 
 arabesques and fleurs-de-lys outlined in gold, cut out and 
 backed with crimson silk, the arms of Henri II in the centre, 
 and the interlacing crescents of Diane de Poitiers in the 
 corners, gilt edges. A beautiful and finely preserved specimen 
 of a rare and curious form of binding of the period. In a 
 half red morocco case. 
 
 An Italian manuscript beautifully written in Latin in italic characters 
 upon vellum in 1543. 228 X 142 mm. 
 
 There are 24 leaves, including the title, which is written on the verso 
 of the first folio in blue and gold letters. 
 
 CICERO, MARCUS TULLIUS. 
 
 Tusculanse Questiones. Ssec. XV. Small folio, original 
 Florentine blind-tooled morocco over boards, gilt edges. The 
 back and outer margins restored. 
 
 An Italian manuscript neatly written about 1470 in roman characters, 
 32 lines to the page, upon 85 leaves of vellum. 270 X 188 mm. 
 
 The headings and the numerous marginal notes are in red. On folio 2 
 recto is an elaborate scroll border in red and green heightened with gold
 
 14 CICERO CLOVIO 
 
 on a dark blue ground. At the bottom of the page are the Erizzo arms 
 supported by two female figures. An historiated initial is at the begin- 
 ning of each of the five books. On the last page are the initials "P. E. A. 
 F." in red ink. 
 
 CICERO, MARCUS TULLIUS. 
 
 Epistolse Familiares. [Folio 1] M. T. C. epiftolav liber 
 primus incipit Marcuf Tulliuf Cicero Public lentulo falutem 
 plurimam dicit. [Colophon] M. T. C. Epistolav liber 
 decimus sextus et ultimus explicit feliciter. [Ssec. XVj. 
 Small folio, blue levant morocco, the back tooled in scrolls, 
 gilt edges, by Lortic. 
 
 A fine Italian manuscript executed in roman characters upon vellum 
 in the fifteenth century. 265 X 190 mm. 
 
 There are 218 leaves, with 29 lines to the page. The first folio contains 
 a beautiful trilateral border of white scrolls on a ground of blue, green, 
 and red outlined in burnished gold. At the foot are painted in gold and 
 colours the quartered arms of the kings of Aragon and Naples, whose mag- 
 nificent collection of manuscripts was sold about 1501 by King Frederic 
 III to Cardinal Georges d'Amboise, Prime Minister to Louis XII. 
 
 There are 14 large initials in burnished gold ornamented with white 
 scrolls and colours, from which issue lateral borders similar in design to 
 the border on folio 1. The remaining large initials are painted in blue 
 and red. 
 
 CLOVIO, GIULIO. 
 
 The Crucifixion. XVI Century. 8vo, in an old silver 
 frame. 
 
 An exquisite Italian miniature of the Crucifixion painted upon vellum 
 by Giulio Clovio (1498-1578). 237 X 147 mm. 
 
 St. John and a soldier are at the right of the Cross, at the left are 
 Mary Magdalene and three Holy Women, one of whom supports the 
 Virgin. 
 
 Henry Shaw, who reproduced this painting in his " Decorative 
 Arts Ecclesiastical and Civil of the Middle Ages," thought that it be- 
 longed to the volume executed for Gregory XIII, mentioned by Baglione 
 in his work published in 1642. 
 
 From the Celloti and Wilson collections.
 
 CRESCENZI EPHRAEM 15 
 
 CRESCENZI, PIETRO DE' (PETRUS DE CRESCENTIIS) . 
 
 Ruralium Commodoruni Libri XII. Bononise, 1421. 
 Folio, old red Italian morocco tooled in elaborate borders, the 
 arms of the Salviati family, surmounted by the papal tiara, on 
 both covers, gilt edges. 
 
 An Italian manuscript written in two columns in gothic characters 
 upon vellum in Bologna, in 1421, for King Charles II of Naples, to whom 
 it is dedicated, and whose illuminated arms appear in the border at the 
 foot of folio 7. 332 X 228 mm. 
 
 There are 171 leaves, with 41 lines to the page. Folio 6 is blank. 
 The illuminations consist of 2 borders of interlacing scrolls in white, blue, 
 red, green, and gold painted in the Italian manner, 15 gold initials on a 
 ground of similar design, and numerous other capital letters painted in 
 blue. 
 
 EPHRAEM, (STS.), HIERONYMUS, ANSELMUS, AU- 
 GUSTINUS, BERNARDUS. 
 
 [Folio 1] Incipit liber primus fancti effrem dyaconi de 
 compunctione cordis. 
 
 [Folio 61 recto] Explicit fextus et ultimus liber fancti effrem. 
 Jeronimus aut loques de facto effrem in libro Illuftriu viroru 
 fie ait. 
 
 [Folio 104 recto] Explicit formula vite feu regula fancti 
 anfelmi cantuarien archicpi ad fororem fuam reclufam. 
 Sequntur hore concepcois beate marie virginis a prefato 
 beato anfelmo copoite. 
 
 [Folio 107 verso] Incipit liber foliloquiorum fancti auguftini 
 epifcopi pmu capitulum. 
 
 [Folio 163 recto] Explicit liber foliloquioy bti auguftini. 
 Sequtur aliqua dicta egregia fctov et doctoru fidei catho ce 
 et p beati bernardi. [1484-1493]. Svo, brown levant mo- 
 rocco, gilt back, gilt and blind-tooled filleted panels on the 
 sides, gilt ornaments, vellum linings, gilt edges, by Riviere. 
 
 A French manuscript upon vellum, containing in Latin works of Sts. 
 Ephraem, Jerome, Anselm, Augustine, and Bernard, written in gothic 
 characters in the latter part of the fifteenth century. 212 X 141 mm.
 
 16 EVANGELIA QUATUOR 
 
 There are 167 leaves, with 25 lines to the page, 3 half-page miniatures, 
 8 large and 86 small illuminated initials. 
 
 The subjects of the miniatures are: 1. (F. 1 r.) Eight monks seated 
 praying in a monastery. 2. (F. 104 v.) The meeting of Joachim and 
 Anna. 3. (F. 107 v.) St. Augustine kneeling at a prie-dieu beside his 
 bed. All of the illuminations are beautifully painted and heightened with 
 gold. 
 
 At the foot of each page containing a miniature is the coat-of-arms of 
 Cardinal Georges d'Ambroise, Prime Minister to Louis XII, as Bishop 
 of Montauban (1484-1493), which places the date of the manuscript. 
 
 Three of the blank leaves contain contemporary handwriting. 
 
 EVANGELIA QUATUOR. SJUG. XV. 
 
 Folio, two volumes, in seventeenth century French bindings 
 of silver and silver-gilt upon oak boards, with the backs in 
 red velvet. On both sides of each volume are sunken panels 
 of repousse work in very high relief, representing on the 
 recto of Volume I the Virgin and St. John at the Cross, and 
 on the verso the Resurrection; the panels on Volume II depict 
 the Last Judgment and the Annunciation. The clasps are 
 ornamented with floriated chased scrolls and the edges gilded. 
 
 A Flemish manuscript of the Four Gospels, divided into two volumes 
 and written in large roman characters upon fine vellum towards the end 
 of the fifteenth century. 322 X 225 mm. 
 
 The first volume contains 217 leaves, including 32 for the Index, and 
 the second, 247 leaves, including 38 for the Index. 
 
 There are 4 beautifully painted large miniatures of the Evangelists 
 (I, ff. 34 v. and 151 r. ; II, ff. 39 v. and 157 v.) and 172 smaller minia- 
 tures (69 in Volume I and 103 in Volume II) averaging 80 X 80 mm., all 
 surrounded by rich borders of flowers, foliage, birds, grotesques, and in- 
 sects painted in the Flemish manner, in brilliant colours on a gold 
 ground and in the style of the Italian Renaissance, in shaded gold on a 
 blue ground ; also numerous large floriated initials scattered throughout 
 the text. 
 
 The small miniatures depict scenes in the life of Christ, illustrations of 
 the parables, and various saints. They include (Volume I) Joseph and
 
 EVANGELIARIA 17 
 
 Mary (f. 36), the Nativity (f. 37), the Massacre of the Innocents (f. 38), 
 the Flight (f. 39), the Devil tempting Christ (f. 42), Christ healing a 
 leper (f. 56), stilling the Tempest (f. 59), healing a paralytic (f. 60), the 
 Last Supper (f. 62), Christ and the Woman of Canaan (f. 89), the 
 Transfiguration (f. 94), the Triumphal Entry into Jerusalem (f. 110), 
 the Martyrdom of St. Stephen (f. 123), and of St. Laurence (f. 125), 
 the Last Judgment (f. 133), the Resurrection (f. 148), the Beheading 
 of John the Baptist (f. 170), Christ walking on the Water (f. 172), the 
 Three Women at the Tomb (f. 214). Volume II: the Angel appearing 
 to Zachariah (f. 40), the Annunciation, the Visitation, the Birth of John 
 the Baptist, the Nativity, the Adoration of the Shepherds, the Circum- 
 cision, the Presentation in the Temple (ff. 43-51); Christ disputing with 
 the Doctors (f. 53), John the Baptist preaching in the Wilderness (f. 55), 
 St. Sebastian, the Good Samaritan, the Assumption of the Virgin (ff. 
 93-96), the meeting of Joachim and Anna (f. 100), Dives and Lazarus 
 (f. 122), the Pharisee and the Publican (f. 128), the Marriage of Cana 
 (f. 182), the Stirring of the Pool (f. 173), Christ washing His Disciples' 
 feet (f. 215), the Agony in the Garden (f. 232), Christ and Mary Magda- 
 lene in the Garden (f. 241). 
 
 All of the miniatures are carefully painted and the colouring is brilliant. 
 
 The hand of at least two artists is apparent, as may be seen by compar- 
 ing the miniatures on folios 101 and 103 in Volume II with the others. 
 The bindings present fine and unique examples of the silversmith's work 
 of the seventeenth century. 
 
 EVANGELIARIA. SJBC. XV. 
 
 Folio, old black morocco, gilt back, gauffred gilt edges. 
 
 A German manuscript of the Gospels of the Mass written in bold gothic 
 characters of black and red in two columns upon parchment during the 
 latter part of the fifteenth century. 347 X 235 mm. 
 
 It contains 192 leaves with 24 lines to the page. There are 6 large and 
 16 small miniatures, the former surrounded by rich arabesque borders 
 in blue and red on a ground of red and green, or flowers, insects, and 
 birds in brilliant colours on a ground of yellow heightened with gold. In 
 addition are 17 large arabesque initial letters in gold and colours and, on 
 the first two leaves, the full-page arms of the original owner emblazoned 
 in rich colours and surrounded by floral and arabesque borders.
 
 18 GHEBEDTE 
 
 The subjects of the large miniatures, which measure about 170 X 150 
 mm., are 1. (F. 9 r.) The Nativity; the stable with a vaulted roof, three 
 Shepherds entering the door, two in the background receiving the Angel's 
 message. 2. (F. 91 v.) The Resurrection; four soldiers clad in silver and 
 gold armour. 3. (F. 105 r.) The Descent of the Holy Spirit, in flames of 
 fire. 4. (F. 110 v.) The Sacrament upheld by two Angels. 5. (F. 164 r.) 
 The Assumption of the Virgin. 6. (F. 174 v.) God the Father, Christ, 
 and the Virgin surrounded by all the Saints. 
 
 The subjects of the small miniatures, which measure about 87 X 68 
 mm., are 1. (F. 3 r.) St. John the Baptist preaching in the wilderness. 
 2. (F. 10 v.) The Circumcision. 3. (F. 11 r.) The Adoration of the Magi. 
 4. (F. 57 r.) Christ's Entry into Jerusalem. 5. (F. 102 v.) The Ascension. 
 6. (F. 131 r.) The Martyrdom of St. Stephen. 7. (F. 138 r.) The Presen- 
 tation in the Temple. 8. (F. 141 r.) The Annunciation. 9. (F. 142 v.) 
 St. George and the Dragon. 10. (F. 153 v.) St. John the Baptist. 11. 
 (F. 155 r.) Sts. Peter and Paul. 12. (F. 156 r.) The Visitation of Eliza- 
 beth. 13. (F. 165 v.) St. Bernard. 14. (F. 167 v.) The Birth of the 
 Virgin Mary. 15. (F. 177 v.) The Meeting of Joachim and Anna. 16. 
 (F. 179 r.) The Celebration of the Dedication of the Temple, conducted 
 by a Bishop. 
 
 From the Bibliotheca Renesiana. 
 
 GHEBEDTE. SJBC. XVI. 
 
 Small 4to, dark brown levant morocco, Janseniste, doubled 
 with citron morocco, ornamented with narrow floral borders, 
 vellum guards, gilt edges, by Trautz-Bauzonnet. In a brown 
 morocco case. 
 
 A Dutch Prayer-Book written in the sixteenth century in italic char- 
 acters upon fine vellum. 136 X 92 mm. 
 
 It contains 232 leaves, with 14 lines to the page. There are 34 large and 
 1 small miniatures, 68 borders, and 34 large initial letters painted in 
 camawu (for, gris, and mauve, on a ground of colours. The subjects of 
 the miniatures are unusual and the borders all different in design. Those 
 surrounding the miniatures and on the opposite pages are composed of 
 various flowers, fruit, insects, human figures, monkeys, unicorns, pea- 
 cocks, owls, frogs, satyrs, herons, fighting-cocks, jewels, vases, pillars, 
 gargoyles, etc., in subdued colours on grounds of dull gold, green, ma- 
 roon, mauve, camaieu d'or, and bistre.
 
 GHEBEDTE 19 
 
 The 34 beautifully painted large miniatures are all on the verso of the 
 leaves, the rectos being blank. Their subjects are 1. (F. 1) The Agony in 
 the Garden; Jerusalem in the background. 2. (F. 9) The Sermon on 
 the Mount. 3. (F. 33) God the Father in the act of blessing; in His 
 left hand a ball surmounted by a cross. 4. (F. 40) Christ with crown of 
 thorns, stigmata, and instruments of flagellation. 5. (F. 49) The De- 
 scent of the Holy Spirit. 6. (F. 53) The Virgin teaching the Child Christ ; 
 a landscape in the background, seen through a window. 7. (F. 67) The 
 Descent from the Cross ; the Trinity, the Virgin, and St. John the Evan- 
 gelist. 8. (F. 73) A Woman praying at her bed-side; on the wall a 
 triptych containing a delicate painting of the Ascension of Christ. 9. 
 (F. 80) An Angel holding a sceptre in his left hand ; the borders on this 
 and the opposite page depict Bacchus, two Bacchantes and an orgiastic 
 scene. 10. (F. 90) Christ crucified between the two thieves, a soldier 
 piercing His side with a spear, the Virgin and St. John the Evangelist 
 kneeling at the foot of the Cross. 11. (F. 103) Mary Magdalene anoint- 
 ing Christ's feet and drying them with her hair. 12. (F. 109) The Phari- 
 see and Publican in prayer. 13. (F. 115) The Confessional. 14. (F. 119) 
 The Woman taken in Adultery. 15. (F. 123) The Last Supper; the bor- 
 der consisting of a stag's head and hoofs. 16. (F. 129) Moses and the 
 miracle of the manna. 17. (F. 136) Melchizedek, King of Salem, bless- 
 ing Abram. 18. (F. 143) Christ healing a woman. The following six 
 miniatures are illustrative of the acts of mercy recorded by Christ in His 
 description of the Last Judgment. In each instance He is the one 
 ministered to, the traveller, the prisoner, the invalid, etc. 19. (F. 149) 
 "I was a stranger, and ye took me in." 20. (F. 155) "I was thirsty and 
 ye gave me drink." 21. (F. 169) "I was an hungered, and ye gave me 
 meat." 22. (F. 173) "Naked, and ye clothed me." 23. (F. 178) "I was 
 in prison, and ye came unto me." 24. (F. 183) "I was sick and ye 
 visited me." 25. (F. 187) A Burial Service in a churchyard. 26. 
 (F. 191) The meeting of Joachim and Anna. 27. (F. 196) Susanna and 
 the two Elders in her husband's garden. 28. (F. 200) Job and his 
 wife; the latter in a sixteenth century costume with hat. 29. (F. 204) 
 The Disciples calling upon Christ to still the tempest. 30. (F. 208) 
 "Pacientia"; a sleeping woman clasping a lamb in her arms. 31. 
 (F. 212) "Faith"; a woman clasping a crucifix. 32. (F. 216) "Con- 
 stantia " ; the Devil in the form of a death's head tempting her ; in the
 
 20 GHETIDE-GREGORIUS MAGNUS 
 
 borders are Adam and Eve and the Serpent. 33. (F. 222) Three 
 skeletons on a pedestal; in the borders symbolical figures of Death. 
 34. (F. 228) The Creation of Eve. The small miniature (F. 52 v.) 
 depicts Christ and St. John the Baptist; the border simulates a gold 
 frame with pearls at the four corners. 
 
 All of the paintings are executed with infinite detail and originality of 
 treatment, and the colouring is varied and brilliant, yet harmonious in 
 effect. 
 
 This manuscript is unique and most interesting in respect of both sub- 
 ject and treatment. 
 
 GHETIDE. See HOILE. 
 GOSPELS. See EVANGELIA. 
 
 GREGORIUS MAGNUS, ST. 
 
 Morali di S. Gregorio Papa. [Moralia in Job] [Folio 343] 
 Finite lo x? libro deli morali di Sancto Gregorio sopra Job : 
 et la secunda parte in comincia lo xi? libro : et la ter9a parte. 
 Deo gratias. Amen. Folio, original oak boards covered 
 with a contemporary Italian binding of red morocco tooled 
 in fillets forming compartments with broken chain ornaments, 
 brass and morocco clasps, gauffred gilt edges. 
 
 An Italian manuscript beautifully written in roman characters upon 
 fine vellum during the latter part of the fifteenth century. 314 X 220 mm. 
 
 There are 343 leaves, of which the first contains the title, with 32 lines 
 to the page. 
 
 The illuminations consist of a full-page border on the first leaf of the 
 Dedication to St. Leander, Archbishop of Seville (folio 2 recto), com- 
 posed of scrolls in white on a ground of blue, red, and green, painted in 
 the Italian manner of the period, also 12 large initial letters (about 55 X 
 55 mm.) in burnished gold on a ground of similar design, and 300 small 
 initials in gold on a decorated ground of blue and red. In the foot of the 
 border on folio 2 is a blank space within a wreath, reserved for arms. 
 
 From the calligraphy, at least two scribes worked upon this manu- 
 script.
 
 HIERONYMUS-HOR^: 21 
 
 HIERONYMUS, ST. See EHPRAEM. 
 
 HORJE BEAT^E MARI.E VIRGINIS SECUNDUM USUM 
 
 ANGLIC ECCLESI.E. [CmcA 1365]. 
 
 4<to, old red velvet, filigree silver clasps, gilt edges. In a 
 cloth case. 
 
 An English Book of Hours written in gothic characters upon vellum, 
 presumably about 1365, for some religious foundation in Wales. It 
 passed into the hands of Lord Somers, whose arms are in the lower part 
 of the borders on folios 7 verso and 8 recto ; thence into the collections of 
 Sir Joseph Jekyl, James West, and Ansley Windus. 236 X 160 mm. 
 
 There are 176 leaves, including 6 for the Calendar, with 19 lines to the 
 page; 31 large miniatures and 24 small ones in the form of historiated in- 
 itials. 
 
 The borders are of two kinds: (1) 47 of full-page size around the 
 large miniatures and on the pages opposite, composed of flowers, scrolls, 
 insects, etc., in brilliant colours and gold; and (2) 20 "line and leaf" 
 borders in black and burnished gold with flowers, issuing from the his- 
 toriated initials. There are 24 large floral initials and numerous smaller 
 ones in burnished gold and colours. 
 
 The subjects of the large miniatures are 1. (F. 7 v.) Christ standing 
 with upraised right hand, a red and gold robe behind him supported by 
 two angels, at His feet a golden ball. 2. (F. 14 v.) The Trinity. 3. 
 (F. 17 v.) St. John the Baptist. 4. (F. 19 v.) The Martyrdom of St. 
 Thomas a Becket. 5. (F. 21 v.) St. George and the Dragon. 6. (F. 23 v.) 
 St. Christopher. 7. (F. 25 v.) St. Anne with the Virgin and Child. 8. 
 (F. 27 v.) St. Mary Magdalene. 9. (F. 29 v.) St. Catherine. 10. (F. 31 v.) 
 St. Barbara. 11. (F. 33 v.) St. Margaret. 12. (F. 35 v.) The Agony in 
 the Garden. 13. (F. 36 r.) The Annunciation. 14. (F. 43 v.) The Be- 
 trayal. 15! (F. 44 r.) The Visitation. 16. (F. 57 v.) Christ before Pilate, 
 who is washing his hands of Him. 17. (F. 58 r.) The Nativity. 18. 
 (F. 62 v.) The Scourging. 19. (F. 63 r.) The Announcement to the Shep- 
 herds. 20. (F. 66 r.) The Adoration of the Magi. 21. (F. 69 v.) The 
 Crucifixion. 22. (F. 70 r.) The Presentation in the Temple. 23. (F. 73 v.) 
 The Descent from the Cross. 24. (F. 74 r.) The Massacre of the Inno- 
 cents, Herod on horseback in the foreground. 25. (F. 77 r.) The En- 
 tombment. 26. (F. 78 r.) The Flight into Egypt. 27. (F. 103 v.) The
 
 22 HOR.E 
 
 Last Judgment. 28. (F. 121 v.) A Burial Service. 29. (F. 143 v.) The 
 Resurrection of two dead persons, who are being carried in a winding- 
 sheet by two angels to God the Father. 30. (F. 157 v.) Christ's Resur- 
 rection, the symbols of the Passion around Him. 31. (F. 164 v.) St. 
 Jerome. 
 
 The subjects of the 24 small miniatures (folios 51-102) are the Holy 
 Spirit, St. Michael, Sts. Peter and Paul, St. Andrew, St. Laurence, St. 
 Stephen, St. Nicholas, All Saints, the Coronation of the Virgin, St. 
 Anthony, the Virgin and Child, the Descent from the Cross, Saints re- 
 ceiving a Bishop's benediction, the Nailing to the Cross, the three Crosses, 
 Christ, the wounded Hands (2), bleeding Hearts, the wounded Feet (2), 
 St. John the Evangelist, Christ crucified with the two thieves, and the 
 Celebration of the Mass. 
 
 The colouring of all the illuminations is very brilliant, burnished gold 
 being freely employed. 
 
 On eleven pages are Latin prayers in calligraphy of a later period 
 than that of the manuscript. 
 
 HOILE BEAT.E MARINE VIRGINIS. S^c. XIV-XV. 
 
 4to, old French red morocco, gilt back and panelled sides 
 with corner ornaments, silver clasps, gilt edges. 
 
 A French Book of Hours written in gothic characters upon vellum 
 during the last part of the fourteenth or the first part of the fifteenth 
 century. 217 X 162 mm. 
 
 There are 115 leaves, including 12 for the Calendar, with 16 lines to 
 the page. The first and last folios contain a coat-of-arms painted in gold 
 and colours within a laurel wreath. On the last page it is quartered with 
 others. 
 
 There are 16 large miniatures within borders of flowers, scrolls, birds, 
 etc., painted in brilliant colours and burnished gold, similar but less 
 elaborate borders on the outer margin of each page of text, and numer- 
 ous illuminated initials. 
 
 The subjects of the miniatures are 1. (F. 14 r.) St. John the Evangelist 
 on Patmos. 2. (F. 16 r.) St. Luke. 3. (F. 18 r.) St. Matthew. 4. 
 (F. 20 r.) St. Mark. 5. (F. 21 r.) The Crucifixion. 6. (F. 25 r.) The 
 Descent of the Holy Spirit. 7. (F. 28 r.) The Annunciation. 8. (F. 37 r.) 
 The Visitation of Elizabeth. 9. (F. 46 r.) The Nativity. 10. (F. 50 r.)
 
 HOILE 23 
 
 The Announcement to the Shepherds. 11. (F. 53 r.) The Adoration of 
 the Magi. 12. (F. 57 r.) The Presentation in the Temple. 13. (F. 61 r.) 
 The Flight into Egypt. 14. (F. 67 r.) The Coronation of the Virgin. 
 15. (F. 71 r.) King David praying; in the background the towers of a 
 city beside a river. 16. (F. 86 r.) A Burial Service in a churchyard, 
 including three priests, mourners, and two grave-diggers. 
 
 The miniatures are finely painted, some of them upon diaper back- 
 grounds of blue, red, and burnished gold characteristic of late four- 
 teenth and early fifteenth century workmanship. 
 
 HOILE BEATJE MARINE VIRGINIS. SJEC. XV. 
 
 4to, old stamped leather binding over oak boards, with 
 perforated silver-gilt clasps containing small oval paintings 
 upon vellum under glass, with the gothic letters "i. a." on the 
 reverse, gilt edges. 
 
 A Flemish Book of Hours written in clear gothic characters upon vel- 
 lum at the beginning of the fifteenth century, and probably for use in 
 Paris, as the last miniature represents St. Genevieve. 202 X 145 mm. 
 
 Including the 12 folios of the Calendar there are 180 leaves, with 14 
 lines to the page. The illuminations consist of 6 large miniatures sur- 
 rounded by borders of scrolls, fruit, flowers, birds, and animals painted 
 in colours heightened with gold, the pages opposite the miniatures con- 
 taining similar borders ; also 19 historiated initials, and numerous large 
 and small capitals illuminated in gold and colours. 
 
 The subjects of the large miniatures are 1. (F. 13) The Crucifixion. 
 2. (F. 22) The Descent of the Holy Spirit. 3. (F. 30) The Virgin and 
 Child enthroned, four angels playing musical instruments around them. 
 4. (F. 45) The Annunciation. 5. (F. 107) King David praying outside a 
 moated castle. 6. (F. 127) The Raising of Lazarus. 
 
 The small miniatures are delicately painted in grey and blue height- 
 ened with gold. The subjects comprise (ff. 59 -100) the Visitation, the 
 Nativity, the Announcement to the Shepherds, the Magi, the Presenta- 
 tion in the Temple, the Massacre of the Innocents, the Flight; (ff. 162- 
 179) the Pieta, St. Michael, Sts. Peter and Paul, St. John the Baptist, 
 St. Sebastian, St. Nicholas, St. Anthony, St. Mary Magdalene, St. Cath- 
 erine, St. Barbara, St. Agnes, and St. Genevieve. From these 19 historiated 
 initials issue tracery ornamentations heightened with gold and colours.
 
 24 HORJB 
 
 The drawing of the miniatures is somewhat stiff and formal, but the 
 composition is good and the colouring fresh and pure. 
 
 HOR.E BEAT^E MARINE VIRGINIS. SJSG. XV. 
 
 Svo, red levant morocco richly tooled in compartments of 
 fillets, scrolls, azured arabesques, and other small ornaments, 
 doubled with green morocco entirely covered with gold tooled 
 compartments, gilt edges, by Thouvenin. In a case of red 
 levant morocco. 
 
 A Flemish Book of Hours written in large gothic characters upon 
 vellum in the first part of the fifteenth century. 215 X 155 mm. 
 
 It consists of 153 leaves, including 12 for the Calendar, with 19 lines to 
 the page. Folio 1 contains "Initium fancti euuagelii fcd'm iohanne," 
 an unusual arrangement of text. There are 7 large and 26 small minia- 
 tures, numerous large and small initial letters in burnished gold and 
 colours, chiefly blue, and on every folio except the first borders of scrolls, 
 flowers and fruits in gold and colours. The borders accompanying the 
 text are lateral, those surrounding and opposite the large miniatures are 
 full-page and more elaborate in design. 
 
 The large miniatures have oval tops and are on the verso of the leaves. 
 Their subjects are 1. (F. 14) The Crucifixion; the Virgin Mary and St. 
 John the Evangelist at the foot of the Cross, the Temple in the back- 
 ground. 2. (F. 21) The Descent of the Holy Spirit; the scene an 
 open-air archway with a landscape in the background. 3. (F. 43) The 
 Visitation of Elizabeth. 4. (F. 53) The Nativity. 5. (F. 58) The Presen- 
 tation; an unusual composition representing the High Priest meeting 
 Joseph and Mary with the Child at the door of the Temple. 6. (F. 68) 
 The Massacre of the Innocents; the scene a porch in which stands 
 Herod. 7. (F. 107) The Raising of Lazarus; a group of only three 
 figures. 
 
 The subjects of the 26 small miniatures are (ff. 15-20) seven scenes 
 from the Passion; (ff. 73-89) the Coronation of the Virgin, the Pieta, 
 the Virgin and Child, Death; (ff. 145-152) St. George, St. Christopher, 
 St. Quintin, St. Francis of Assisi, St. Hubert, St. Martin, St. Adrian, St. 
 Sebastian, St. Anna, St. Catherine, St. Barbara, St. Margaret, St. Eliza- 
 beth, and St. Bernard. 
 
 The miniatures and borders appear to have been painted by different
 
 25 
 
 artists. The latter are rather more brilliant in colouring, blue predomin- 
 ating. The tone of all of the miniatures is subdued except for the bur- 
 nished gold of the aureoles. 
 
 The Calendar and the rubrics are in French. 
 
 HOILE BEAT.E MARI.E VIRGINIS. SJEC. XV. 
 
 8vo, light brown morocco, back and side borders ornamented 
 in a graceful original design of bands and scrolls in red 
 morocco, the intervals filled with gilt scrolls and dots, shell- 
 shaped ornaments of green in the corners, with red mosaic 
 and gilt flowers, doubled with red morocco, rich borders of 
 scrolls, dots, and flowers, red moire silk guards, the original 
 gilt and painted leaves preserved, by Joly. In a maroon 
 morocco case. 
 
 A Flemish Book of Hours written in gothic letters upon vellum in the 
 early part of the fifteenth century. 193 X 132 mm. 
 
 There are 93 leaves, including 6 for the Calendar; folios 16 and 54 are 
 blank and ruled in red ink, with a coat-of-arms on the verso. The vol- 
 ume contains in all 14 large and 24 small miniatures, the former sur- 
 rounded by beautiful narrow borders of flowers, fruit, and animals, on a 
 burnished gold ground. Each page of the Calendar, which is written in 
 red, blue, and gold letters in French, has a trilateral border of similar 
 character ; at the foot of each page are two small miniatures, one repre- 
 senting a scene appropriate to the month, the other the sign of the zodiac. 
 Every page of text has a lateral border, and there are numerous initial 
 letters in colours on a gold ground. 
 
 The subjects of the large miniatures, all except the first and last from 
 the Old Testament, are 1. (F. 7) St. John the Evangelist on Patmos. 
 2. (F. 17) The Angel of the Lord appearing to Moses in the burning bush 
 on Mt. Horeb. 3. (F. 24) Moses consecrating Aaron and his sons. 4. 
 (F. 32) The Vision of the Virgin and Child to Augustus Caesar, prophe- 
 sied by the sibyl, Tiburtina. 5. (F. 35 v.) Jacob's Ladder. 6. (F. 38) The 
 Queen of Sheba presenting gifts to Solomon. 7. (F. 40 v.) Hannah 
 presenting Samuel to the Lord before Eli. 8. (F. 43) The child Samuel 
 and Eli. 9. (F. 45 v.) King Ahasuerus and Queen Esther. 10. (F. 49) 
 Abraham sacrificing Isaac. 11. (F. 52 v.) The Children of Israel wor-
 
 26 HOILE 
 
 shipping the Golden Calf. 12. (F. 55) King David watching Bathsheba. 
 13. (F. 67 r.) King Solomon's Judgment between the two Harlots. 14. 
 (F. 86 v.) The Annunciation; the Angel bearing a Cross. 
 
 Two artists painted the miniatures in this manuscript, the larger 
 illuminations being superior in execution to the smaller. The arms of a 
 former owner appear fourteen times. 
 
 HOILE (GHETIDE). SJBC. XV. 
 
 4to, in a Flemish seventeenth century binding of silver gilt. 
 In the back panels, in high relief, are three scenes from the 
 life of Christ, the Agony in the Garden, the Baptism, and 
 the Carrying of the Cross. Each side has a long central panel 
 divided into one large and three small compartments; on the 
 recto is the Crucifixion, with two emblematic fiaures above 
 and an ornamental panel below; on the verso is Religious 
 Inspiration, with accompanying emblematic figures. On 
 each side of these two central panels is a narrower engraved 
 panel containing the figures of the twelve Apostles under 
 gothic canopies, three in each panel. The clasps and end- 
 pieces are chased with allegorical figures; mauve silk linings, 
 gilt and gauffred edges. 
 
 A Dutch Book of Hours written in gothic letters upon vellum in the 
 early part of the fifteenth century. 151 X 106 mm. 
 
 It contains 147 leaves, including 12 for the Calendar, with 18 lines to 
 the page. Folios 59 and 147 are blank. There are 5 large miniatures sur- 
 rounded by "line and leaf" borders in black and gold, with flowers in 
 colours. Opposite the paintings are more elaborate scroll borders in 
 black, green, gold, etc., enclosing the text and large initial letters in blue 
 and red on a ground of burnished gold. There are two other varieties of 
 border, blue or red ornaments issuing from initials in similar colours, and 
 floral sprays in black, green, and gold springing from a lateral line border 
 in colours heightened with gold. 
 
 The subjects of the miniatures are 1. (F. 13 v.) The Annunciation. 
 2. (F. 60 v.) Christ standing, a gold ball in His left hand. 3. (F. 87 v.) 
 The Crucifixion. 4. (F. 95 v.) King David praying. 5. (F. 113 v.) A 
 Burial Service.
 
 HOR.E 27 
 
 Each of the miniatures has a burnished gold background, and the 
 drawing of all of them is quaint and interesting. The colouring through- 
 out the manuscript is subdued rather than brilliant. 
 
 HOILE BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 4to, brown levant morocco, gilt and blind-tooled back and 
 side panels, corner and centre ornaments in gilt, doubled with 
 vellum, gilt edges, by F. Bedford. 
 
 A Flemish Book of Hours written in gothic letters upon vellum in the 
 early part of the fifteenth century. 184 X 126 mm. 
 
 It contains 155 leaves, including 24 for the Calendar, with 14 lines to 
 the page. Folios 13 and 114 are blank. 
 
 There are 15 large miniatures and 54 small ones, comprising 24 in the 
 Calendar, 25 in the borders, and 5 historiated initials, making 69 paintings 
 in all. 
 
 The pages containing large miniatures and historiated initials have 
 full-page borders of flowers, foliage, fruit, scrolls, animals, insects, etc., 
 in gold and colours on a silver, dull gold, or white ground studded with 
 black dots. The other leaves, including the Calendar, have lateral bor- 
 ders of a similar design, the recto and the verso of the folio being alike in 
 respect of composition and general appearance. The border on folio 115 
 recto differs from the others, being of architectural design in dull blue, 
 red, brown, and camaieu d'or, with figures of saints. 
 
 The subjects of the large miniatures are 1. (F. 14 r.) St. John the 
 Evangelist on Patmos. 2. (F. 30 r.) The Annunciation. 3. (F. 41 v.) The 
 Visitation of Elizabeth. 4. (F. 58 r.) The Nativity. 5 (F. 64 r.) The 
 Announcement to the Shepherds, one of whom is a woman. 6. (F. 67 v.) 
 The Adoration of the Magi. 7. (F. 70 v.) The Circumcision. 8. (F. 73 v.) 
 The Flight into Egypt. 9. (F. 80 r.) The Coronation of the Virgin. 10. 
 (F. 86 r.) King David praying. 11. (F. 107 r.) The Crucifixion. 12. (F. 
 110 v.) The Descent of the Holy Spirit. 13. (F. 115 r.) "Les trois vifs 
 et les trois morts." 14. (F. 147 r.) The Virgin and Child, at the beginning 
 of the prayer, "Doulce dame de misericorde." 15. (F. 152 v.) The 
 Trinity, at the beginning of the prayer, "Doulx dieu doux pere saincte 
 trinite," which is written in letters of blue, red, and burnished gold in 
 French. 
 
 The 24 miniatures in the Calendar represent the signs of the zodiac
 
 28 HOR^E 
 
 and scenes appropriate to the months. The small miniatures in the other 
 borders are related in subject to the large ones. 
 
 On folio 147 is the figure of a man, possibly the person for whom the 
 manuscript was executed, kneeling before the crowned Virgin, who is 
 protecting him from the assaults of the devil, standing behind her. 
 
 The miniatures are interesting for their rude quaintness of expression 
 and elaborate execution. 
 
 HOILE BEAT.E MARLE VIRGINIS. S^c. XV. 
 
 [Folio 11 r.] Hier beghint dat ghetide van onfer lieuer 
 f veter vrouwen. 4ito, brown levant morocco, centre, side corners, 
 and back tooled in leaf -sprays and -flowers, doubled with vellum, 
 gilt borders, vellum guards, gauffred gilt edges, by Mercier. In 
 a brown levant morocco case. 
 
 A Dutch Book of Hours written in gothic characters upon vellum in 
 the fifteenth century. 178 X 127 mm. 
 
 It contains 220 leaves, including 10 for the Calendar, with 21 lines to the 
 page. There are no miniatures in this volume, but it has elaborately ex- 
 ecuted borders in red and blue ink issuing from the initial letters, and 
 traced in the delicate but free style of ornamentation characteristic of the 
 late fourteenth and early fifteenth centuries. On the rectos of folios 11, 
 43, 92, 198, and 189 are very elaborate double borders introducing green 
 and gold, as in the initial letters on those pages. Different animals and 
 birds are here painted, including the peacock and the stork. 
 
 HOR^E BEAT^E MARINE VIRGINIS. SJEC. XV. 
 
 4to, brown levant morocco blind-tooled with fleurs-de-lys 
 and shells, vellum linings, gilt edges, by Lortic fils. In a 
 cloth case. 
 
 A French or Flemish Book of Hours written in large and small gothic 
 characters upon vellum at the beginning of the fifteenth century for use 
 in France. 227 X 162 mm. 
 
 There are 185 leaves, including 12 for the Calendar, with 14 lines to 
 the page, besides 2 final blank leaves ruled in red ink. The first leaf is a 
 vellum frontispiece, inserted at a later date, containing the arms of a 
 bishop, his mitre and crozier, within a wreath of laurel. There are 16
 
 HOR.E 29 
 
 half-page miniatures all with oval tops, and numerous large and small 
 illuminated initials. 
 
 All of the pages of text have lateral "line and leaf" borders in black 
 and burnished gold with scrolls and flowers in colours, surrounded by 
 gilt fillets. The miniatures have double borders, narrow trilateral de- 
 signs in red and blue on a burnished gold ground within wide borders of 
 thickly scattered flowers and scrolls introducing birds, vases, and gro- 
 tesques. There are also four full-page borders of similar design. 
 
 The subjects of the large miniatures are 1. (F. 14 r.) St. John the 
 Evangelist. 2. (F. 16 r.) St. Luke. 3. (F. 18 r.) St. Matthew. 4. (F. 20 r.) 
 St. Mark. 5. (F. 22 r.) The Annunciation. 6. (F. 44 v.) The Visitation 
 of Elizabeth. 7. (F. 58 v.) The Nativity, a quaint scene in which the In- 
 fant Christ lies on a bed. 8. (F. 65 v.) The Announcement to the 
 Shepherds. 9. (F. 72 r.) The Circumcision. 10. (F. 78 v.) The Ad- 
 oration of the Magi. 11. (F. 85 r.) The Flight into Egypt. 12. 
 (F. 95 r.) The Coronation of the Virgin. 13. (F. 102 r.) The Crucifixion. 
 14. (F. 107 r.) The Descent of the Holy Spirit. 15. (Ill r.) King David 
 praying. 16. (F. 133 v.) A Burial Service within a chapel. Nos. 1-4 and 
 13-14 have diaper backgrounds in blue, red, and burnished gold. 
 
 This manuscript is interesting for its quaintness of composition, free- 
 dom of treatment, and freshness of colour. The Calendar, most of the 
 rubrics, and the prayers on the last eighteen pages are in French. 
 
 HOILE BEAT.E MARINE VIRGINIS. SJSG. XV. 
 
 4>to, red velvet, silver clasps, edges painted over the gilt. 
 
 A French Book of Hours written in gothic letters upon parchment at 
 the beginning of the fifteenth century. 247 X 175 mm. 
 
 There are 153 leaves including 12 for the Calendar, with 18 lines to the 
 page, and 31 miniatures, 12 large and 19 small. 
 
 The pages of the Calendar and text have lateral borders beautifully 
 painted in flowers, foliage, fruit, and scrolls in colours heightened with 
 gold on a tracery ground executed with a pen. The borders surrounding 
 the large miniatures and the opposite pages are of the same character, 
 but more elaborate, blue predominating, introducing grotesques. There 
 are inner borders of conventionalized flowers in colours on a ground of 
 burnished gold, also numerous large and small illuminated initials. 
 
 The large miniatures have oval tops and are painted on the verso of
 
 30 H01LE 
 
 the leaves. Their subjects are 1. (F. 13) The Crucifixion ; the Virgin and 
 the Beloved Disciple at the foot of the Cross, Jerusalem in the back- 
 ground. 2. (F. 20) The Descent of the Holy Spirit; an unusual com- 
 position in a portico. 3. (F. 38) The Annunciation, in a room of quaint 
 simplicity. 4. (F. 53) The Visitation of Elizabeth; in the background a 
 curious little chapel beside a rock. 5. (F. 62) The Nativity; the 
 "stable" a half-thatched structure formed of four poles open to the air. 
 6. (F. 67) The Announcement to the Shepherds. 7. (F. 72) The Adora- 
 tion of the Magi, one of them black. 8. (F. 76) The Presentation in the 
 Temple. 9. (F. 81) The Flight. 10. (F. 88) The Massacre of the 
 Innocents. 11. (F. 105) King David praying; two warriors fighting in 
 the background. 12. (F. 121) The Raising of Lazarus. 
 
 The subjects of the small miniatures are five scenes from the Passion 
 (ff. 15-19) and various saints (ff. 31-37); St. Michael, St. John the 
 Baptist, St. Peter, St. Adrian, St. Sebastian, St. Anthony, St. Catherine, 
 St. Barbara, St. Margaret, St. Apollonia, St. Margaret, and St. Mary 
 Magdalene. On folio 93 r. is the Coronation of the Virgin by the Trinity. 
 
 The work of two artists is evident in this volume, the graceful borders 
 having been executed by the more skilful. The formal drawing of the 
 miniatures points to the end of the fourteenth century as the date of 
 the manuscript, but the style of the borders shows a later development 
 of art. With the exception of brilliant blue, the colours of the large minia- 
 tures are subdued. The Calendar and most of the rubrics are in French. 
 
 HOILE BEAT.E MARINE VIRGINIS. SJSG. XV. 
 
 4to, brown levant morocco elaborately tooled in a Grolieresque 
 design with azured scrolls, the compartments thickly studded 
 with dots, vellum linings, gilt edges, by Riviere. In a blue 
 levant morocco case. 
 
 A French Book of Hours written in gothic letters upon vellum in the 
 early part of the fifteenth century. 202 X 147 mm. 
 
 It contains 144 leaves, including 12 for the Calendar, with 15 lines to 
 the page; 12 large miniatures within borders and 5 other borders, of a 
 floral design in brilliant colours, the stems traced in ink, the leaves in 
 burnished gold. 
 
 The Calendar, which is in French, is written in red, blue, and bur- 
 nished gold letters, with 12 large illuminated initials.
 
 HOR.E 31 
 
 The subjects of the miniatures are 1. (F. 19 r.) The Annunciation. 
 2. (F. 30 r.) The Visitation of Elizabeth. 3. (F. 45 r.) The Nativity. 
 4. (F. 50 r.) The Announcement to the Shepherds. 5. (F. 53 v.) The 
 Adoration of the Magi. 6. (F. 56 v.) The Presentation in the Temple. 
 7. (F. 59 v.) The Flight into Egypt. 8. (F. 65 v.) The Coronation of the 
 Virgin. 9. (F. 79 r.) King David praying. 10. (F. 98 r.) The Crucifixion. 
 11. (F. 101 v.) The Descent of the Holy Spirit. 12. (F. 105 r.) A Burial 
 Service. 
 
 At least two artists appear to have illuminated this manuscript, for 
 some of the miniatures are in more brilliant colours and more elabo- 
 rately detailed than others, with freer use of burnished gold. The 
 varying expressions of the faces is especially remarkable, also the grace- 
 ful, rich borders. 
 
 Occasional rubrics and the final prayer (ff. 135-144) beginning 
 "Doulce dame de misericorde," are in French. 
 
 HOR.E BEAT.E MARINE VIRGINIS. SJEC. XV. 
 
 Small 8vo, Lavalliere morocco covered with mosaic com- 
 partments of maroon morocco tooled in flowers, azured orna- 
 ments, and dots, doubled with vellum, gilt edges, in a brown 
 morocco case, by Joly ; his last mosaic binding, as certified by 
 him on the final fly-leaf. 
 
 A French Book of Hours written in gothic characters upon the finest 
 vellum in the early part of the fifteenth century. 171 X 97 mm. 
 
 There are 169 leaves (folios 7, 22, 38, 49, 55, 60, 65, and 105 blank), 
 including 6 for the Calendar, with 22 lines to the page; 11 full-page 
 miniatures surrounded by borders ornamented in the Italian arabesque 
 style in camaieu d'or and gris, on grounds of dull gold and various colours. 
 There are 24 borders in all, 11 around the miniatures, and as many on 
 the opposite pages, also numerous illuminated initials on coloured or 
 dull gold grounds. 
 
 The subjects of the miniatures, which are all on the verso of the pages, 
 are 1. (F. 8.) The Crucifixion. 2. (F. 15) The Descent of the Holy 
 Spirit. 3. (F. 23) The Annunciation. 4. (F. 39) The Visitation of Eliza- 
 beth. 5. (F. 50) The Nativity. 6. (F. 56) The Announcement to the 
 Shepherds. 7. (F. 61) The Adoration of the Magi, one of whom is 
 black. 8. (F. 69) The Flight into Egypt. 9. (F. 76) The Coronation of
 
 32 HOR.E 
 
 the Virgin, who is led to a throne upon which are seated God the 
 Father and God the Son, attended by an Angel. 10. (F. 89 v.) King 
 David praying. 11. (F. 106) The Raising of Lazarus. 
 The colouring throughout the volume is rich and varied. 
 
 HOILE BEAT^E MARI.E VIRGINIS. [CmcA 1430]. 
 
 4>to, crimson velvet, repousse silver clasps, red edges. In 
 a wrapper of yellow satin embroidered in a conventional 
 design in terra cotta and pink silk, and lined with terra cotta 
 satin; and also in a case of -maroon levant morocco lined with 
 maroon velvet. 
 
 A beautiful Book of Hours executed in northern France in gothic 
 letters upon fine vellum during the first half of the fifteenth century, prob- 
 ably about 1430. 202 X 142 mm. 
 
 Including the 12 folios for the Calendar it contains 187 leaves, with 17 
 lines to the page. There are 26 beautifully painted full-page miniatures 
 and 55 borders of fruit, flowers, birds, scrolls, and figures, all but 3 sur- 
 rounding the miniatures and the pages opposite them. The 6 figures in 
 each of the borders differentiate this manuscript from all the others in the 
 present collection. They represent warriors, angels playing musical in- 
 struments (surrounding miniatures containing the Virgin Mary), monks 
 and other ecclesiastics, laymen in costumes of the period, shepherds, and 
 acrobats. Accompanying the Prayer to St. Francis of Assisi (folio 181) 
 is a border containing six Franciscan monks painted within compart- 
 ments outlined by the rope of that Order. There are also hundreds of in- 
 itial letters and finials in colours and burnished gold. 
 
 The subjects of the miniatures, which have oval tops and are all 
 painted on the verso of the leaves, are 1. (F. 13) The Betrayal ; the Garden 
 of Olives represented as a wattled enclosure, with a hill upon which is the 
 Holy Grail. 2. (F. 15) The Flagellation. 3. (F. 17) Christ carrying the 
 Cross. 4. (F. 20) The Entombment. 5. (F. 22) The Resurrection. 6. 
 (F. 24) Christ delivering Souls from Hell ; the most original of the paint- 
 ings in design. 7. (F. 27) St. John the Evangelist on Patmos. 8. (F. 29) 
 St. Luke. 9. (F. 32) St. Matthew. 10. (F. 35) St. Mark. 11. (F. 37) 
 The Virgin Mary and the Infant Christ under a canopy of roses min- 
 istered to by two angels. 12. (F. 43) The Annunciation ; within a chapel. 
 13. (F. 61) The Visitation of Elizabeth; in the background a walled
 
 HORjE 33 
 
 castle near a river. 14. (F. 73) The Nativity; an angel and a maid- 
 servant attending the Holy Family, two Shepherds looking into the 
 stable. 15. (F. 78) The Announcement to the Shepherds, one of whom 
 is a woman; in the background a city beside a river upon which are 
 several ships; in the two borders shepherds and warriors. 16. (F. 83) 
 The Presentation in the Temple ; a group of seven persons in a portico. 
 17. (F. 88) The Adoration of the Magi. 18. (F. 93) The Flight into 
 Egypt. 19. (F. 101) The Coronation of the Virgin. 20. (F. 107) King 
 David praying; in the background an island upon which is a wind-mill. 
 21. (F. 128) A Burial Service in a chapel, a carefully executed paint- 
 ing containing statues in camaieu bleu in the vaulting and a representa- 
 tion of God the Father attended by two angels above the altar. 22. 
 (F. 170) The Virgin and Child ministered to by an angel. 23. (F. 173) 
 The Virgin at work weaving, the Infant Christ standing at her knee ; be- 
 side her sits an angel winding off wool upon a reel. 24. (F. 182) The 
 Martyrdom of St. Catherine. 25. (F. 184) St. Mary Magdalene. 26. 
 (F. 186) St. Susanna at the feet of Christ. 
 
 In composition of landscape and architectural detail, both exterior and 
 interior, this manuscript resembles those painted by the artists who 
 illuminated the Bedford Missal. The figure of St. Mark (f. 35) would 
 appear to have been painted by the same artist who executed the cor- 
 responding miniature in that volume. Many of the details are identical, 
 the vaulted ceiling with several windows in the background, the 
 winged lion leaning over the writing-desk, the instrument for steadying 
 the parchment, which St. Mark holds in his left hand, and the tea-kettle 
 hanging over the same kind of table. The colouring of the miniatures is 
 brilliant and fresh. 
 
 Upon the inside of the cover is the indorsement in Spanish, dated 
 1575, by a Dominican friar, Juan Perez, to the effect that he had ex- 
 amined and corrected the manuscript for the officials of the Inquisition. 
 There are one or two erasures in the text. 
 
 HOILE BEAT.E MARI^ VIRGINIS [CIRCA 1435]. 
 
 8vo, crimson velvet, with repousse plaque in silver on the 
 front cover, silver clasps, gilt edges. On the inside of the 
 clasp is engraved the name of Anna Barbara Magdalena 
 Honoldin, born 1762. 
 
 3
 
 34 HOR^E 
 
 A French Book of Hours written in gothic characters upon vellum 
 about 1435. 216 X 152 mm. 
 
 It contains 189 leaves, including 12 for the Calendar, with 16 lines to 
 the page, and 16 half-page miniatures, besides numerous illuminated 
 initials. 
 
 Each page has an elegant border of "line and leaf" design in black 
 tracery and gold. At the four corners of the text are ornaments formed of 
 interlacing bands of blue and red on a gold ground. Around the minia- 
 tures are remarkably brilliant borders of another style of art, supposed to 
 have been painted by the same artist that decorated the Bedford Missal. 
 They are of scrolls, flowers, foliage, etc., in red, blue, and green, with 
 gold ornaments. On folio 51 the background is of gold so heavily laid on 
 as to be in relief, and figures and animals are here introduced. At the 
 foot of the border on folio 93 are the arms of the Levis family, three 
 chevrons sable on a gold field, and on folio 77 they are combined with 
 other arms. The border on this page differs from most of the others in 
 containing birds and figures of the prophets. 
 
 The subjects of the miniatures are 1. (F. 23) The Annunciation. 
 2. (F. 42) The Visitation of Elizabeth. 3. (F. 51) The Adoration of the 
 Shepherds. 4. (F. 56) The Announcement to the Shepherds, a scene of 
 carefully executed detail. 5. (F. 62) The Presentation in the Temple. 
 6. (F. 66) The Flight into Egypt. 7. (F. 72) The Coronation of the Virgin ; 
 of exquisite finish, even to the halos. 8. (F. 77) David praying. 9. (F. 93) 
 The Betrayal. 10. (F. 98 v.) Christ before Pilate. 11. (F. 104) The 
 Scourging. 12. (F. 107) Christ bearing the Cross. 13. (F. 119) The En- 
 tombment. 14. (F. 126) The Descent of the Holy Ghost. 15. (F. 130) 
 A Burial Service. 16. (F. 169) The Last Judgment. 
 
 All of the miniatures are remarkable for their originality of design, 
 perfection of detail, and brilliancy of colour. 
 
 HOILE BEAT.E MARINE VIRGINIS. &EC. XV. 
 
 8vo, brown levant morocco tooled in a Grolieresque design 
 of fillets and azured arabesques, doubled with lighter brown 
 morocco tooled in fillets, vellum guards, gilt edges, by Cham- 
 bolle-Duru. 
 
 A French Book of Hours executed upon fine vellum in the early part 
 of the fifteenth century, evidently for use in England, as the Martyrdom
 
 HOILE 35 
 
 of St. Thomas a Becket and St. George and the Dragon are depicted in 
 the miniatures, and in the Calendar are the names of those English 
 Saints (December 29 and April 23) and of Edward the Confessor, January 
 5. The scribe was evidently French, as on folios 161-164 is the prayer 
 "Les XV joyes [de] nostre dame," beginning "Douce dame de miseri- 
 corde." 212 X 145 mm. 
 
 The volume contains 168 leaves (folios 10, 159, and 160 blank) in- 
 cluding 6 for the Calendar, with 19 lines to the page. There are 27 
 large finely executed miniatures surrounded by borders of foliage, 
 flowers, scrolls, and figures, in red, blue, and green, with stems in ink 
 and leaves in burnished gold. 
 
 The Calendar, written in red and black, contains 12 initial letters in 
 blue and red heightened with burnished gold, from which issue sprays of 
 flowers and foliage, the stems in ink, the leaves in gold, as in the borders. 
 This treatment of the initial letters is frequent throughout the manuscript. 
 
 The subjects of the miniatures are 1. (F. 7 r.) The Descent of the 
 Holy Spirit. 2. (F. 11 r.) The Trinity. 3. (F. 13 r.) St. John the Baptist 
 in the Wilderness. 4.(F. 14 v.) The Martyrdom of St. Thomas a Becket. 
 5. (F. 16 r.) St. George and the Dragon. 6. (F. 17 r.) St. Christopher. 
 7. (F. 18 v.) St. Catherine. 8. (F. 20 r.) St. Mary Magdalene. 9. (F. 
 21 v.) St. Margaret. 10. (F. 22 v.) St. Barbara. 11. (F. 24 r.) Christ 
 standing on a golden ball. 12. (F. 31 r.) The Annunciation. 13. (F. 37 v.) 
 The Betrayal. 14. (F. 49 r.) Christ before Pontius Pilate. 15. (F. 53 r.) 
 The Scourging. 16. (F. 56 r.) Christ bearing the Cross. 17. (F. 59 r.) 
 The Crucifixion. 18. (F. 62 r.) The Descent from the Cross. 19. (F. 
 64 v.) The Entombment. 20. (F. 69 r.) The Coronation of the Virgin, 
 who holds the Child. 21. (F. 81 r.) Adam and Eve in the Garden of 
 Eden, Christ being on the Cross in the Tree of Knowledge. 22. (F. 88 r.) 
 The Crucifixion with the two Thieves. 23. (F. 89 r.) The Last Judg- 
 ment. 24. (F. 106 r.) A Burial Service. 25. (F. 128 r.) The Ascension to 
 Heaven of three Souls. 26. (F. 141 r.) The Resurrection of Christ, with 
 all the symbols of the Passion. 27. (F. 147 r.) St. Jerome. 
 
 The paintings are interesting for their quaintness of design, especially 
 Nos. 21, 23, 25, and 26. The serpent in the Garden of Eden (folio 81) 
 is represented as a long-haired devil with claws and tail. The colouring 
 is brilliant, particularly the reds, one shade of which is quite unusual in 
 early manuscripts. The faces are expressive and the attention to detail,
 
 36 
 
 especially of costume, is noteworthy. The text is beautifully written 
 with frequent rubrication. 
 
 On the verso of folio 30 are the arms of the original owner painted in 
 gold and colours. 
 
 HOILE BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 Svo, vellum, entirely covered with borders of leaf-sprays, 
 marguerites, carnations, acorns, etc., and the interlaced 
 initials of Henri II and Diane de Poitiers many times re- 
 peated, gilt edges. In a modern case of red levant morocco. 
 
 A French Book of Hours written in gothic characters upon vellum in 
 the early part of the fifteenth century, and bound later for Henri II (1518- 
 1559) and Diane de Poitiers. 183 X 122 mm. 
 
 There are 73 leaves, including 6 for the Calendar, with 26 lines to the 
 page. The illuminations consist of 12 large and 27 small miniatures (of 
 which 24 are in the Calendar), borders, and numerous large and small 
 initial letters in gold on a ground of blue and red, or white on a ground 
 of gold. The Calendar (except the first page) and the text have lateral 
 borders of fruit, flowers, foliage, scrolls, grotesques, etc., in brilliant 
 colours, blue predominating, on a ground of white or gold, the latter in 
 geometrical figures. The pages containing miniatures have (with two 
 exceptions) full-page borders of a similar design, with flowers in brilliant 
 colours and scrolls in camaieu gris on a dull gold ground. 
 
 Each page of the Calendar contains in the border two small miniatures 
 depicting scenes appropriate to the month and the zodiacal signs, except 
 the recto of the first folio, which has a full-page border containing at the 
 foot the scene for the month. 
 
 The subjects of the large miniatures are 1. (F. 7 r.) The Four Evan- 
 gelists, in four compartments. 2. (F. 15 r.) The Annunciation, in a 
 border of architectural design, at the foot of which are two small minia- 
 tures of the meeting of Joachim and Anna outside the Golden Gate and 
 the Virgin Mary as a child going up to the Temple, Joachim and Anna 
 awaiting her. The wall back of the Virgin Mary and the Angel (in the 
 miniature of the Annunciation) has a blue drapery covered with fleurs- 
 de-lys in gold. 3. (F. 21 r.) The Visitation of Elizabeth, who is attended 
 by two angels. 4. (F. 27 r.) The Crucifixion between the two thieves; a 
 group of nine people at the foot of the Cross. 5. (F. 28 r.) The Descent of
 
 HOR.E 37 
 
 the Holy Spirit. 6. (F. 29 r.) The Nativity. 7. (F. 32 v. ) The Announce- 
 ment to four Shepherds, one of whom is a woman. 8. (F. 35 r.) The 
 Adoration of the Magi. 9. (F. 37 r.) The Presentation in the Temple. 
 
 10. (F. 40 v.) The Coronation of the Virgin Mary by God the Father. 
 
 11. (F. 52 r.) "Les trois vifs et les trois morts," the three living on horse- 
 back, a castle in the background ; in an architectural border of blue and 
 shaded gold, with a small miniature at the foot depicting another scene of 
 death. 12. (F. 67 v.) The Pieta; Mary seated at the foot of the Cross, 
 Christ across her knees, St. John the Evangelist and Salome attending 
 her ; a landscape in the background. The paintings are quaint in treat- 
 ment and brilliant in colour. 
 
 This manuscript is chiefly interesting because it belonged to Diane de 
 Poitiers. 
 
 HOILE BEAT.E MARINE VIRGINIS. SJEC. XV. 
 
 Small 4>to, red levant morocco, back, side borders and centre 
 ornaments in mosaic of dark brown morocco richly tooled in 
 heads and azured arabesques, vellum linings, gilt edges, by 
 Lortic. In a case of brown levant morocco. 
 
 A French Book of Hours written in gothic characters upon vellum in 
 the early part of the fifteenth century. 122 X 91 mm. 
 
 It consists of 224 leaves, including 12 for the Calendar, with 15 lines to 
 the page. Folios 42 and 121 are blank. There are 20 curious minia- 
 tures painted in camaieu gris heightened with gold. 
 
 The borders are of three kinds, scrolls in black and red ink issuing 
 from the initial letters; unilateral and bilateral "line and leaf" borders in 
 black and burnished gold with flowers and other ornaments in colours; 
 and full-page borders around the miniatures, "line and leaf," with 
 scrolls, animals, and figures in camaieu gris and dull gold. There are 
 numerous initial letters of various sizes in colours and burnished gold, 
 several with grotesque heads. 
 
 The subjects of the miniatures, which have oval tops, are 1. (F. 13 r.) 
 The Descent of the Holy Spirit. 2. (F. 22 r.) The Ascension. 3. (F. 26 r.) 
 The Trinity. 4. (F. 28 v.) Christ teaching his disciples to pray. 5. (F. 
 31 r.) The Beheading of St. James the Major ( ?). 6. (F, 33 r.) The 
 Crucifixion of St. Andrew, who was bound by cords instead of by nails. 
 7. (F. 35 v.) The Martyrdom of St. Stephen. 8. (F. 39 r.) The Martyr-
 
 38 HORJE 
 
 dom of a Saint whose feet were cut off. 9. (F. 59 r.) The Betrayal. 10. 
 (F. 70 v.) Christ before Pilate. 11. (F. 82 r.) The Scourging. 12. (F. 
 87 v.) The Platting of the Crown of Thorns. 13. (F. 92 v.) Christ carry- 
 ing the Cross. 14. (F. 97 v.) The Jews mocking Christ on the Cross. 
 15. (F. 102 r.) The Descent from the Cross. 16. (F. 110 v.) The En- 
 tombment. 17. (F. 116 r.) The Crucifixion. 18. (F. 122 r.) King David 
 praying. 19. (F. 142) The Last Judgment. 20. (F. 188 r.) St. 
 Barbara. 
 
 The subjects of some of the miniatures are unusual and the treatment 
 is interesting. Two scribes evidently worked upon the manuscript, as 
 folios 43-58, 158-174 recto and 207-224 differ from the rest of the volume. 
 The Calendar and several of the rubrics are in French. 
 
 The entire manuscript is extremely sombre in tone. 
 
 HOR^E BEAT^E MARINE VIRGINIS. SJEC. XV. 
 
 4fo, in a modern French binding of green levant morocco, 
 richly tooled in compartments "au pointille" in the manner 
 of Le Gascon, doubled with red morocco, finished in a style 
 corresponding with the interior, gilt edges. In a green morocco 
 case lined with blue velvet. 
 
 A French Book of Hours written in large and small gothic letters upon 
 vellum during the early part of the fifteenth century. 227 X 160 mm. 
 
 It consists of 253 leaves, including 10 for the Calendar (October and 
 November are lacking), with 15 lines to the page. There are 1 1 large oval- 
 topped miniatures surrounded by tracery borders introducing flowers, 
 foliage, etc., also many illuminated initials. 
 
 The subjects of the miniatures are the four Evangelists, the Annuncia- 
 tion, the Visitation of Elizabeth, the Nativity, etc., the usual paintings 
 found in Horce. 
 
 HOR^E BEAT^E MARLE VIRGINIS. S^c. XV. 
 
 4to, original oak boards covered with old blue velvet, doubled 
 with old vellum, gilt edges. In a modern cloth case. 
 
 A superb French Book of Hours written in gothic characters upon 
 vellum in the first half of the fifteenth century. 241 X 161 mm. 
 
 It contains 170 leaves, including 12 for the Calendar, and the blank
 
 HOR.E 39 
 
 folio 96, with 15 lines to the page. These are 39 large and 874 small 
 miniatures, besides the 55 on the 24 pages of the Calendar, a total 
 of 968 paintings, including all the compartments. 
 
 The pages of the Calendar, which is written in French in letters of red, 
 blue, and burnished gold, are surrounded by beautiful borders of minia- 
 tures in from one to three compartments. On the verso of the leaves are 
 the signs of the zodiac in medallion form painted in blue heightened 
 with gold ; on the rectos are similar medallions containing scenes appro- 
 priate to the months, and interesting in their conception, e. g., for March, 
 the hewing of trees (f. 3 r.) and Lenten preaching (f. 3 v.); for April, 
 confession, the celebration of the mass, and communion, three com- 
 partments (f. 4 r.). 
 
 fj All of the pages of text are surrounded by elaborate and carefully exe- 
 cuted "line and leaf" borders in black and burnished gold with corner 
 sprays of flowers in blue, green, dull red, and camaieu d'or. The small 
 miniatures are in these borders, three on each page, at the top, at the 
 outer side, and at the bottom. 
 
 The subjects of the large miniatures, which are almost all divided into 
 compartments, are 1. (F. 13 r.) The Four Evangelists, in four compart- 
 ments at the top of the page; below, the Preaching of St. John the 
 Evangelist and his Martyrdom. 2. (F. 15 r.) The Annunciation, sur- 
 rounded by six compartments : Joachim offering the lamb to Issacher, the 
 High-Priest ; Joachim, surrounded by his shepherds, receiving the Mes- 
 sage of the Angel ; the meeting of Joachim and Anna before the Golden 
 Gate ; the Birth of the Virgin ; her Marriage and her miraculous Ascen- 
 sion in the Temple. 3. (F. 32 r.) The Visitation of Elizabeth; in the 
 border, Elizabeth and Mary conversing, the Birth of John the Baptist, 
 the Baptism of Christ, and John the Baptist preaching in the Wilderness 
 to a company of coloured people. 4. (F. 43 v.) The Nativity, two groups 
 of white and of black people in the background ; in the border scenes of 
 feasting and dancing. 5. (F. 47 v.) The Announcement to the Shep- 
 herds, two of whom are women. This miniature covers the entire page 
 except for a large and a small illuminated initial and four lines of text. 
 6. (F. Sir.) The Adoration of the Magi ; in the border two compartments 
 showing the three Magi on horseback with a cavalcade on their way to 
 Bethlehem, and a third representing them in the Temple saluting the 
 High-Priest before visiting the Manger. 7. (F. 54 v.) The Presentation in
 
 40 HORM 
 
 the Temple; below, the Circumcision, the page surrounded by an archi- 
 tectural border in camaieu d'or containing niches in which are ten figures 
 of Saints. 8. (F. 58 r.) The Flight into Egypt; in the border the pursuit 
 by Herod's soldiers and the Massacre of the Innocents, Herod enthroned 
 and surrounded by his courtiers. 9. (F. 63 v.) The Coronation of the 
 Virgin by the Trinity; in the border her Death and Ascension. 10. 
 (F. 83 v.) The Betrayal, Judas kissing Christ; in the border are three 
 compartments, Judas receiving money from the High-Priest, Christ 
 washing His Disciples' feet, and the Last Supper. The historiated initial 
 on this page represents Judas hanging himself. 11. (F. 85 r.) The Des- 
 cent of the Holy Spirit; in two lower compartments Christ sitting at 
 meat with the two Disciples at Emmaus, and the Ascension. 12. (F. 86 v.) 
 The Agony in the Garden ; in the two lower compartments, Christ led 
 before Caiaphas and the Scourging. 13. (F. 88 r.) Christ bearing the 
 Cross, preceded by the two thieves chained and entirely nude, and accom- 
 panied by priests and soldiers on horseback leaving the gates of Jerusa- 
 lem ; in the two lower compartments, the making of the Cross and a 
 woman forging the nails on an anvil. 14. (F. 89 v.) The nailing of Christ 
 to the Cross ; below, St. Veronica with the Sudarium and St. John and 
 women saints consoling the Virgin. 15. (F. 91 r.) The Crucifixion, a 
 large group surrounding the three Crosses. This is one of the finest of 
 the miniatures in detail and colouring. Below are the soldiers disput- 
 ing and casting lots for the garments. 16. (F. 92 v.) The Descent from 
 the Cross, Joseph of Arimathea and his servants, St. John, the Virgin, 
 and St. Mary Magdalene assisting ; below is a representation of Christ 
 on the Virgin's lap, surrounded by Joseph of Arimathea and the 
 women. 17. (F. 94 r.) The Entombment and the Resurrection, two 
 compartments. 18. (F. 97 r.) King David praying; in the border David 
 the boy tending his sheep and playing the harp, and David slaying 
 Goliath. 19. (F. 116 r.) The Last Judgment; in the border the Devil 
 driving his victims into the flames; above, nine groups of Saints; in 
 the historiated initial, a monk kneeling in prayer. 20. (F. 147 r.) The 
 Virgin and Child surrounded by Angels ; in the border below, two women 
 in prayer, of whom the one kneeling on the prie-dieu may be the person 
 for whom the manuscript was executed. 21. (F. 151 v.) The Trinity; 
 below, in the border, the Virgin kneeling in prayer. 22. (F. 152 v.) The 
 Martyrdom of St. Peter and the Conversion of St. Paul, blinded on the
 
 HOR.E 41 
 
 road to Damascus, two compartments at the top; below, in the border, 
 the Martyrdom of St. Paul. 23. (F. 153 v.) The Martyrdom of St. 
 John the Baptist; below, in the border, Salome carrying his head to 
 her mother and Herod. 24. (F. 154 v.) St. Michael killing the dragon; 
 below, in the border, angels singing. 25. (F. 155 v.) The Martyr- 
 dom of St. Stephen ; in the border below, St. Stephen disputing with the 
 doctors. 26. (F. 156 v.) The Martyrdom of St. Laurence; in the bor- 
 der, below, St. Laurence led before the tribunal. 27. (F. 157 v.) St. 
 Christopher carrying Christ; below, the Martyrdom of St. Christopher. 
 28. (F. 158 v.) St. George killing the dragon; below, the Martyrdom of 
 St. George. 29. (F. 159 v.) St. Nicholas bringing the three children to 
 life; below, the consecration of St. Nicholas by two Bishops. 30. (F. 
 160 v.) St. Eloy restoring a horse's leg; below, his consecration at Rouen 
 as Bishop of Noyon. 31. (F. 161 v.) St. Martin dividing his cloak with 
 the beggar; below, his consecration as Bishop of Tours. 32. (F. 162 v.) 
 The Martyrdom of St. Sebastian; and St. Sebastian preaching. 33. (F. 
 163 v.) The Temptation of St. Anthony. 34. (F. 164 v.) Christ appearing 
 to St. Mary Magdalene in the Garden ; below, her Communion and her 
 Ascension. 35. (F. 165 v.) St. Catherine as Queen, holding a sword and 
 reading a book; below, her martyrdom. 36. (F. 166 v.) St. Margaret in 
 prison with the dragon; below, St. Margaret tending her sheep. 37. 
 (F. 157 v.) The Martyrdom of St. Apollonia, with two small miniatures 
 in the border. 38. (F. 168 v.) The Eleven Thousand Virgins ; two minia- 
 tures. 39. (F. 169 v.) Various Saints. 
 
 A distinctive feature of this manuscript is that the three miniatures in 
 the border of each page not containing large miniatures are repeated on 
 the verso of the page, but reversed. These small miniatures may be 
 divided into three groups, according to their subjects: 1. Sacred scenes, 
 e. g., the Creation of the World, the Temptation in the Garden of Eden, 
 Adam and Eve driven from the Garden, the Murder of Abel, ff. 16-24; 
 the history of Joseph, in 35 miniatures, ff . 25 et seq. ; the story of Moses, 
 a long series beginning on f. 53; the Passion, f. 86; David's life, ff. 
 97-108; scenes from the Apocalypse and the lives of the Saints. 2. Ob- 
 scoena (ff. 81 and 109) and grotesques, e. g., imaginary animals such as 
 monsters with the head of a unicorn and the tail of a dragon, lions, 
 eagles and camels with double and triple heads, nude boys or monkeys 
 mounted on chimeras, monkeys or other animals playing on musical in-
 
 42 HOILE 
 
 struments, a mouse sitting before a cat, etc. 3. Scenes from celebrated 
 romances or fabliaux of the Middle Ages, possibly from the collection of 
 fables and moralities known as Ysopet. 
 
 At least two artists painted the beautiful miniatures in this manu- 
 script (cf. ff. 91, 92, 94, and 97), the more skilful of the two having exe- 
 cuted the greater number. Both belonged to the school of Touraine, and 
 it is not improbable that the manuscript was executed in Tours, as in the 
 background of the large miniature representing St. Martin (f. 161 v.) is 
 the church of St.-Martin-de-Tours, exactly as it was in the fifteenth cen- 
 tury, with its three Roman towers. On the gable is a gilded statue of St. 
 Martin. 
 
 Fleurs-de-lys occur in twelve of the small miniatures, but probably only 
 as ornaments. At the bottom of folio 86 recto is a centaur blowing a 
 trumpet, upon a banner attached to which is a double-headed eagle, possi- 
 bly a coat-of-arms. 
 
 In variety of composition,. beauty of colouring, delicacy of finish, and 
 immaculateness, this manuscript is one of the finest examples of French 
 miniature art of the period. It was formerly in the collection of Henri 
 Bordes. 
 
 HOILE BEAT.E MARI^ VIRGINIS. SJEC. XV. 
 
 8vo, old calf, with the sides stamped and tooled in gold, 
 gilt edges. In a crimson morocco case. 
 
 A Flemish Book of Hours written in gothic characters upon vellum 
 during the first half of the fifteenth century, and evidently intended for 
 use in France. 189 X 130 mm. 
 
 It contains 169 leaves, including 6 for the Calendar, with 18 lines to 
 the page. There are 13 large and 45 small miniatures, including 24 in 
 the Calendar, numerous initial letters, and borders of scrolls, flowers, 
 foliage, birds, grotesques, etc., in brilliant colours on grounds of white 
 and dull gold in compartments, in the characteristic Flemish manner. 
 The borders accompanying the text are lateral, those around the large 
 miniatures are full-page. The latter contain inner borders of blue and 
 red ornaments on a burnished gold ground, and the miniatures them- 
 selves are within architectural borders, oval at the top, painted in shaded 
 gold, red, blue, etc. 
 
 The subjects of the large miniatures are 1. (F. 13 r.) The Betrayal.
 
 HOR.E 43 
 
 2. (F. 29 r.) The Annunciation; the Dove descending along rays of light 
 emanating from God the Father in the sky. This is one of the most care- 
 fully painted of the miniatures. 3. (F. 49 r.) The Visitation of Elizabeth. 
 4. (F. 59 r.) The Nativity. 5. (F. 64 v.) The Announcement to the 
 Shepherds, one of whom is a woman. The angel in the sky bears a scroll 
 with the inscription "Gloria in excelsis deo et in." 6. (F. 69 r.) The 
 Adoration of the Magi. 7. (F. 73 r.) The Presentation in the Temple. 8. 
 (F. 77 r.) The Massacre of the Innocents; a mother with her dead child 
 kneeling before Herod, on the ground a second corpse, in the back- 
 ground a soldier killing a third child. 9. (F. 83 v.) The Coronation of 
 the Virgin. 10. (F. 89 r.) The Crucifixion. 11. (F. 96 v.) The Descent of 
 the Holy Spirit. 12. (F. 102 r.) David and Bathsheba. 13. (F. 118 v.) 
 Job and a group of neighbours ; in the background a castle. 
 
 The subjects of the small miniatures are (ff. 7-12) the Four Evangel- 
 ists; (ff. 23-26) the Virgin and Child and the Pieta; (ff. 160-169) St. 
 Michael, St. John the Baptist, St. John the Evangelist, Sts. Peter and 
 Paul, St. Laurence, St. Eustace, St. Fiacre, St. Nicholas, St. Claudius, 
 St. Anthony, St. Maur, St. Mary Magdalene, St. Catherine, St. Margaret, 
 and St. Genevieve. 
 
 From the fact that there is a special prayer to St. Genevieve and an 
 accompanying miniature, and that in the Calendar occur the names of 
 St. Martin and St. Dionysius, written in burnished gold, it may be in- 
 ferred that this manuscript was intended for use in France. 
 
 Neither the painters of the miniatures nor of the borders were artists 
 of the first rank, but the colouring is good, being subdued rather than 
 brilliant, with frequent use of camaieu d'or. 
 
 HOILE BEAT.E MARLE VIRGINIS. S^c. XV. 
 
 4to, original brown morocco binding stamped in panels, 
 silver-gilt clasp, gauffred gilt edges. 
 
 A Flemish Book of Hours executed in large gothic characters upon 
 vellum during the first half of the fifteenth century, presumably for use 
 in France, according to the hagiographical indications in the Calendar. 
 205 X 137 mm. 
 
 It contains 164 leaves, with 15 lines to the page, besides 9 preliminary 
 and final leaves of prayers in script. Folio 26 is blank. There are 13 large 
 miniatures surrounded by "line and leaf" borders in black and bur-
 
 44 HORvE 
 
 nishcd gold, with flowers and scrolls in brilliant colours, besides hun- 
 dreds of illuminated initials. 
 
 The subjects of the miniatures are 1. (F. 27 r.) The Annunciation. 
 2. (F. 43 v.) The Visitation of Elizabeth. 3. (F. 54 r.) The Nativity. 
 4. (F. 58 v.) The Announcement to the Shepherds, one of whom is a 
 woman. 5. (F. 63 r.) The Adoration of the Magi. 6. (F. 67 r.) The 
 Presentation in the Temple. 7. (F. 71 r.) The Flight into Egypt. 8. 
 (F. 78 r.) The Coronation of the Virgin. 9. (F. 91 r.) King David pray- 
 ing. 10. (F. Ill r.) The Crucifixion. 11. (F. 114 v.) The Descent of the 
 Holy Spirit. 12. (F. 117 v.) A Burial Service within a chapel. 13. 
 (F. 157 r.) The Virgin and Child seated in a rose-arbour, attended 
 by an angel playing a flageolet. 
 
 Several of the prayers and rubrics are in French. Although not in the 
 highest style of art of the period, this volume is interesting as a fine, 
 boldly executed, and well preserved example of Flemish work. 
 
 HOILE BEAT.E MARLE VIRGINIS. &EC. XV. 
 
 4to, in an eighteenth century English binding of repousse 
 silver in an arabesque design upon red velvet, having in the 
 centre a blank escutcheon surmounted by a crown upheld by 
 two lions rampant, repousse clasps, a silver chain attached at 
 the top, gilt edges. 
 
 A Flemish Book of Hours written in large gothic letters upon vellum 
 during the first half of the fifteenth century. 157 X 109 mm. 
 
 There are 195 leaves, including 6 for the Calendar, with 14 lines to the 
 page. The illuminations are 12 large and 6 small miniatures, somewhat 
 rude in execution, all surrounded by architectural borders in shaded 
 gold, introducing red, green, and blue, besides numerous illuminated 
 initials. 
 
 The subjects of the large miniatures (folios 7-122) are the Betrayal, 
 St. John the Evangelist blessing the dead, the Annunciation, the Vision 
 of the Virgin and Child by Caesar Augustus, prophesied by the Sibyl 
 Tiburtina, the Nativity, the Adoration of the Magi, the Presentation in 
 the Temple, the Flight, the Death of the Virgin, the Crucifixion, the 
 Descent of the Holy Spirit, David as a warrior kneeling to receive the 
 blessing of the Prophet Nathan. 
 
 The subjects of the small miniatures (folios 23-37) are St. Luke, St.
 
 HOR.E 45 
 
 Matthew, and St. Mark, the Pieta, the Virgin and Child, and the Virgin 
 at the foot of the Cross. 
 
 HOR.E BEAT.E MARLE VIRGINIS. SJEC. XV. 
 
 4to, old French red morocco, side panels with corner orna- 
 ments, gilt back, gauf/red gilt edges. In an old case of mottled 
 calf. 
 
 A Flemish Book of Hours written in large and small gothic characters 
 upon vellum in the first part of the fifteenth century. 210 X 150 mm. 
 
 It contains 170 leaves, including 12 for the Calendar, with 15 lines to 
 the page. Folios 20, 84, and 126 are blank. There are 12 large miniatures 
 with oval tops, 2 historiated initials, and numerous large and small 
 capitals in colours and burnished gold. 
 
 The arrangement of the borders is somewhat unusual : throughout the 
 greater part of the manuscript the rectos of the folios have two lateral 
 borders, one on each side of the page, and the versos one border only, in a 
 delicately executed "line and leaf" design in black and burnished gold 
 with small but brilliant flowers. The borders around all of the large 
 miniatures except the first and the ninth are of a similar character but 
 more elaborate, with an inner narrow border of a conventional design 
 in red and blue on a ground of burnished gold. The borders on folios 
 21 and 85 are composed of thickly interlaced foliage, flowers and scrolls 
 producing a very brilliant effect. These pages contain the two historiated 
 initials, Joseph hammering legs into a table, and King David writing the 
 Psalms. In the lower part of this first border are two tiny miniatures 
 representing an Angel bringing food and the Virgin weaving. The full- 
 page borders on folios 13, 77, 118, and 122 are of a "line and leaf" 
 design. 
 
 The subjects of the miniatures are 1. (F. 21 r.) The Annunciation. 
 2. (F. 32 v.) The Visitation of Elizabeth ; in the distance a castle against a 
 diapered background of blue, red, and burnished gold. 3. (F. 44 r.) The 
 Nativity, a quaint composition showing castles in the distance against 
 a star-lit sky and the shepherds worshipping. 4. (F. 50 v.) The An- 
 nouncement to two Shepherds. 5. (F. 55 r.) The Adoration of the Magi. 
 6. (F. 59 v.) The Presentation in the Temple; a woman (probably 
 Salome) bearing two turtle-doves in a basket. 7. (F. 64 r.) The Flight 
 into Egypt, with a diapered background similar to that in No. 2. 8.
 
 46 HOR! 
 
 (F. 71 r.) The Coronation of the Virgin by God the Father, an Angel 
 kneeling behind Mary, the background in a diaper design. 9. (F. 85 r.) 
 King David praying. 10. (F. 103 r.) The Crucifixion, the Virgin and St. 
 John the Evangelist at the Cross, 11. (F. Ill r.) The Descent of the Holy 
 Spirit. 12. (F. 127 r.) A Burial Service in a church-yard. 
 
 Two artists evidently painted the illuminations in this manuscript, 
 for the borders appear to be French and the miniatures Flemish. 
 
 On folio 82 is a prayer in French to "Madame Sainte Margerite." At 
 the foot of folio 13 is written "Monasterii t Celle Abbatis Sept." 
 
 HOILE BEAT.E MARINE VIRGINIS SECUNDUM USUM 
 ANGLIC. CIRCA 1440. 
 
 Folio, old crimson velvet with elaborate corner pieces and 
 clasps of old silver niello work depicting Biblical scenes, gilt 
 edges. In a case of brown morocco. 
 
 An English Book of Hours written in gothic characters upon vellum 
 about 1440 presumably for William Herbert, first Earl of Pembroke. 
 290 X 210 mm. 
 
 It is divided into three parts, the first and third (folios 1-20 and 1-14) 
 consisting of English and Latin prayers which were added about the 
 middle of the sixteenth century. The Hours proper are written upon 195 
 leaves, with two columns to the page and 28 lines in each column. The 
 description of the miniatures is according to the consecutive foliation of 
 the three parts. 
 
 The illuminations consist of 284 exquisitely painted miniatures, of 
 which 29 are full-page with borders, and 260 smaller, the latter including 
 24 in the Calendar and 161 in the Psalter; also 42 full-page borders of 
 flowers, birds, chimeras, and human figures in brilliant colours height- 
 ened with shaded gold, besides hundreds of large and small illuminated 
 initial letters. 
 
 The subjects of the large miniatures are 1. (F. 27 v.) The Agony in 
 the Garden ; in the sky God the Father and four angels, in the background 
 Judas and a company of soldiers entering the Garden through a gate. 
 2. (F. 28 r.) The Annunciation; the scene is a carefully finished library, 
 through the open window of which is a charming little landscape; from 
 the upper left-hand corner golden rays, through which flies a white dove, 
 are shed upon the Virgin from the mouth of God the Father; below Him
 
 HOR^E 47 
 
 is an archway leading into a garden. 3. (F. 32 v.) The Betrayal; a 
 large group of Roman soldiers, to the left, outside the Garden, Sts. 
 James and John, in the background the towers of Jerusalem. 4. (F. 
 33 r.) The Visitation of Elizabeth; Zacharias approaching through a 
 courtyard at the right, a river and a landscape in the background at the 
 left. 5. (F. 51 v.) Christ before Pilate; through a window at the back of 
 the Judgment Hall, which is open at the side, with roof having a clock- 
 tower, is a tiny landscape. 6. (F. 52 r.) The Nativity; two angels kneel- 
 ing at the right, God the Father at the top of the painting shedding rays 
 of light on the Infant Christ ; in the background a landscape with a river 
 and the towers of Jerusalem. 7. (F. 55 v.) The Scourging; through an 
 open doorway at the right is seen the hall of Pilate with Roman soldiers, 
 at the left two windows commanding landscapes. 8. (F. 56 r.) The An- 
 nouncement to the Shepherds ; the scene is a field across which runs a 
 wattled fold; in the background the towers of Jerusalem. 9. (F. 58 v.) 
 Christ carrying the Cross ; in the left background the Virgin Mary and 
 others issuing from the doorway of Pilate's house. The costumes of the 
 soldiers in this painting are especially curious and interesting. 10. 
 (F. 59 r.) The Adoration of the Magi. 11. (F. 61 v.) The Crucifixion; 
 the Cross is surmounted by a small figure representing God the Father in 
 the act of blessing ; on the right a group of Roman soldiers, the foremost 
 of whom is the Centurion, who raises his hand towards the Cross ; above 
 him on a scroll is the legend " Vere filius dei erat." At the left are holy 
 women, in the background the towers of Jerusalem. 12. (F. 62 r.) The 
 Presentation in the Temple; a group of ten persons. 13. (F. 64 v.) The 
 Descent from the Cross ; Nicodemus and Joseph of Arimathea receiv- 
 ing the body. 14. (F. 65 r.) The Massacre of the Innocents; Herod, en- 
 throned, lifts his sceptre to strike a child held by a soldier ; through the 
 windows and an open archway is a landscape. 15. (F. 68 v.) The Entomb- 
 ment ; Joseph of Arimathea at the head of the tomb, Nicodemus at the 
 foot, Mary Magdalene anointing Christ's hand; a group of eleven per- 
 sons. In the background are boats sailing on a winding river, at the 
 left a man rowing a boat from under the water-gate of a castle. 16. 
 (F. 69 r.) The Flight into Egypt; in the background the towers of Jeru- 
 salem, a troop of horsemen issuing from a gateway in pursuit of the 
 fugitives. 17. (F. 73 v.) The Last Judgment; Christ seated on a rain- 
 bow, the graves opening below, at the left the gate of Heaven guarded by
 
 48 
 
 St. Peter, at the right, the jaws of Hell, near which hovers St. Michael, 
 with sword and scales in hand. 18. (F. 83 v.) The Raising of Lazarus; 
 the scene is the interior of a church, an unusual composition. 19. (F. 
 101 v.) Christ in the act of blessing; at the right kneels an angel in 
 prayer, at the left are two angels playing the harp and the viol, on the 
 columns at the side stand four angels blowing trumpets; in the back- 
 ground a landscape. 20. (F. 109 v.) Asaph writing the Psalms, seated in 
 a circular chair, his feet on a foot-stool, beside a blazing wood fire in an 
 open bed-chamber ; he wears a curious hat and a pair of horn spectacles. 
 21. (F. 120 v.) The Resurrection; Christ standing on the top of the 
 sepulchre surrounded by the symbols of the Passion and the heads of 
 Herod, Pilate, Annas, Caiaphas, and Judas. 22. (F. 124 v.) Three com- 
 partments; the one on the left depicts Jerusalem, in the foreground 
 David and his followers at the end of a winding path leading from the city- 
 gate; in the upper right-hand corner the High-Priest carrying the holy 
 oil issues from the city-gate accompanied by the chief men of the city; 
 in the lower right-hand corner five minstrels precede a priest who carries 
 a crown of gold and is followed by singers and women playing on harps 
 and viols. 23. (F. 133 v.) The Siege of Jerusalem; soldiers in the fore- 
 ground, one of them discharging a large cannon pointed towards the 
 walls of the city, in which a breach has already been made. In the streets 
 are women, one lamenting over a dead body. 24. (F. 142 v.) David 
 standing on a hill beyond Jerusalem overlooking the city ; in the streets 
 of the town and in the temple, a curious round building, the soldiers of 
 Antiochus are slaying their victims ; at the left, approaching the city, is a 
 large party of horsemen ; at the right is a greensward enclosed by a wall, 
 within which is a mother exhorting her seven sons, an illustration of 
 Maccabees 2, 7, "The constancy and cruel death of seven brethren and 
 their mother in one day, because they would not eat swine's flesh at the 
 king's commandment." Near by stands Antiochus with the swine's flesh 
 in his hand. 25. (F. 151 v.) Three scenes from the Passion ; in the lower 
 right-hand corner, Christ before Pilate ; at the left, the Scourging, in an 
 open alcove reached by steps; at the top of the page, the Crucifixion. 
 26. (F. 161 v.) Asaph seated in the forecourt of a house beating time for 
 three singers; on the left and right are fruit-gatherers; at the top is a 
 view of a service in an open-air church. 27. (F. 171 v.) In the background 
 a group of buildings symbolising the world, to which God the Father
 
 HOR.E 49 
 
 sends His Son, indicated by a child descending from the mouth of the 
 Father through golden rays. In the foreground is a group of twelve 
 persons, possibly representing prophets, who observe the vision of Christ. 
 At the left is a rocky prison through the bars of which are seen victims 
 awaiting their deliverance. 28. (F. 181 v.) A painting in five compart- 
 ments ; in the lower left-hand corner is David lying on a couch from 
 which he foresees in a vision the Death of Christ ; above are depicted the 
 Last Supper, the crucified Christ adored by angels, Christ holding the 
 chalice containing the host and a globe, in the lower right-hand corner 
 the celebration of the mass. 29. (F. 186 v.) The Ascension of a Soul to 
 Heaven, quaintly represented by a nude figure standing in a sheet up- 
 borne by four angels. Above are Christ and a choir of angels, below is the 
 open grave. 
 
 The 24 small miniatures in the Calendar are circular and occur at 
 the bottom of the pages within borders of scrolls and flowers in colours 
 heightened with gold. They represent scenes appropriate to the months 
 and the zodiacal signs. Beginning with a small miniature of Esdras 
 on folio 110 recto are 161 paintings illustrating the 150 Psalms. To 
 each Psalm is given a title-heading written in red ink, which is said to 
 be peculiar to the present manuscript, e. g., title to Psalm I, "Hue 
 pfalmu fecit efdras quado renouaint legem dm cobufta." After the 
 miniatures illustrating the Psalter are 12 others accompanying Cantica. 
 Preceding the Psalter are 63 more small paintings, of which 55 are of 
 saints, including St. Thomas of Canterbury, St. George, St. Edmund, 
 and St. Edward. 
 
 To each day of the month in the Calendar, which occupies six leaves, 
 is assigned a Latin verse, which usually, but not invariably, rhymes in 
 couplets. Where the saints' days or festivals occur, the name of the 
 saint or festival is skilfully introduced in the verse. The Calendar is of 
 further interest because of its marginal notes in Latin, written in a legible, 
 clerical hand, e. g., opposite February 23, "Obitus Humfridi ducis 
 glouceftrie anno dni M'mo. CCCCXLVI apud Byrie." There are nine of 
 these entries, all relating either to the House of York or to victories 
 gained by the Yorkists. The scribe was probably the chaplain of the 
 owner of the manuscript, who must have been a partisan of the House 
 of York. He would appear to have had a special interest in Richard, 
 Duke of Gloucester, afterwards Richard III, of whom he records the 
 birth and marriage, and also the birth of his eldest son. 
 
 4
 
 50 HOR.E 
 
 Although the volume was presumably executed in England, the 
 illuminations appear to have been painted by French and Flemish 
 artists. 
 
 There is every reason to believe that this manuscript was made for 
 William Herbert, first Earl of Pembroke. That his grandson owned it in 
 the middle of the sixteenth century is abundantly shown by the 20 pre- 
 liminary and 14 final leaves bound up with the volume. The first pre- 
 liminary leaf contains the illuminated arms of William Herbert, Earl of 
 Pembroke, who was made Knight of the Garter in 1548 for services 
 rendered to Henry VIII, by whom he was appointed one of the executors 
 of his will and a guardian and councillor to his son, Edward VI. On the 
 second leaf is painted a full-length portrait of the Earl, clad in silver and 
 gold armour, kneeling at a prie-dieu, before an altar, probably of the 
 old chapel at Wilton. To a pillar are attached his arms. The eighteen 
 leaves following contain Latin prayers apparently written in the reign of 
 Philip and Mary (1553-58). The first three leaves have borders of 
 flowers, scrolls, etc., and there are numerous illuminated initials. 
 
 The fourteen final leaves contain prayers in English, written in a bold 
 got hie character of the sixteenth century, the first page having an illum- 
 inated border. As these prayers were printed in 1545 and edited by 
 Queen Catherine Parr, and as her sister was first wife of William Her- 
 bert, Earl of Pembroke, it is by no means improbable that the Queen 
 wrote them especially for the use of her brother-in-law. 
 From the Borghese and Castellani collections. 
 
 HOILE BEAT^E MARINE VIRGINIS. CIRCA 1450. 
 
 [Folio 42 recto] Incipiunt hore beate marie virgis fecun- 
 dum confuetudinem anglie. 4to, dark brown levant mo- 
 rocco, tooled in a Grolieresque design of interlacing mosaic 
 bands in green, light brown, red, and blue morocco and small 
 mosaic ornaments, doubled with red morocco, narrow borders, 
 red moire silk guards, gilt edges, in a brown levant morocco 
 case, by Lortic. 
 
 A Book of Hours written upon vellum for use in England about 1450. 
 194 X 136 mm. 
 
 From the prayers addressed to English Saints (e. g., St. George, folio
 
 HOR.E 51 
 
 28), the costumes of many of the figures, especially in the Calendar, and 
 the general character of the art in the miniatures, it would appear to 
 be of English execution. Sir Francis Palgrave, however, judged it to 
 be French, and other authorities, Flemish. It was possibly executed by 
 an English scribe and foreign artists in England. 
 
 It contains 192 leaves, including 12 for the Calendar, with 18 lines to 
 the page. There are 23 large miniatures, 24 small ones in the Calendar, 
 and, in the text, 20 historiated initials (folios 58-63 and 90-108) repre- 
 senting saints and scenes from the life of Christ, besides numerous il- 
 luminated initials. 
 
 The 46 borders, apparently by French artists, are of different execu- 
 tion from the miniatures, which, in their quaintness and frequent 
 crudeness, represent a less advanced stage of art. The borders are com- 
 posed of flowers and fruit in gold and colours, blue predominating, with 
 stems traced in ink. On many pages are floral ornaments of black, gold, 
 and colours issuing from initial letters, the forerunner of the separate 
 border. The Calendar has 12 illuminated initials and no borders. At 
 the beginning of each month are two miniatures depicting appropriate 
 scenes accompanied by the signs of the zodiac. 
 
 The subjects of the large miniatures, which are painted on the versos 
 of the leaves, are 1. (F. 13) Christ standing before a screen held by two 
 angels, an open book in the left hand, the right raised, a golden ball be- 
 tween the feet. 2. (F. 22) God the Father enthroned supporting the 
 crucified Christ, whose feet rest on a golden ball. 3. (F. 25) St. John the 
 Baptist in the Wilderness. 4. (F. 27) St. George and the Dragon, a 
 crowned woman kneeling in the background. 5. (F. 29) St. Christo- 
 pher. 6. (F. 31) St. Anna holding the Virgin and Child, the upper back- 
 ground in a diaper pattern of red, blue, green, and gold. 7. (F. 33) St. 
 Mary Magdalene. 8. (F. 35) St. Catherine. 9. (F. 37) St. Margaret. 
 10. (F. 39) St. Barbara. 11. (F. 41) The Agony in the Garden. 12. 
 (F. 50) The Betrayal. 13. (F. 66) Christ before Pilate. 14. (F. 71) 
 The Scourging; witnessed by two groups of people, the one at the left 
 standing in a room the marquetry floor of which is in curious perspective. 
 15. (F. 75) Christ bearing the Cross. 16. (F. 78) The Crucifixion, with 
 a blue and gold floral background. 17. (F. 81) The Descent from the 
 Cross, against a background of similar design in rose and gold. 18. 
 (F. 84) The Entombment, with the three Crosses in the distance. 19.
 
 52 HOILE 
 
 (F. 109) The Last Judgment. 20. (F. 131) The Raising of Lazarus. 21. 
 (F. 156) Two "departing souls" ascending to Heaven in a winding-sheet 
 held by two angels, (iod the Father above in the clouds. 22. (F. 171) 
 The Resurrection, with all the symbols of the Passion. 23. (F. 179) St. 
 Jerome. 
 
 At the top of the first page of the Calendar is written : " Jesus have 
 merci upon us. John busshells boke tayller." 
 
 HOR/E BEAT^E MARINE VIRGINIS. S^c. XV. 
 
 12 mo, dark blue velvet, engraved silver-gilt corner pieces 
 and clasps, light blue silk linings, gauffred gilt edges. 
 
 A Flemish Book of Hours written upon fine vellum about the middle 
 of the fifteenth century. 127 X 92 mm. 
 
 It contains 176 leaves (folios 101 and 118 blank), including 12 for the 
 Calendar, which is in Latin and has illuminated initials; 16 lines to the 
 page. There are 13 large and 14 small miniatures, 20 borders composed 
 of flowers, insects, animals, etc., on a dull gold or grey ground, and num- 
 erous initials floriated in camaieu d'or or gris, or painted in blue, red, and 
 gold. From these latter initials occasionally issue scroll-like ornaments 
 in black or red ink. 
 
 The subjects of the large miniatures are 1. (F. 13 v.) The Crucifixion. 
 2. (F. 22 v.) The Descent of the Holy Ghost. 3. (F. 42 v.) The Annuncia- 
 tion, showing the interior of a bed-chamber and the Virgin kneeling before 
 a prie-dieu. 4. (F. 52 v.) The Visitation of Elizabeth. 5. (F. 67 r.) The 
 Nativity. 6. (F. 72 r.) The Announcement to the Shepherds, one of whom 
 is a woman. 7. (F. 77 r.) The Adoration of the Magi. 8. (F. 81 v.) The 
 Circumcision. 9. (F. 86 r.) The Massacre of the Innocents. 10. (F. 94 v.) 
 The Flight into Egypt. 11. (F. 102 v.) The Virgin and Child. 12. 
 (F. 119 v.) King David praying. 13. (F. 143 v.) A Burial Service. 
 
 The 14 small miniatures, which measure 27 X 27 mm., occur be- 
 tween folios 35-40 and 103-106, and represent Sts. John the Evangelist, 
 Luke, Matthew, and Mark, the Descent from the Cross, St. John the Bap- 
 tist, Sts. Peter and Paul, St. Sebastian, St. Christopher, St. Anthony, St. 
 Nicholas, St. Anna, St. Catherine, and St. Barbara. 
 
 The execution of all the miniatures is refined and delicate in colouring 
 and original in design.
 
 HOR^E 53 
 
 HOR,E BEAT^E MARLE VIRGINIS. SJEC. XV. 
 
 4tto, old brown morocco, tooled in a beautiful Grolieresque 
 design of interlacing fillets, scrolls, and azured silver orna- 
 ments, brass and leather clasps, gilt edges. 
 
 A French Book of Hours written about the middle of the fifteenth cen- 
 tury in large and small golhic characters upon vellum. 197 X 144 mm. 
 
 There are 162 leaves, including 12 for the Calendar, with 16 lines to the 
 page. Folios 13, 100, 105, and 110 are blank. The miniatures number 18. 
 
 Every page of text contains a lateral border delicately executed in a 
 "line and leaf" design traced in black and finished in burnished gold 
 with brightly coloured flowers. The pages containing miniatures have 
 more than usually elaborate internal borders, introducing a variety of 
 flowers and fruits. 
 
 The subjects of the miniatures are 1. (F. 14 r.) St. John the Evangelist 
 on Patmos. 2. (F. 15 v.) St. Luke. 3. (F. 17 v.) St. Matthew. 4. 
 (F. 19 v.) St. Mark. 5. (F. 28 r.) The Annunciation. 6. (F. 49 r.) The 
 Visitation of Elizabeth. 7. (F. 58 r.) The Nativity. 8. (F. 63 r.) The 
 Announcement to the Shepherds, one of whom is a woman. 9. (F. 66 v.) 
 The Adoration of the Magi, one of them a youth. 10. (F. 70 r.) The 
 Presentation in the Temple. 11. (F. 73 v.) The Flight into Egypt. 12. 
 (F. 79 v.) The Coronation of the Virgin. 13. (F. 84 r.) King David pray- 
 ing outside a chapel. 14. (F. 101 r.) The Crucifixion. 15. (F. 106 r.) 
 The Descent of the Holy Spirit. 16. (F. 1 1 1 r. ) A Burial Service within a 
 chapel. 17. (F. 155 r.) The Virgin and Child, two kneeling figures be- 
 side them, at the beginning of the French prayer " Doulce dame de miseri- 
 corde." 18. (F. 160 r.) The Trinity, at the beginning of the French 
 prayer, "Quelconques veult estre bien conseilles." 
 
 The colouring of this manuscript is fresh and pure. 
 
 HOR.E BEAT.E MARINE VIRGINIS. SJEC. XV. 
 
 4<to, in an eighteenth century Italian binding of mauve 
 velvet with heavy gold thread borders on the sides and back, 
 the lettering " Missale Romanum" [sic] lengthwise in the 
 back panel, red silk linings, gauffred gilt edges. 
 
 A Norman French Book of Hours written in gothic characters upon 
 vellum about the middle of the fifteenth centurv. 170 X 124 mm.
 
 54 HOR.E 
 
 It contains 173 leaves, including 12 for the Calendar, with 16 lines to 
 the page. On folios 172 verso and 173 recto is a Latin prayer written in a 
 cursive hand and on 173 verso a pen and ink drawing of the Virgin. 
 There are 12 large miniatures with oval tops surrounded by borders of 
 flowers, foliage, scrolls, fruit, etc., in colours heightened with gold. On 
 almost every folio are similar but less elaborate side borders. 
 
 The subjects of the miniatures are 1. (F. 25 r.) The Annunciation. 2. 
 (F. 43 r.) The Visitation of Elizabeth ; in the background a Norman castle 
 beside a river, the landscape in excellent perspective. 3. (F. 55 r.) The 
 Nativity; a Norman tower in the background. 4. (F. 60 r.) The An- 
 nouncement to the Shepherds ; several Norman towers beside a river in 
 the background. 5. (F. 64 v.) The Adoration of the Magi. 6. (F. 69 r.) 
 The Presentation in the Temple ; Salome attending with the offering of 
 three turtle-doves. 7. (F. 73 v.) The Flight into Egypt; a Norman castle 
 in the background. 8. (F. 81 r.) The Coronation of the Virgin. 9. 
 (F. 96 r.) King David praying before an altar in a church. 10. (F. 117 r.) 
 The Crucifixion; a Norman castle in the background. 11. (F. 120 v.) 
 The Descent of the Holy Spirit. 12. (F. 124 r.) A Burial Service outside 
 a mortuary chapel ; a group of seven persons including priests, mourners, 
 and grave-diggers. 
 
 HOR.E BEAT.E MARINE VIRGINIS. SJEC. XV. 
 
 Small 4-to, red morocco, gilt back, gilt edges, by Derome. 
 
 An Italian Book of Hours written in large and small gothic characters 
 upon vellum about the middle of the fifteenth century. 130 X 94 mm. 
 
 There are 184 leaves, including 12 for the Calendar, with 13 lines to the 
 page. Folios 84, 138, and 170 are blank. It contains 1 large minia- 
 ture, 4 historiated initials, and 9 other large capital letters painted in col- 
 ours on a burnished gold ground, issuing from which are lateral borders 
 composed of pen and ink scrolls, flowers in colours, and gilt balls. Spring- 
 ing from smaller initials of burnished gold or blue are scroll-like orna- 
 ments in blue and red ink, forming borders. 
 
 There are 5 full-page borders richly painted in flowers, vases, birds, and 
 scrolls in green, red, blue, yellow, and burnished gold, and one tri- 
 lateral border of the same character (folio 171). The 4 historiated ini- 
 tials occur on these bordered pages and depict the Virgin and Child 
 ffolio 13), a crowned skull (folio 86), King David (folio 139), and the
 
 HOR.E 55 
 
 Cross, the spear, and the sponge (folio 165). At the foot of this last page 
 is another Cross in burnished gold, on each side of which is an angel. 
 The first border, on folio 13, is the most elaborate of all, containing six 
 heads within gold borders, and at the foot, a blank coat-of-arms sup- 
 ported by two angels. 
 
 The only large miniature (folio 85 v.) represents "les trois vifs et les 
 trois morts." The dead are in a coffin with three compartments, the 
 centre one containing a crowned skeleton in a sitting posture. The living 
 (one of them a king) stand near and are admonished by a kneeling saint 
 who holds a scroll bearing the legend, "Sic eritis vobis." 
 
 From the collection of the Due de La Valliere. 
 
 HOR.E BEAT^E MARINE VIRGINIS. SJEC. XV. 
 
 4>to, brown levant morocco, back and sides gilt and blind- 
 tooled in panels, corner and centre ornaments, vellum linings, 
 gilt edges, by F. Bedford. 
 
 A Flemish Book of Hours written in gothic characters upon vellum 
 in the second half of the fifteenth century. 168 X 177 mm. 
 
 It contains 204 leaves, including 12 for the Calendar, which, like the 
 rubrics, is in French. Folios 13 and 30 are blank, but ruled in ink, 
 15 lines to the page. There are 12 large and 15 small miniatures of 
 the school of Memling, and 27 borders of unusual brilliancy (of which 
 12 surround the large miniatures) composed of scrolls, flowers, fruit, 
 birds, angels, etc., on a bright yellow ground. On folio 122, which 
 begins "Vigilles des mors," is the figure of a corpse with the legend on 
 a scroll, "La mort approche," etc. There are numerous large floriated 
 and historiated initials and smaller ones in dull gold on a blue or rose 
 ground, and in camaieu gris on a green and gold ground. 
 
 The subjects of the large miniatures are 1. (F. 14 v.) The Cruci- 
 fixion. 2. (F. 23 v.) The Descent of the Holy Spirit. 3. (F. 31 v.) The 
 Annunciation. 4. (F. 43 v.) The Visitation of Elizabeth. 5. (F. 56 v.) 
 The Nativity; four brilliant red angels in the sky. 6. (F. 72 v.) The 
 Circumcision. 7. (F. 78 v.) The Flight into Egypt. 8. (F. 87 v.) The 
 Coronation of the Virgin. 9. (F. 93 v.) The Virgin and the Infant 
 Christ, the face of the Virgin being the Memling type of Madonna. 
 10. (F. 103 v.) King David praying, a castle and a landscape in the 
 background. 11. (F. 177 r.) The crucified Christ appearing to the
 
 56 HOR.E 
 
 Virgin as she kneels in prayer. 12. (F. 187 v.) Two compartments 
 showing St. John the Baptist seated, with a book in his hand, and Salome 
 receiving his head. 
 
 The subjects of the small miniatures, which occur between folios 
 167 and 199, are, the Descent from the Cross, the crucified Christ and 
 the Virgin crowned by God the Father, the Crucifixion, the Trinity 
 (folio 190 v.), Sts. Peter and Paul, St. Sebastian in armour, St. An- 
 thony, St. Adrian, St. Piat, St. Mary Magdalene, St. Julian, St. Cath- 
 erine, St. Barbara, the Descent of the Holy Spirit, and St. Roch. 
 
 The colouring throughout the volume is brilliant, and the subjects 
 of some of the small miniatures are rather unusual, e. g., St. Piat, St. 
 Julian, and St. Sebastian in armour. 
 
 On the first of the two preliminary blank leaves is sixteenth century 
 handwriting in French. 
 
 HOILE BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 4to, brown levant morocco tooled in panels containing stars, 
 trefoils, and other small ornaments, vellum linings, gilt edges, 
 by F. Bedford. 
 
 A Flemish Book of Hours written in large and small gothic letters 
 upon the finest abortive vellum in the latter part of the fifteenth century. 
 195 X 136 mm. 
 
 There are 207 leaves, including 12 for the Calendar (which is in 
 French), with 18 lines to the page. It contains 31 large miniatures and 
 numerous initial letters in blue and red on a burnished gold ground. 
 
 On each page of text is a lateral border of delicate scrolls, fruit, 
 flowers, and foliage in gold and colours, blue predominating. Similar 
 borders extend around three sides of the pages containing miniatures. 
 
 The subjects of the miniatures are 1. (F. 13 r.) St. John the Evange- 
 list on Patmos. 2. (F. 14 v.) St. Luke. 3. (F. 16 r.) St. Matthew. 
 4. (F. 17 v.) St. Mark. 5. (F. 18 v.) The Betrayal, painted in dull 
 blue and green and camaieu (Tor. 6. (F. 25 r.) The Descent from the 
 Cross, in brilliant colours. 7. (F. 32 r.) The crowned Virgin and the 
 Infant Christ, at their feet a man kneeling, probably the one for whom 
 the manuscript was executed. 8. (F. 35 r.) The Annunciation, the 
 Angel's wings resembling peacock's feathers. 9. (F. 49) The Visita- 
 tion of Elizabeth; a castle on a hill of rocks in the background. 10.
 
 HOR.E 57 
 
 (F. 57 v.) The Adoration of the Shepherds. 11. (F. 61 r.) The Announce- 
 ment to the Shepherds. 12. (F. 64 v.) The Offerings of the Magi; 
 the Virgin and Child enthroned under a canopy. 13. (F. 67 v.) The 
 Presentation in the Temple. 14. (F. 71 r.) The Flight into Egypt. 
 15. (F. 80) The Crucifixion. 16. (F. 84) The Descent of the Holy 
 Ghost. 17. (F. 88) The Death of Goliath; the armies of the Israelites 
 and Philistines in the background. The number of figures in this paint- 
 ing and the finish of detail are remarkable. 18. (F. 104) "Les trois 
 vifs et les trois morts ; " a cross in the foreground, a walled castle in the 
 distance. 19. (F. 135 v.) St. Michael and two dragons. 20. (F. 136 v.) 
 St. John the Evangelist and St. John the Baptist in a hall, two of the 
 three pillars of which are studded with jewels. 21. (F. 137 v.) St. Peter 
 and St. Paul. 22. (F. 138 v.) St. Christopher approaching land on 
 which is St. George killing the dragon. 23. (F. 139 v.) St. Adrian and 
 St. Sebastian. 24. (F. 140 v.) St. James the Great and St. Bernard. 
 25. (F. 141 v.) The Martyrdom of St. Catherine. 26. (F. 142 v.) St. 
 Mary Magdalene and St. Martha. 27. (F. 143 v.) St. Apollonia and 
 St. Barbara. 28. (F. 144 v.) The Assumption ; the symbols of the four 
 Evangelists in the corners of the blue border surrounding the miniature. 
 29. (F. 155 v.) St. Gregory. 30. (F. 187 r.) St. Augustine. 31 (F. 
 195 r.) The Resurrection. 
 
 The paintings are delicate examples of Flemish art at its best period, 
 unsurpassed in brilliancy of colour, perspective, drawing, and perfection 
 of detail. At least two artists worked upon the volume, as may be seen 
 by comparing folios 80 and 88 with folio 25. The two former paintings, 
 in perspective and finish, suggest the school of Touraine. The grouping 
 of two unrelated saints, as in nos. 22, 23, 24, 26, and 27, is unusual. 
 
 The arms of the person for whom the volume was made occur twice 
 in the border on folio 35 recto. 
 
 From the Bragg collection. 
 
 HOR^E BEAT^E MARINE VIRGINIS. &EC. XV. 
 
 Small 8vo, dark blue morocco, gilt edges, silver clasp, by 
 Koehler. 
 
 A Book of Hours executed upon fine vellum in the fifteenth century 
 in France by a French scribe and a Flemish illuminator. 172 X 117 mm. 
 
 It contains 162 leaves, including 6 for the Calendar, with 20 lines to
 
 58 HOILE 
 
 the page. There are 12 large and 73 small miniatures in the borders 
 which combine with much originality foliage, flowers, various fruits, 
 birds, animals, grotesques, and chimeras. 
 
 The subjects of the large miniatures are 1. (F. 12 r.) The Annunci- 
 ation. 2. (F. 30 r.) The Nativity. 3. (F. 33 v.) The Announcement to 
 the Shepherds. 4. (F. 36 v.) The Adoration of the Magi. 5. (F. 39 r.) 
 The Presentation in the Temple. 6. (F. 42 r.) The Flight into Egypt. 
 7. (F. 46 r.) The Coronation of the Virgin. 8. (F. 49 v.) The Cruci- 
 fixion. 9. (F. 51 v.) The Descent of the Holy Spirit. 10. (F. 53 v.) 
 Uriah receiving the fatal message from King David. 11. (F. 65 v.) Job 
 conversing with his wife and friends. 12. (F. 161 r.) The Mass of St. 
 Gregory. The border of this last miniature is divided into compartments, 
 each of which contains an initial of the word "Regnee" at the foot of 
 the page. 
 
 The small miniatures depict scenes from the lives of Christ, the 
 Virgin, and various Saints, with the civil, religious, and military costumes 
 of the period. From the types of face in the paintings, the artist was 
 evidently Flemish, indeed, at first glance, the manuscript appears to be 
 entirely Flemish. Although not in the highest style of art, the miniatures 
 are vigorous in execution and pervaded with a sombre seriousness pos- 
 sessing a quaint charm. 
 
 From the mention throughout the manuscript of the names of saints 
 especially venerated in Paris, e. g., St. Denis, St. Aure or Avoie, St. 
 Opportune, St. Fiacre, and St. Mathurin, it would appear to have been 
 written in that city, but the hagiographical indications in the Calendar 
 and Litany do not confirm this hypothesis; e. g,, in the Calendar, where 
 St. Genevieve is not mentioned, are found the rarely used names Cheron 
 (May 28), patron saint of Chartres, St. Lifart (June 3), born at Orleans 
 and patron of Meung-sur-Loire, St. Calais (July 1), first abbe d'Anille 
 dans le Maine, St. Euverte (September 7), Bishop of Orleans, St. Solain, 
 Bishop of Chartres and patron saint of Blois, and St. Foi, patron saint 
 of Chartres. In addition, among the unusual names, rubricated, are those 
 of St. Gervais and St. Protais, patron saints of the city of Mans. These 
 facts would indicate that the scribe lived in Maine or Orleans. 
 
 Besides a number of unusual names, the Calendar contains also many 
 dialectical forms and orthographical peculiarities, e. g., St. Fellier 
 [Felix?] January 14; St. Memer [Mamert?] May 11; St. Liphard 
 [Lifart], St. Kalces [Calais], St. Bethelemer [Barthelemy] August 24.
 
 HOR.E 59 
 
 On the second of the four preliminary blank leaves is written, "Je 
 fuis a Damoifelle Jeanne de Malherbe 1567," which indicates that the 
 manuscript was undoubtedly owned by a member of the family of 
 Francois de Malherbe, the poet. 1555-1628. 
 
 From the library of Ambroise Firmin-Didot. 
 
 HOILE BEAT.E MARLE VIRGINIS. SJEC. XV. 
 
 4fo, red levant morocco delicately tooled in compartments 
 containing leaf-sprays, azured ornaments, and dots, doubled 
 with green morocco tooled in oval cartouches formed of leaf- 
 sprays containing floral ornaments, the intervals filled with 
 stars, dots, and other small tools, vellum guards, gilt edges, 
 by Riviere. In a green levant morocco case lined with green 
 velvet. 
 
 A French Book of Hours executed in large and small gothic characters 
 upon vellum, presumably after the middle of the fifteenth century for 
 Margaret of Anjou (1430-1482), wife of Henry VI of England, whose 
 portrait is supposed to be contained in the miniature on folio 230, 
 representing a noble lady kneeling before the Virgin and Child. 
 180 X 133 mm. 
 
 There are 238 leaves, including 12 for the Calendar, with 15 lines to 
 the page. Folios 32, 108, and 229 are blank. It contains 51 large and 
 24 small miniatures. 
 
 The pages of the Calendar and the text are surrounded by exquisitely 
 painted "line and leaf" borders of black and burnished gold with 
 flowers in brilliant colours. The pages containing miniatures have more 
 elaborate borders richly ornamented with thick sprays of flowers, 
 foliage, and scrolls in red, blue, and green, heightened with burnished 
 gold. 
 
 The subjects of the large miniatures, which have oval tops, are 1. (F. 
 13 r.) St. John the Evangelist on Patmos. 2. (F. 15 r.) St. Luke. 3. 
 (F. 17 r.) St. Matthew. 4. (F. 19 r.) St. Mark. 5. (F. 20 v.) Christ 
 before Pilate. 6. (F. 23 r.) The Virgin and Child enthroned under a 
 richly embroidered canopy in red and gold, the Child receiving a basket 
 of fruit from an angel. 7. (F. 27 v.) The Coronation of the Virgin, the 
 Child in her arms, two angels below playing an organ and a harp. 8.
 
 60 HOILE 
 
 (F. 33 r.) The Annunciation. 9. (F. 60 r.) The Visitation of Elizabeth. 
 10. (F. 72 v.) The Nativity. 11. (F. 76 r.) The Announcement to the 
 Shepherds. 12. (F. 84 r.) The Adoration of the Magi. 13. (F. 89 r.) 
 The Presentation in the Temple; the Virgin accompanied by Salome( ?) 
 bearing a basket with three turtle-doves. 14. (F. 94 r.) The Flight into 
 Egypt. 15. (F. 102 r.) The Coronation of the Virgin. 16. (F. 109 r.) 
 King David praying. 17. (F. 132 v.) The Agony in the Garden. 18. 
 (F. 134 v.) The Mocking of Christ. 19. (F. 136 v.) The Flagellation. 
 20. (F. 138 v.) Christ bearing the Cross. 21. (F. 140 v.) The Cruci- 
 fixion with the two thieves. 22. (F. 142 v.) The Descent from the 
 Cross. 23. (F. 144 v.) The Entombment. 24. (F. 146 v.) The Descent 
 of the Holy Spirit. 25. (F. 148 v.) The Announcement to the Shepherds ; 
 angels ringing bells in the sky. 26. (F. 150 r.) The Baptism of Christ 
 by John the Baptist. 27. (F. 151 v.) Peter baptising converts. 28. 
 (F. 153 r.) Peter preaching to converts. 29. (F. 154 v.) Two Apostles 
 (Peter and Paul?) kneeling in prayer outside a city (Rome?). 30. (F. 
 156.) The Descent of the Holy Spirit. 31. (F. 158 r.) A Burial Service. 
 32. (F. 209 r.) The Trinity. 33. (F. 210 v.) The Assumption of the 
 Virgin. 34. (F. 211 v.) St. Michael. 35. (F. 212 v.) St. John the Evan- 
 gelist. 36. (F. 213 v.) St. Simon and St. Jude. 37. (F. 215 r.) St. 
 Andrew. 38. (F. 216 r.) St. Thomas. 39. (F. 217 r.) St. Stephen. 
 40. (F. 218 r.) St. Dionysius (Denis). 41. (F. 219 v.) St. Laurence. 
 42. (F. 220 v.) St. John the Baptist. 43. (F. 221 v.) St. Martin. 44. (F. 
 222 v.) St. Nicholas. 45. (F. 223 v.) St. Anthony. 46. (F. 224 v.) St. 
 Anna and the Virgin Mary. 47. (F. 226 r.) St. Mary Magdalene. 48. 
 (F. 227 r.) St. Catherine. 49. (F. 228 r.) St. Margaret. 50. (F. 230 r.) 
 The Virgin Mary and the Child receiving the homage of a kneeling 
 woman supposed to be Margaret of Anjou. This miniature precedes 
 the prayer beginning "Doulce dame de misericorde." 51. (F. 235 v.) 
 The Last Judgment, preceding the prayer "Douls dieus douls pere 
 sainte trinite." 
 
 The 24 small miniatures are on the outer margins and at the foot of 
 pages containing the Calendar, and represent the signs of the zodiac and 
 scenes appropriate to the months. 
 
 The miniatures are of extremely fine and delicate execution and re- 
 markable for brilliancy of colour and variety of subject. The paintings 
 accompanying the eight divisions of the Hours proper, beginning with
 
 HOR^E 61 
 
 the Matins and ending with the Compline, are not the usual subjects. 
 Both borders and miniatures were painted by artists of a high order. 
 
 HOILE BEAT^E MARI.E VIRGINIS. S*sc. XV. 
 
 4to, old red velvet, inside borders of red morocco delicately 
 tooled, light blue silk panels, carved and chased silver-gilt 
 corners and clasps, gilt edges, by C. Smith. In a case of dark 
 mauve morocco lined with velvet. 
 
 A superb French Book of Hours written in large and small gothic 
 characters upon vellum presumably after the middle of the fifteenth 
 century. 235 X 168 mm. 
 
 It contains 211 leaves, including 12 for the Calendar, with 15 lines to 
 the page. Folios 27 and 97 are blank. There are 19 large and 56 small 
 miniatures, 24 of which are in the Calendar, making 75 in all. 
 
 All of the pages of the Calendar and text are surrounded by exquisite 
 "line and leaf" borders delicately painted in black and burnished gold. 
 The pages containing the large miniatures have more elaborate borders 
 of flowers, foliage, and scrolls in brilliant colours and burnished gold, 
 the one on folio 28 introducing four angels. 
 
 The subjects of the large miniatures are 1. (F. 13 r.) St. John 
 the Evangelist on Patmos, the Eagle holding his scroll, the Devil in the 
 background stealing his ink-well. 2. (F. 15 r.) St. Luke painting the 
 portrait of the Virgin Mary. 3. (F. 17 r.) St. Mark. 4. (F. 18 v.) St. 
 Matthew. These four miniatures measure about 73 X 67 mm. and are 
 quadrangular in form, the remaining ones being somewhat larger (about 
 105 X 65 mm.), with oval tops. 5. (F. 28 r.) The Annunciation. 6. 
 (F. 52 r.) The Visitation of Elizabeth; in the background a marine 
 landscape in curious perspective. 7. (F. 63 v.) The Nativity. 8. (F. 
 69 v.) The Announcement to the Shepherds. 9. (F. 74 v.) The Adora- 
 tion of the Magi. 10. (F. 79 r.) The Presentation in the Temple. 11. 
 (F. 83 v.) The Flight into Egypt, an angel attending, a river scene in 
 the background. 12. (F. 91 r.) The Coronation of the Virgin Mary by 
 God the Father, attended by six angels. 13. (F. 98 r.) King David 
 praying on a battlemented roof overlooking a river. 14. (F. 119 r.) The 
 Crucifixion; a soldier thrusting the spear into Christ's side. 15. (F. 
 127 r.) The Descent of the Holy Spirit. 16. (F. 134 r.) A Burial Service; 
 an unusual and interesting painting showing the Office for the Dead
 
 62 HOR.E 
 
 read over the corpse, which is about to be lowered into the tomb, 
 the mourners and priests in the foreground. In the background is 
 seen a struggle for the Spirit between the good and evil powers, and 
 the interposition of the Archangel Michael to frustrate the Devil. 17. 
 (F. 182 r.) The Virgin and Child attended by angels, beginning the 
 sen-ice, in French, "Les quinze joies de Notre Dame." 18. (F. 188 r.) 
 The Entombment, a curious composition preceding "Les cinq plaies," 
 in French, depicting Christ crucified standing in the tomb, surrounded 
 by the Virgin Mary, the Beloved Disciple and two angels bearing the 
 symbols of the Passion. 19. (F. 192 r.) The Trinity; God the Father 
 supporting the crucified Christ, and attended by four angels bearing the 
 symbols of the Passion. 
 
 The 24 small miniatures in the Calendar, representing the zodiacal 
 signs and scenes appropriate to the months, are on the recto of the pages 
 on the outer margin and at the foot, the former circular in shape, the 
 latter quadrangular. The remaining 32 small miniatures occur in the 
 outer margins of the borders from folios 193 to 211, and represent All 
 Saints, the Assumption of the Virgin, two Angels beside the Cross, St. 
 Michael, St. John the Baptist, Sts. Peter and Paul, St. Andrew, St. John 
 the Evangelist, St. James the Major, St. Thomas, St. Barthelemy, St. 
 Matthew, Sts. Simon and Jude, St. Matthias, St. Luke, St. Mark, St. 
 Stephen, St. Laurence, St. Vincent, St. Denis, St. Christopher, St. George, 
 St. Martin, St. Nicholas, St. Maurelio, St. Anthony of Padua, St. Fiacre, 
 St. Catherine, St. Margaret, St. Genevieve, St. Mary Magdalene, and St. 
 Anna. 
 
 The delicate execution, multiplicity of detail, perspective, and brilliant 
 colouring of all the miniatures, as well as the style of border, suggest 
 the preceding manuscript, which was executed for Margaret of Anjou. 
 The similarity is particularly evident in the eight paintings and borders 
 which accompany the Office of the Virgin. It is not unlikely that the 
 same artists executed both manuscripts. 
 
 Formerly in the library of the Duke of Sussex. 
 
 HOILE BEAT.E MARI.E VIRGINIS. SJEC. XV. 
 
 Small Svo, Lyonnese binding in calf on oak boards, stamped 
 in gold and with the name of its former owner, "Marie 
 Chariot," on both sides, gilt edges. In an embroidered 
 wrapper worked in silk.
 
 HORJE 63 
 
 A Flemish Book of Hours executed in large and small gothic letters 
 upon vellum in the fifteenth century, evidently for use in Paris, as St. 
 Denis and St. Genevieve are depicted among the miniatures. 183 X 125 mm. 
 
 There are 120 leaves, including 6 for the Calendar, with 22 lines to the 
 page. It contains 1 1 large and 46 small miniatures, 24 being in the Cal- 
 endar, which is written in blue, red, and burnished gold letters in French, 
 with trilateral borders of scrolls, flowers, animals, grotesques, etc., in 
 colours on a dull gold ground. At the side and bottom of each page are 
 miniatures depicting the signs of the zodiac and scenes appropriate to 
 the months. The pages of the text have lateral borders similar in design 
 to those in the Calendar, and there are also borders around the large 
 miniatures. 
 
 The subjects of the large miniatures are 1. (F. 17) The Annunciation. 
 2. (F. 33) The Visitation of Elizabeth; two Angels attending Mary, 
 Joseph leaning on a rail in the background. 3. (F. 44) The Announce- 
 ment to the Shepherds. 4. (F. 47) The Adoration of the Magi. 5. 
 (F. 50) The Presentation in the Temple; Joseph at the left carrying 
 the two turtle-doves. 6. (F. 53) The Massacre of the Innocents; 
 Mary, Christ, and Joseph escaping through a wheat-field in the back- 
 ground. 7. (F. 58) The Coronation of the Virgin. 8. (F. 62) The 
 Crucifixion. 9. (F. 65) The Descent of the Holy Spirit. 10. (F. 68) 
 David praying. 11. (F. 81) "Les trois vifs et les trois morts." 
 
 Scattered throughout the text are 22 small miniatures (folios 7-14 and 
 110-120), representing the Four Evangelists and scenes from the lives 
 of the Virgin, Christ, and the Saints. 
 
 On a preliminary blank leaf are "Oraisons sainct Gregoire" in man- 
 uscript, on three final blank leaves, "Officium de conceptione Virginis 
 Marie," both with initial letters in red and blue. 
 
 HOILE (GHETIDE). 1484-1485. 
 
 4to, oak boards covered with old blue velvet and doubled 
 with vellum. 
 
 A Dutch Book of Hours written in gothic characters upon fine vellum 
 in the latter part of the fifteenth century. 182 X 132 mm. 
 
 There are 166 leaves, including 12 for the Calendar and 2 (folios 1-2) 
 containing two diagrams in red and blue, with the dates 1484 and 1485. 
 Folios 15 and 112 are blank except for the rubrics. The first diagram
 
 64 IIOR.E 
 
 contains directions for finding the "golden number" for nineteen years, 
 beginning with 1484, and the new moon on the Calendar; the second 
 diagram explains the "Sunday letters" on the Calendar. These figures 
 are rather unusual in Books of Hours. 
 
 Almost every page contains on the left margin a border in fine pen 
 work of foliage, heads, etc., in blue, red, mauve, and green. The borders 
 at the beginning of the various divisions (folios 16, 50, 69, 90, 113, and 
 131 recto) are of the same character but much more elaborate, surround- 
 ing the entire page. There are numerous illuminated initials throughout 
 the volume, in four sizes, the largest measuring 59 X 49 mm. 
 
 HOR.E (GHETIDE). 1485-1490. 
 
 4to, old red velvet, silver-gilt clasps carved with the initials 
 "C" and "H," gilt edges. 
 
 A beautiful Dutch Book of Hours written in gothic characters upon 
 vellum, apparently for Cornells Crosinck, Lieutenant-Forester of Hol- 
 land, whose jurisdiction extended over nearly the whole of the ancient 
 Rhine country, and for his second wife, Hildegarde van Alkemade. 
 Their arms and initials are painted in the border on folio 109 verso, and 
 their initials are on the clasps. 210 X 151 mm. 
 
 There are 171 leaves, including 6 for the Calendar, with 22 lines to 
 the page; 14 large and 47 small miniatures, of which 28 are historiated 
 initials and 17 paintings in the borders. 
 
 The numerous borders are remarkable for variety of design, brilliant 
 colouring, and exquisite workmanship. Those surrounding the minia- 
 tures are richly decorated with birds, fruit, insects, and flowers (red 
 predominating) on a dull gold ground, or arabesques in blue and red, 
 birds, etc., on a white ground, with small ornaments in black and gold. 
 Seventeen of the small miniatures are painted in the borders, and on 
 folio 67 verso is a beautiful design of angels and foliage in camaieu d'or. 
 On the opposite page is a representation of the Tortures of Hell and the 
 Glories of Heaven, evidently of the Van Eyck school. Still another 
 variety of border is a graceful floral spray issuing from initial letters or 
 from the top and bottom of a straight, narrow lateral border in red, blue, 
 and gold. There are many large floriated and historiated initials, and 
 smaller initials in blue and burnished gold. 
 
 The subjects of the large miniatures are 1. (F. 7 v.) The Annuncia-
 
 HOR.E 65 
 
 tion, within an architectural border. 2. (F. 52 v.) The Crucifixion. 
 3. (F. 56 v.) The Descent of the Holy Spirit, within an architectural 
 border. 4. (F. 67 v.) The Trinity. 5. (F. 86 v.) The Mass of St. 
 Gregory. 6. (F. 88 v.) The Last Supper, an architectural border at 
 the top. 7. (F. 104 v.) Mater Dolorosa, in a border of camawu d'or 
 containing the Seven Stations of the Cross. 8. (F. 109 v.) St. Anna 
 and the Virgin and Child surrounded by Angels. 9. (F. 110 r.) The 
 Virgin and Child surrounded by Angels. 10. (F. 112 v.) The Virgin 
 and Child in the midst of their genealogical tree, Jesse recumbent on the 
 ground. 11. (F. 115 r.) The Virgin and Child, with St. Catherine on 
 the left and St. Agnes on the right, within a border of camaieu d'or. 12. 
 (F. 117 v.) The Coronation of the Virgin. 13. (F. 128 v.) The Last 
 Judgment, a curious composition representing St. Peter at the left 
 receiving the saved and Satan at the right, with horns and claws, casting 
 the lost into the flaming mouth of a dragon. 14. (F. 143 v.) Christ 
 descending into Hell. 
 
 The small miniatures represent scenes from the lives of Christ, the 
 Virgin, and Saints. On folio 120 verso are the figures of the two owners 
 of the book kneeling before the Virgin and Child; on folio 121 verso is 
 another representation of Vrouwe Crosinck kneeling before an altar and 
 supported by an angel. 
 
 This superb manuscript is of exceptional beauty and richness, and an 
 example of the best style of Flemish art in the latter part of the fifteenth 
 century. 
 
 The miniatures, evidently by several different Flemish artists, are 
 of the school of the Van Eycks. From the fact that neither the Calendar 
 nor the Litany of the Saints mentions St. Joseph, whose festival was 
 instituted at Rome in 1481, but not generally observed until 1490, and 
 that in the rubric on folio 120 verso mention is made of the death of 
 Pope Sixtus IV, in 1484, it is probable that the manuscript was exe- 
 cuted after 1484 and before 1490. 
 
 HOILE BEAT^E MARINE VIRGINIS. SJSG. XV. 
 
 Large 8t>0, old crimson velvet, gilt edges. In a modern 
 case of brown morocco. 
 
 A Flemish Book of Hours written in gothic characters upon vellum 
 during the latter part of the fifteenth century, apparently for use in 
 France. 222 X 139 mm. 
 
 5
 
 66 HOR.E 
 
 It contains 145 leaves, including 12 for the Calendar, with 22 lines to 
 the page. There are 72 miniatures, 20 large, 21 of medium size, and 31 
 small, borders around every page, and numerous illuminated initials. The 
 borders are in the Flemish and Italian manner, the miniatures appear 
 to have been painted by a Flemish artist under French influence, and the 
 Calendar, which is in French, shows the scribe to have written it for use 
 in France. 
 
 The borders are composed of fruits, flowers, foliage, scrolls, animals, 
 birds, etc., on a ground of gold or in compartments of white, gold, blue, 
 or red, in the Flemish manner, or in the Italian arabesque style in camaieu 
 d'or on a ground of deep blue. 
 
 The subjects of the large miniatures are 1. (F. 13 r.) St. John the 
 Evangelist on Patmos; the eagle holding his ink-horn, the Virgin and 
 Child supported by angels in the sky. The charming landscape in the 
 background suggests the school of Touraine. 2. (F. 18 r.) The Be- 
 trayal ; a large group of Roman soldiers, Peter in the foreground cutting 
 off 'the ear of Malchus. 3. (F. 38 v.) The Genealogical Tree of the Vir- 
 gin and Christ, represented by persons, Jesse recumbent on the ground. 
 4. (F. 39 r.) The Annunciation; in the border are painted lilies and the 
 inscription on a scroll, "Sicut lilium inter spinas." 5. (F. 54 v.) The 
 Visitation of Elizabeth; in the background a castle and a charming 
 landscape. 6. (F. 62 r.) The Crucifixion; with a similar background. 
 7. (F. 63 v.) The Descent of the Holy Spirit. 8. (F. 64 v.) The Nativity; 
 an angel kneels beside the Infant Christ, and in the background is the 
 same landscape as in Nos. 5 and 6, with the Shepherds kneeling. 9. (F. 
 70 r.) The Announcement to the Shepherds. 10. (F. 74 v.) The Adora- 
 tion of the Magi, one of whom is black ; the retinue of the kings is depicted 
 outside the stable. 11. (F. 79 r.) The Presentation in the Temple; 
 in the border lilies and roses. 12. (F. 83 v.) The Flight into Egypt. 13. 
 (F. 89 v.) The Virgin and Christ enthroned. 14. (F. 95 r.) Nathan re- 
 buking King David for his sin against Uriah. 15. (F. 95 v.) The Death 
 of Saul. 16. (F. 96 r.) David and Bathsheba. 17. (F. 110 r.) The 
 Raising of Lazarus. 18. (F. 110 v.) Job and his three Comforters. 19. 
 (F. Ill r.) "Les trois vifs et les trois morts"; the living on horseback 
 near a castle. 20. (F. 141 v.) The Holy Trinity. 
 
 The subjects of the medium-sized miniatures are 1-12. Scenes appro- 
 priate to the months, at the top of the rectos of all the pages of the Cal-
 
 HOR^E 67 
 
 endar. 13. (F. 17 v.) The Agony in the Garden. 14. (F. 38 r.) Joachim 
 and Anna meeting at the Golden Gate. 15. (F. 61 v.) The Pieta; the 
 Virgin with Christ on her knees surrounded by a group of holy women 
 and Joseph of Arimathea. 16. (F. 63 r.) The Ascension. 17. (F. 69 v.) 
 Christ enthroned. 18. (F. 78 v.)'The Circumcision. 19. (F. 83 r.) The 
 Massacre of the Innocents. 20. (F. 89 r.) Christ blessing the Virgin 
 Mary. 21. (F. 141 r.) God the Father enthroned. 
 
 Twelve of the small miniatures depict the zodiacal signs in circular 
 form at the foot of the rectos of the pages of the Calendar. The remain- 
 ing 19 small paintings depict St. Luke, St. Matthew, and St. Mark (folios 
 14-16), the Virgin and Child, the Assumption of the Virgin, and the 
 Mater Dolorosa, pierced with many swords (folios 26-31); an Angel 
 ministering to the Virgin (folio 33 r.), the Pieta, Christ before Pilate, the 
 Scourging, God the Father (2), the Entombment, the Descent from the 
 Cross (3), a Burial and a Communion Service, the Crucifixion, the Host, 
 St. Anna and the Virgin (2), the second time accompanied by St. 
 Nicholas. 
 
 On folios 13 recto and 38 verso are painted in the borders the arms of 
 the original owner, on the latter page both alone and impaled with others. 
 
 All of the miniatures are carefully painted, in gorgeous colours. 
 
 HOR^E BEAT.E MARINE VIRGINIS. &EC. XV. 
 
 4>to, old Flemish (?} red morocco, back and side panels elab- 
 orately tooled in scrolls, flowers, and small ornaments, gauffred 
 gilt edges. In a cloth case with brass clasps, lined with blue satin. 
 
 A Flemish Book of Hours written in gothic characters upon fine vellum 
 during the latter part of the fifteenth century. 166 X 117 mm. 
 
 It contains 206 leaves (folio 122 blank) including 13 for the Calendar, 
 with 14 lines to the page. There are 13 large and 40 small miniatures, 
 36 in the Calendar and 4 (the Evangelists) in the text. Almost every page 
 has a rich border of fruit, flowers, and birds on a dull gold ground, and 
 there are numerous floriated initials. 
 
 The Calendar, written in red and black in Latin, has a trilateral border 
 on each page, at the foot of which are miniatures appropriate to the 
 months, with the signs of the zodiac. The execution of these paintings is 
 not equal to that of the others throughout the volume, which are evi- 
 dently by a different artist.
 
 68 HOILE 
 
 The subjects of the large miniatures, all of which are on the verso of 
 the leaves, are 1. (F. 14) The Crucifixion; a fountain surrounded by 
 columns and open to the sky, a landscape in the background, for the most 
 part hidden by the panel containing the scene. 2. (F. 22) The Descent 
 of the Holy Ghost. 3. (F. 29) The Virgin and Child. 4. (F. 42) The 
 Annunciation ; the Angel surrounded by four smaller Angels. 5. (F. 62) 
 The Visitation of Elizabeth; two Flemish houses and a gateway in the 
 background. 6. (F. 75) The Nativity. 7. (F. 81) The Announcement 
 to the Shepherds. 8. (F. 87) The Adoration of the Magi, one of whom is 
 black. 9. (F. 93) The Presentation in the Temple. 10. (F. 99) The 
 Massacre of the Innocents. 11. (F. 108) The Flight into Egypt. 12. 
 (F. 123) The Last Judgment; Christ seated on a golden arc, His feet on 
 a ball, a sword extending from His left cheek, an olive branch from the 
 right, a crowd of people behind him, and below, the dead rising from 
 their graves. 13. (F. 147) The Raising of Lazarus. 
 
 The volume begins with "Hore sancte crucis" (folios 15-21) and 
 "Hore sancto spiritu" (folios 23-28). 
 
 The large miniatures and the borders were painted by an artist of the 
 first rank, with delicacy of technique and brilliancy of colouring. The 
 painting of the Virgin and Infant Christ on folio 29 verso is of such 
 beauty and perfection of finish that experts have considered it the work 
 of Hans Memling (d. 1494). The manuscript is a fine example of the 
 best Flemish art of the period in an interesting old binding. 
 
 HOILE (GHETIDE). S^c. XV. 
 
 [Folio 15] Hier beghint die cortte cruys getide. 
 
 [Folio 81] Hier beghint onfer lieuer wrouwen ancfkiin dat 
 ghemaect heuet die gloriofe doerluchtige doctoor ende ho- 
 nichuloepende barnaerdus abt van darendad. Svo, light 
 brown levant morocco, covered with a design of mosaic com- 
 partments in blue and brown morocco containing red flow- 
 ers, the intervals filled with ivory morocco, light green orna- 
 ments, and a design in small gold tools, doubled with vellum 
 tooled in gilt, gauffred gilt edges, by Mercier. In a blind- 
 tooled brown levant morocco case.
 
 HOR^E 69 
 
 A Dutch Book of Hours executed upon vellum presumably during the 
 second part of the fifteenth century. 168 X 113 mm. 
 
 It contains 164 leaves (folios 80, 120, and 121 blank but ruled) in- 
 cluding 13 for the Calendar, with 19 lines to the page. There are 14 large, 
 55 half-page, and 13 smaller miniatures besides numerous illuminated 
 initials. The Calendar, which is in Dutch, has large initials in blue 
 and red, but no borders. 
 
 Around the miniatures and in some instances on the opposite pages are 
 borders of fruit, flowers, birds, and insects, on a dull gold ground. On 
 some pages are scrolls and other ornaments in blue and red. 
 
 The large miniatures, except the last, are on the verso of the leaves; 
 their subjects are 1. (F. 14) The Crucifixion; the two Maries at the foot 
 of the Cross. 2. (F. 26) The Agony in the Garden ; an angel bearing the 
 Cross and other symbols of the Passion. 3. (F. 28) The Betrayal. 4. 
 (F. 32) Christ before Pilate. 5. (F. 35) The Scourging. 6. (F. 38) The 
 Platting of the Crown of Thorns. 7. (F. 43) The Crucifixion ; a second 
 representation, with Roman soldiers in the background. 8. (F. 48) The 
 Descent from the Cross. 9. (F. 50) The Entombment ; the Cross in the 
 distance. 10. (F. 63) The Mass of St. Gregory; the border, painted in 
 grey, depicting two open windows with three figures behind them, and, at 
 the foot, the pierced Hands and Heart. 11. (F. 122) King David praying. 
 12. (F. 139) The Martyrdom of St. Erasmus. 13. (F. 142) St. Chris- 
 topher. 14. (F. 148 r.) The Virgin and Child, with outstretched hand 
 holding a flower. 
 
 Folios 81 to 110 contain 55 small miniatures painted by "Barnaerdus 
 abt [abbot] van Darendad," as the transcription from folio 81 shows. 
 They are in a different manner from the other miniatures, quainter, and 
 with less brilliant colouring, and illustrate the Life and Passion of Christ. 
 Folios 111-119 contain thirteen Saints and Angels. The subjects are the 
 Symbols of the Passion, pierced Hands, Feet, and Heart, the Crown of 
 Thorns and the Rosary, seven times painted; the Annunciation; the 
 Visitation of Elizabeth ; the Announcement to the Shepherds ; the Adora- 
 tion of the Shepherds ; the Circumcision ; the Offerings of the Magi, one 
 of whom is black ; the Presentation in the Temple ; Simeon blessing 
 Christ in the Temple ; the Flight into Egypt ; Christ among the Doctors ; 
 the Virgin instructing Christ ; Christ's Baptism ; His Temptation by the 
 Devil; the Marriage of Cana; three Miracles, in one, a devil leaving the
 
 70 HOR.E 
 
 forehead of a boy ; the Raising of Lazarus, one of the group holding his 
 nose; Mary Magdalene anointing Christ's feet; the Last Supper; the 
 Agony in the Garden ; the Betrayal ; two scenes of Christ before Pilate ; 
 the Mocking of Christ ; Christ before Herod ; the Scourging ; the Crown- 
 ing with Thorns ; the People choosing between Christ and Barabbas ; 
 Christ bearing the Cross; the Nailing to the Cross; nine other scenes 
 connected with the Cross, including the Seven Words ; the Descent from 
 the Cross ; the Entombment ; the Descent into Hell ; the Resurrection ; 
 the Appearance to the Disciples; the Transfiguration, the footsteps 
 apparent on the hill ; the Descent of the Holy Ghost ; the Assumption 
 of the Virgin; the Last Judgment; the Trinity. The saints depicted 
 are Sts. Jerome, Michael, John the Baptist, John the Evangelist, Peter 
 and Paul, Cornelius, Martin, Anna, Catherine, Barbara, and Agnes. 
 The miniatures are generally of a high order of merit. 
 
 On the three preliminary blank leaves are Dutch arms drawn in ink 
 and early seventeenth century handwriting in Dutch, showing that this 
 manuscript was once the property of Dirck van Nuissenborch of Desselt 
 near Dort (Dordrecht), who has here recorded his family genealogy. 
 This record is continued on the verso of the last of the three final blank 
 leaves. 
 
 HOILE BEAT.E MARINE VIRGINIS. SJSG. XV. 
 
 4<o, green levant morocco, gilt back, doubled with red mo- 
 rocco, dentelle borders, gilt edges, by Cape. 
 
 A Flemish Book of Hours written in gothic characters upon vellum 
 during the second part of the fifteenth century. 165 X 115 mm. 
 
 It contains 188 leaves, including 12 for the Calendar, with 15 lines to 
 the page. The illuminations consist of 12 miniatures with oval tops, 
 surrounded by borders of flowers, foliage, birds, fruit, scrolls, etc., in 
 colours and burnished gold, the stems being traced with the pen. 170 
 pages of text have lateral borders, of similar but less elaborate character, 
 and on 5 pages are borders extending around three sides of the leaf, 
 with large initial letters in blue and red on a ground of burnished gold. 
 Throughout the manuscript are numerous smaller initials with this 
 arrangement of colour reversed. 
 
 The subjects of the miniatures are 1. (F. 28 r.) The Annunciation; 
 the Virgin seated under a canopy in a vaulted room, the Dove approach-
 
 HOR.E 71 
 
 ing her on a shaft of light issuing from God the Father, seen through a 
 window. 2. (F. 40 v.) The Visitation of Elizabeth. 3. (F. 53 r.) The 
 Nativity; the stable open to the star-light. 4. (F. 60 r.) The Announce- 
 ment to the Shepherds ; in the background a city of towers beside a river. 
 5. (F. 65 r.) The Adoration of the Magi; the same scene as No. 3. 6. 
 (F. 70 r.) The Presentation in the Temple. 7. (F. 75 r.) The Flight into 
 Egypt. 8. (F. 83 r.) The Coronation of the Virgin. 9. (F. 90 r.) King 
 David praying before an altar. 10. (F. 109 r.) The Crucifixion; the 
 Virgin and another holy woman (Salome ?) at the left, a group of Roman 
 soldiers at the right. 11. (F. 113 r.) The Descent of the Holy Spirit. 
 12. (F. 117 r.) A Burial Service in a church-yard, a group of eight figures 
 including priests, mourners, and the grave-digger. 
 
 According to the hagiographical indications in the Calendar (e. g., St. 
 Genevieve, January 3; St. Denis, October 9; St. Martin of Tours, 
 November 11) this manuscript was executed by a French scribe or in- 
 tended for use in France, and the borders are in the French manner also, 
 but the miniatures appear to have been painted by a Flemish artist. They 
 are beautifully executed, with rich colours and careful attention to de- 
 tails of architecture and costume. The perspective is excellent, and an 
 interesting feature is that the same background of a Flemish ( ?) city of 
 towers beside a river occurs in four of the paintings, Nos. 2, 4, 7, and 10. 
 The Calendar and two final prayers are in French. 
 
 HOILE BEAT^E MARINE VIRGINIS. SJEC. XV. 
 
 8vo, brown levant morocco, the sides and back tooled in 
 panels with corner and centre ornaments, vellum linings, gilt 
 edges, by Bedford. In a red silk wrapper. 
 
 A Flemish Book of Hours written in gothic characters upon fine 
 vellum in the latter part of the fifteenth century. 195 X 134 mm. 
 
 It contains 110 leaves including 12 for the Calendar, with 20 lines to 
 the page, and there are 1 1 large miniatures surrounded by borders com- 
 posed of fruit, flowers, birds, and insects on a dull gold ground, also 
 numerous large and small illuminated initials. 
 
 The subjects of the miniatures, which are painted on the rectos of the 
 leaves, are 1. (F. 20) The Annunciation. 2. (F. 31) The Visitation of 
 Elizabeth, Joseph accompanying Mary. 3. (F. 38) The Descent of the 
 Holy Spirit. 4. (F. 39) The Nativity. 5. (F. 43) The Announcement
 
 72 HOR.E 
 
 to the Shepherds. 6. (F. 46) The Adoration of the Magi. 7. (F. 49.) The 
 Presentation in the Temple. 8. (F. 51) The Flight into Egypt. 9. 
 (F. 55) The Coronation of the Virgin, a choir of angels in the background. 
 10. (F. 60) The Last Judgment. 11. (F. 74) The Raising of Lazarus. 
 
 All of the miniatures are delicately painted, with frequent use of dull 
 gold. 
 
 HOILE BEAT.E MARLE VIRGINIS. S^EC. XV. 
 
 24mo, old red morocco, gilt side borders and back, gilt edges. 
 In a modern case of brown morocco. 
 
 A beautiful little Flemish Book of Hours executed in the latter part of 
 the fifteenth century in gothic characters upon the finest of vellum. 86 X 
 61 mm. 
 
 It is written on 210 leaves, including 13 for the Calendar, with 15 
 lines to the page. Folio 128 is blank. The illuminations consist of 13 
 delicately painted large miniatures with oval tops, 1 small painting of 
 the Pieta (folio 200), 30 borders, and numerous large and small initial 
 letters in camdieu gris on a gold ground. The borders, with three ex- 
 ceptions, surround the miniatures and the opposite pages. They are com- 
 posed of flowers, fruits, birds, etc., exquisitely painted on a dull gold 
 ground, in the usual Flemish manner. 
 
 The subjects of the large miniatures, which are all on the verso of the 
 leaves, are 1. (F. 24) The Descent of the Holy Spirit. 2. (F. 31) The 
 Virgin and the Infant Christ. 3. (F. 41) The Annunciation. 4. (F. 63) 
 The Visitation of Elizabeth. 5. (F. 76) The Nativity. 6. (F. 82) The 
 Announcement to the Shepherds. 7. (F. 88) The Adoration of the Magi. 8. 
 (F. 94) The Circumcision. 9. (F.I 00) The Massacre of the Innocents. 10. 
 (F. 110) The Flight into Egypt. 11. (F. 117) The Coronation of the Virgin. 
 12. (F. 129) King David praying. 13. (F. 153) The Raising of Lazarus. 
 
 The miniatures are remarkable for delicacy of composition and bril- 
 liancy of colour. The manuscript was formerly in the collection of the 
 Comte de Mosbourg. 
 
 HOR.E BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 Small 4>to, old French red morocco, narrow filleted borders 
 on the sides, gilt ornaments on the back, a clasp of carved and 
 engraved silver on a silver-gilt ground, gilt edges.
 
 HOR.E 73 
 
 A French Book of Hours beautifully written in gothic characters upon 
 fine vellum in the second half of the fifteenth century. 173 X 126 mm. 
 
 There are 152 leaves, including 12 for the Calendar, with 15 lines to the 
 page; 4 large and 1 small miniatures. 
 
 Around three of the large miniatures and on the opposite pages are 
 brilliantly painted borders of flowers, fruit, birds, and insects, in red, 
 blue, and green on a dull gold ground. The fifth large miniature and the 
 page opposite (folios 109 and 110) have a flower and skull decoration in 
 bright colours and grey on a grey ground flecked with gold dots. On 
 both pages are scrolls bearing the legend, "Memento mori." The initial 
 letter on folio 110 is in camaieu d'or on a brown ground, and contains a 
 skull. The first page of the text has a border of brilliant flowers and foli- 
 age in camaieu gris on a dull gold ground. In addition, there are 6 lateral 
 borders of richly coloured flowers on a bright yellow ground, and nu- 
 merous illuminated initials in three sizes. 
 
 The subjects of the miniatures are 1. (F. 22 v.) The Descent of the Holy 
 Spirit. 2. (F. 34 v.) The Annunciation. 3. (F. 91 v.) King David 
 praying; a castle and a river in the background. 4. (F. 109 v.) "Les 
 trois vifs et les trois morts," with a skull border. 5. (F. 141 v.) St. John 
 the Baptist, the only small miniature. 
 
 The paintings are finely executed, with good perspective and careful 
 attention to facial expression and architectural detail. The Calendar 
 and the rubrics are in French. 
 
 On the first and last pages is written, in seventeenth century hand- 
 writing, "Guyon de Sardiere." 
 
 HOILE BEAT.E MARINE VIRGINIS. SJEC. XV. 
 
 Small 4to, mauve velvet, grey silk linings, gauffred silver- 
 gilt clasps, gilt edges. 
 
 A French Book of Hours written in large and small gothic letters 
 upon fine vellum in the second half of the fifteenth century. 157 X 107 
 mm. 
 
 There are 115 leaves, 12 containing the Calendar, with 17 lines to the 
 page, 14 fine large miniatures with oval tops, and numerous initial letters 
 in colours, camaieu gris, and gold. 
 
 Around the miniatures and on the opposite pages are beautiful borders 
 of flowers, fruit, birds, insects, human figures, and scrolls in brilliant
 
 74 HOKJB 
 
 colours and gold on a ground of dull gold, white, or blue studded with 
 gold dots. These borders are frequently divided into bands or compart- 
 ments of varied designs. 
 
 The subjects of the miniatures are 1. (F. 13 v.) St. John the Evangelist 
 on Patmos. 2. (F. 15 v.) The Annunciation, in two compartments, the 
 lower one representing the Virgin seated at work; surrounded by an 
 architectural border in cama'ieu d'or. 3. (F. 25 r.) The Visitation of 
 Elizabeth. 5. (F. 39 v.) The Announcement to the Shepherds. 6. 
 (F. 44 r.) The Adoration of the Magi. These last three paintings have 
 charming landscapes in the background. 7. (F. 47 v.) The Presentation 
 in the Temple, in two compartments, a small one below containing the 
 representation of a library with a reading-table; the border is of an 
 architectural design in blue and cama'ieu d'or. 8. (F. 52 r.) The Flight 
 into Egypt. 9. (F. 59 r.) The Massacre of the Innocents. The last 
 two paintings have beautiful landscapes. 10. (F. 63 r.) The Crucifixion. 
 11. (F. 56 v.) The Descent of the Holy Spirit. 12. (F. 69 v.) The Last 
 Judgment. 13. (F. 84 v.) A Burial Service in a chapel. 14. (F. 107 r.) 
 The Coronation of the Virgin. 
 
 The Calendar is in French and the manuscript was presumably exe- 
 cuted in Sens. 
 
 HOILE BEAT.E MARINE VIRGINIS. SJEC. XV. 
 
 24rao, dark brown levant morocco, blind-tooled borders on 
 the sides, in the front cover a silver plaque of the Virgin and 
 Child, in high relief, doubled with tight brown morocco, 
 narrow borders, gilt edges, by The Club Bindery. 
 
 A French Book of Hours written in the second half of the fifteenth 
 century in gothic characters upon the finest of vellum. 84 X 61 mm. 
 
 It has 182 leaves, including 12 for the Calendar, with 15 lines to the 
 page, and 10 large and 12 small miniatures. On the recto of each page of 
 the Calendar, around all the miniatures, on the pages opposite them, and 
 on 5 other pages are borders (37 in all) of flowers, fruit, birds, and insects 
 on a gold ground. At the foot of the borders in the Calendar are small 
 scenes appropriate to the month, on the outer margin the zodiacal signs 
 within circles. 
 
 The large miniatures have oval tops and are painted on the verso of the 
 leaves, the rectos being blank. The subjects are 1. (F. 13 v.) The Cruci-
 
 HOR.E 75 
 
 fixion. 2. (F. 18) The Descent of the Holy Spirit. 3. (F. 30) The An- 
 nunciation. 4. (F. 51) The Visitation. 5. (F. 64) The Nativity. 6. 
 (F. 70) The Announcement to two Shepherds. 7. (F. 80) The Circum- 
 cision. 8. (F. 99) The Coronation of the Virgin. 9. (F. 110) King 
 David praying outside of a castle. 10. (F. 131) The Raising of 
 Lazarus. 
 
 There are numerous large and small initial letters in camaieu gris on a 
 gold ground and in gold on a red ground, the latter with floral decorations 
 on the margins. 
 
 HOR^E BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 Heures de la Vierge frai^oises et latines, avec calendrier. 
 Folio, red velvet over oak boards, the edges painted upon 
 the gilt. In a case of green levant morocco. 
 
 A magnificent French Book of Hours written in gothic characters upon 
 vellum in the fifteenth century, for one of the family of Habert du Berry 
 d'Artois, possible progenitor of the poets Fra^ois, Pierre, Isaac (I and 
 II) and Suzanne Habert. The arms of the owner occur twice in the bor- 
 ders on folios 47 and 146, alone and impaled with those of the Pericard 
 family of Champagne, formerly' of the Netherlands. As the text is for 
 the most part in French verse, although written in long lines simulating 
 prose, it is not improbable that this poetical version of the Heures de la 
 Vierge was made by the member of the family of Habert for whom the 
 manuscript was executed. 266 X 185 mm. 
 
 There are 237 leaves, with 12 for the Calendar, and 16 lines to the 
 page. Folios 46 and 200 are blank. The illuminations consist of 29 
 large and 34 small miniatures, 24 of the latter in the Calendar, and all of 
 them in the borders. 
 
 Every page is surrounded by a rich "line and leaf" border in black and 
 burnished gold, introducing flowers, birds, animals, insects, centaurs, 
 grotesques, etc. In the lower part of the borders on the recto of the 
 leaves of the Calendar are square miniatures representing scenes ap- 
 propriate to each month; in the outer margins are the signs of the 
 zodiac in circular form. The borders surrounding the miniatures are 
 more elaborate than the others, having inner borders of red and blue on a 
 burnished gold ground, similar in treatment to the numerous large initial 
 letters throughout the volume.
 
 76 HORJE 
 
 The subjects of the miniatures are 1. (F. 13 r.) St. John the Evangelist 
 on Patmos; the Eagle holding the ink-well, which the Devil attempts to 
 snatch. 2. (F. 15 r.) St. Matthew. 3. (F. 17 r.) St. Luke painting the 
 portrait of the Virgin and Child. 4. (F. 19 r.) St. Mark. 5. (F. 21 r.) 
 The Betrayal ; in the four corners of the border are circular miniatures re- 
 lating to the Passion. 6. (F. 23 r.) Christ before Herod. 7. (F. 25 r.) 
 The Scourging. 8. (F. 27 r.) Christ bearing the Cross. 9. (F. 29) The 
 Crucifixion, the two thieves on each side. 10. (F. 31 r.) The Descent 
 from the Cross. 11. (F. 33 r.) The Entombment. 12. (F. 37 r.) The 
 Descent of the Holy Spirit. 13. (F. 47 r.) The Annunciation; in the 
 four corners of the border are 1 small and 3 larger circular miniatures 
 depicting the Angel appearing to Joachim, the Birth of the Virgin, her 
 Marriage, and an Angel ministering to her. An historiated initial on this 
 page represents the Meeting of Joachim and Anna. 14. (F. 63 r.) The 
 Visitation of Elizabeth; a handmaiden in the background. 15. (F. 77 v.) 
 The Nativity. 16. (F. 86 v.) The Announcement to the Shepherds, one 
 of whom is a woman; in the background a city. 17. (F. 93 r.) The 
 Adoration of the Magi. 18. (F. 99 r.) The Presentation in the Temple. 
 19. (F. 106 r.) The Flight into Egypt; in the background a charming 
 little landscape. 20. (F. 116 r.) The Coronation of the Virgin. 21. 
 (F. 127 r.) King David praying before an altar. 22. (F. 146 v.) The 
 Virgin and Child enthroned; kneeling at their feet are a man and 
 woman, possibly the original owners of the manuscript. In the margin 
 are the Habert and Pericard arms. 23. (F. 151 r.) The Pieta, within an 
 architectural border at the top of which are fleurs-de-lys in gold on a 
 blue ground. 24. (F. 156 r.) St. Michael and the Dragon. 25. (F. 158 r.) 
 St. Mary Magdalene and the resurrected Christ. 26. (F. 160 v.) St. 
 Christopher. 27. (F. 162 r.) The Martyrdom of St. Sebastian. 28. 
 (F. 178 r.) The Martyrdom of St. Catherine. 29. (F. 201 r.) A Burial 
 Service in a church-yard. In the outer margin of the border on folio 
 173 verso is an exquisitely painted representation of the crowned Virgin 
 and Child, whose face is covered by a transparent veil. 
 
 The paintings in this manuscript are remarkable for their architec- 
 tural detail, elaboration of costume, vigorous drawing, and beauty of 
 colour. Textually also the volume is of unusual interest, and may have 
 descended through three generations of the Habert family.
 
 HOR.E 77 
 
 HOILE BEATJE MARINE VIRGINIS. SMC. XV. 
 
 Svo, red levant morocco, gilt and blind-tooled in an Aldine 
 design of fillets and ornaments, doubled with blue morocco, 
 narrow borders, vellum guards, gilt edges, by Bretault. 
 
 A French Book of Hours written in roman characters of black, blue, 
 and red upon vellum in the second part of the fifteenth century. 192 X 
 125 mm. 
 
 It consists of 119 leaves, 4 containing the Calendar, with 21 lines to the 
 page ; the text is within borders of burnished gold, red, and blue. There 
 are 16 large and 44 small miniatures, of which 24 are in the Calendar. 
 The large paintings are surrounded by borders of flowers, fruit, birds, 
 insects, and grotesques in brilliant colours on a gold ground, with the 
 exception of two, which have borders of an architectural design, in 
 shaded gold. These are also numerous large and small initials in gold 
 on a blue and red ground. 
 
 The subjects of the large miniatures are 1. (F. 4 v.) The Creation of 
 Eve, a full-page painting showing in the background the Temptation 
 and Fall and the Expulsion from the Garden of Eden ; the border is of 
 architectural design in shaded gold, with a blank (or effaced) escutcheon. 
 2. (F. 5 r.) St. John the Evangelist on Patmos; of half-page size. 3. 
 (F. 9 r.) The Virgin and Child, two angels behind them playing the lute 
 and the harp. 4. (F. 13 r.) The Agony in the Garden; Judas and the 
 Roman soldiers advancing through a gate in the background. 5. (F. 
 20 r.) The Annunciation. 6. (F. 27 v.) The Visitation of Elizabeth. 7. 
 (F. 35 v.) The Crucifixion; the Virgin Mary and Mary Magdalene at 
 the foot of the Cross. 8. (F. 36 v.) The Descent of the Holy Spirit. 9. 
 (F. 37 v.) The Nativity. 10. (F. 41 r.) The Announcement to the Shep- 
 herds; in an architectural border. 11. (F. 44 v.) The Adoration of the 
 Magi. 12. (F. 48 r.) The Presentation in the Temple; a group of six 
 people including Joseph, Anna, and an acolyte. 13. (F. 51 v.) The 
 Flight into Egypt ; in the foot of the border a blank (or effaced) escutch- 
 eon. 14. (F. 57 r.) The Coronation of the Virgin. 15. (F. 71 r.) King 
 David receiving a messenger. 16. (F. 84 r.) Job with his wife and two 
 of his comforters. 
 
 The 24 miniatures in the Calendar are arranged with 2 on the 'outer 
 margin and 2 at the foot of the page, each of which contains two months 
 enclosed in borders of an architectural design in shaded gold. The sub-
 
 78 HOILE 
 
 jects are the zodiacal signs and rural scenes appropriate to the months. 
 The other 20 small miniatures depict (folios 6-11) St. Luke, St. Matthew, 
 St. Mark, and the Pieta; (folios 111-119) the Trinity, St. Michael, St. 
 John the Baptist, and St. John the Evangelist, Sts. Peter and Paul, St. 
 James the Major, St. Sebastian, St. Roch, St. Fiatrus, St. Anthony, 
 St. Anna, St. Mary Magdalene, St. Margaret, St. Catherine, St. Barbara, 
 St. Augustine. 
 
 The large miniatures are more highly finished than the small ones and 
 appear to have been painted by a more skilful artist than the one who 
 executed the small ones. The colours are extremely brilliant, with fre 
 quent use of dull gold. 
 
 HOR.E BEAT^E MARINE VIRGINIS. SJEC. XV. 
 
 4to, brmvn levant morocco, centre mosaic ornaments of 
 darker brown morocco in interlacing bands tooled with scrolls 
 and azured ornaments, gilt edges, by Cape. In a crimson 
 velvet wrapper. 
 
 A French Book of Hours written in gothic characters upon 196 vellum 
 leaves, with 13 lines to the page, during the second half of the fifteenth 
 century. 198 X 132 mm. 
 
 The Calendar, which is in French, occupies 12 leaves. Folio 82 is 
 blank. At the end of the volume are 3 leaves containing contemporary 
 handwriting. There are 6 large and 14 small miniatures surrounded by 
 delicately painted borders of fruit, flowers, birds, and grotesques, those 
 around the large paintings having a dull gold ground. The seven divi- 
 sions of the Hours proper (folios 28-76) have historiated initials with 
 borders, instead of the usual miniatures found in this part of similar 
 manuscripts. Throughout the volume are numerous illuminated initials. 
 
 The subjects of the large miniatures are 1. (F. 13 v.) St. John the Evan- 
 gelist on Patmos. 2. (F. 83 r.) The Annunciation. 3. (F. 97 r.) The 
 Crucifixion. 4. (F. 101 v.) The Descent of the Holy Spirit; in a portico 
 with a landscape in the distance. 5. (F. 105 r.) King David praying to 
 the crucified Christ, who sits on a rainbow accompanied by angels. 6. 
 (F. 129 r.) A Burial Service outside of a church. 
 
 The small miniatures represent Luke, Matthew, and Mark, in robes 
 with ermine collars (folios 15-19), the Pieta (folio 91), the Scourging of 
 Christ, St. Bernard of Clairvaux with the Devil attached by a chain, St.
 
 HOR^E 79 
 
 Benignus, St. John the Baptist, St. John the Evangelist, St. Sebastian, 
 St. Christopher, St. Barbara, St. Catherine, and St. Apollonia (folios 
 185-195). 
 
 HOILE BEAT.E MARLE VIRGINIS. &EC. XV. 
 
 4>to, Lavalliere morocco covered with a Grolieresque design 
 of interlacing mosaic bands in maroon and dark and light 
 brown morocco tooled in azured ornaments, doubled with green 
 morocco gilt-tooled "a la fanfare," guards of cloth of gold, 
 gauffred gilt edges, by David; Marius Michel, gilder. In a 
 case of brown morocco. 
 
 A French Book of Hours written in large and small gothic letters upon 
 vellum during the second half of the fifteenth century. 172 X 126 mm. 
 
 There are 127 leaves, including 6 for the Calendar, and 21 lines to the 
 page ; 65 miniatures, 13 large and 52 small, of which 24 are in the Cal- 
 endar. The pages surrounding the Calendar and the miniatures have 
 borders of flowers, foliage, and a variety of grotesques in brilliant colours 
 on a dull gold ground. All of the other pages have side borders of the 
 same character, the designs for the most part being the same on the recto 
 and the verso of the leaves. 
 
 The subjects of the large miniatures are 1. (F. 7 r.) St. John the Evan- 
 gelist on Patmos; in an architectural border of shaded gold and blue. 
 2. (F. 19 r.) The Annunciation; the scene is a jewelled portico contain- 
 ing statues of three saints, the Virgin kneeling under a canopy, a land- 
 scape in the background. This painting is surrounded by a miniature 
 border containing seven small scenes from the life of the Virgin. 3. 
 (F. 34 v.) The Visitation of Elizabeth, one of the most carefully 
 painted of the illuminations. 4. (F. 42 v.) The Nativity; Joseph drying 
 a piece of linen before the fire, two Shepherds outside the stable. 5. 
 (F. 46 v.) The Announcement to the Shepherds; in the sky two angels 
 holding a golden scroll on which is written "Gloria." 6. (F. 49 v.) The 
 Adoration of the Magi; also exquisitely painted. 7. (F. 52 v.) The 
 Presentation in the Temple. 8. (F. 55 v.) The Massacre of the Inno- 
 cents; Herod enthroned commanding two soldiers; through a window 
 is seen the Flight into Egypt. 9. (F. 64 r.) The Crucifixion; the Virgin 
 and three other holy women at the left of the Cross, a Roman soldier on 
 horseback at the right, a group of soldiers in the background. 10. (F.
 
 80 HOR.E 
 
 66 v.) The Descent of the Holy Spirit. 11. (F. 69 r.) David and Bath-' 
 sheba, who, attended by two serving-women, sits on the edge of a foun- 
 tain bathing her feet ; surrounded by a border of architectural design in 
 shaded gold and red introducing cupids. 12. (F. 81 v.) Death, astride a 
 bull, killing a lady, evidently on her way to mass ; on the ground lies her 
 companion, dead. 13. (F. 109 r.) The Pieta; the Virgin with Christ on 
 her knees attended by a group of holy women, including Mary Magda- 
 lene with her vase of ointment. 
 
 The 24 small miniatures in the Calendar represent scenes appropriate 
 to the months and the zodiacal signs. The former are in the upper part 
 of the pages with oval tops and pillars at each side ; the latter are at the 
 foot. Nos. 25-27 (folios 9-12) represent St. Luke, St. Matthew, and St. 
 Mark. On folio 13 are Nos. 28-31, in an architectural border of four 
 compartments containing the Crucifixion, the Descent from the Cross, 
 the Entombment by Joseph of Arimathea, and the Pieta. 32. (F. 14 v.) 
 St. Anna and the Virgin as a Child in prayer. 33. (F. 17 r.) St. Ber- 
 nard of Clairvaux; the Devil stealing his ink-well. 34-40. (F. 19 r.) A 
 miniature border with seven compartments; at the left a saint with a 
 scroll bearing the legend "Ecce virgo," below him another saint, with 
 the completion of the device, "et pariet"; at the right the meeting of 
 Joachim and Anna, the Birth of the Virgin, the Benediction by the High 
 Priest, the Annunciation, and the Marriage of the Virgin and Joseph. 
 41. (F. 112 r.) The Virgin and Child within a crescent. 41-52. (Ff. 
 122-127) St. Michael with a pair of scales, Sts. John the Baptist and 
 the Evangelist, Sts. Peter and Paul, St. James the Major, St. Stephen, 
 St. Mary Magdalene, St. Catherine, St. Margaret, St. Barbara, St. 
 Apollonia. 
 
 The Calendar is in French, also the prayers from folios 114-121. From 
 the hagiographical indications in the Calendar, the manuscript was evi- 
 dently intended for use in France, but the borders and some of the minia- 
 tures show Flemish influence. More than one scribe worked upon this 
 volume, and it is possible that two or more artists illuminated it. All of 
 the large miniatures are brilliantly painted, with much originality, and 
 are superior in execution to the others. 
 
 On nine vellum fly-leaves at the beginning and end of the volume is a 
 description of the miniatures in French, dated 1866. 
 
 From the collection of Henri Bordes.
 
 HORJ5 81 
 
 HOILE BEAT^E MARINE VIRGINIS. S^c. XV. 
 
 4o, original blue velvet covers, gilt edges. In a modern 
 case of red levant morocco. 
 
 A beautiful French Book of Hours written in the latter part of the fif- 
 teenth century, in gothic letters upon fine vellum. 171 X 115 mm. 
 
 There are 217 leaves, including 12 for the Calendar, with 15 lines to 
 the page. It contains 14 large and 5 small miniatures, 3 of the latter 
 within borders, 24 elaborately painted miniature borders in the Calendar, 
 and 34 scenes of skull and cross-bones in the borders. 
 
 On all of the pages of the Calendar are depicted subjects appropriate 
 to the months, the text being in the centre in letters of burnished gold, red 
 and blue. On the verso of each leaf is a sign of the zodiac. From folios 
 13-148 and 207-217 there are side borders accompanying the text, com- 
 posed of flowers, foliage, fruit, and scrolls in bright colours on a ground 
 of gold, dark brown, and red. The pages of the Office of the Dead 
 (folios 149-206) have side borders composed of skulls and bones in 
 camaieu gris on a black ground, introducing the figures of Job, Satan, 
 Death carrying a coffin, Death with a spear, bishops, monks, angels, etc. 
 The borders surrounding the large miniatures are of architectural design 
 in camaieu d'or, or floral in colours on a gold ground. 
 
 The subjects of the large miniatures are 1. (F. 13 r.) St. John the 
 Evangelist on Patmos; full-page in a narrow gold border. 2. (F. 29 r.) 
 The Annunciation; within an architectural tablet. 3. (F. 58 r.) The 
 Visitation of Elizabeth; half-page, with a charming landscape in the 
 background. The lower part of the page contains a border of red and 
 white flowers on a ground of azured gold. This arrangement of border is 
 characteristic of the present manuscript and rather unusual. 4. (F. 
 72 r.) The Nativity; half-page, with border similar in effect to the one 
 surrounding No. 3. 5. (F. 79 v.) The Announcement to one Shepherd; 
 half-page, with lower border of red roses on a gold ground. 6. (F. 85 r.) 
 The Adoration of the Magi, one of whom is black ; a full-page painting 
 representing the manger with Corinthian columns. The border is of 
 jewels on a ground of camaieu d'or. 7. (F. 90 r.) The Presentation in the 
 Temple; of half-page size, containing the Virgin and Child, Joseph, 
 Simeon, and Salome, with border similar to No. 3. 8. (F. 96 r.) The 
 Flight into Egypt; full-page with a beautiful landscape in the back- 
 ground, the border jewelled. 9. (F. 104 r.) The Coronation of the Virgin ; 
 
 6
 
 82 HOR.E 
 
 half-page with lower floral border. 10. (F. Ill r.) David praying at the 
 entrance to a cave; within an architectural border containing in the 
 pediment the head of Christ surrounded by a wreath of laurel. 11. (F. 
 133 r.) The Crucifixion; full-page within a gold border; the Virgin and 
 St. John at the foot of the Cross. 12. (F. 142 r.) The Descent of the Holy 
 Spirit; half-page. 13. (F. 149 r.) Death sitting in a coffin; a jewelled 
 border surrounded by a second design of violets and skulls and bones in 
 gold. 14. (F. 207 v.) "C'est la mesure de la playe fire Seigneur," a 
 curious representation of Christ's wound enclosed in a golden vessel and 
 upheld by two kneeling angels, the whole within an elaborate architec- 
 tural border of camawu d'or. 
 
 The small miniatures represent St. Luke, St. Matthew, and St. Mark 
 (in the borders on folios 14 v., 1C r., and 18 r.), the Virgin and Child 
 (19 v.), and the Virgin (24 r.). 
 
 The colouring and perspective of all the exquisite miniatures in this 
 manuscript are suggestive of the school of Touraine. 
 
 HOILE BEAT^E MARINE VIRGINIS. &EC. XV. 
 
 4to, red levant morocco delicately tooled in an intricate 
 design of fillets and dots in compartments with mosaic orna- 
 ments of dark green and citron morocco, the tooling suggestive 
 of Le Gascon; doubled with brown morocco, wide aentelle 
 borders, red moire silk guards, gilt edges, by Cape. In a red 
 morocco case with old silver clasps. 
 
 A beautiful French Book of Hours written in gothic characters upon 
 vellum in the latter part of the fifteenth century. 167 X 122 mm. 
 
 There are 169 leaves, including 12 for the Calendar, 15 lines to the 
 page, with the exception of folio 13, which has 18 lines in different calli- 
 graphy from the rest of the volume. It contains 9 large miniatures with 
 oval tops and numerous illuminated initials. 
 
 Each painting is surrounded by a border of flowers, fruit, scrolls, 
 birds, insects, etc., in compartments on a gold or white ground. The 
 pages of text have side borders of similar design. 
 
 The subjects of the large miniatures are 1. (F. 13 r.) St. John the 
 Evangelist on Patmos. 2. (F. 49 r.) The Nativity. 3. (F. 56 r.) The 
 Announcement to the Shepherds. 4. (F. 61 r.) The Adoration of the 
 Magi. 5. (F. 69 r.) The Flight into Egypt. 6. (F. 77 r.) The Coro-
 
 HOR.E 83 
 
 nation of the Virgin. 7. (F. 83 r.) King David praying. 8. (F. 103 v.) 
 St. Veronica and the emblems of the Passion. 9. (F. 112 r.) St. Ber- 
 nard of Clairvaux seated writing at a desk beside which stands the devil 
 tempting him. 
 
 All of the miniatures are well painted, the first one evidently by a 
 different artist from the others, and in more delicate colours. 
 
 HORJE BEAT.E MARI.E VIRGINIS. SJEC. XV. 
 
 42o, old red morocco, the arms of Jean du Bouchet, Conseil- 
 ler du Roi (d. about 1685), on both sides, a monogram in the 
 corners and in the back panels, gilt edges. 
 
 A French Book of Hours written in the latter part of the fifteenth 
 century in large and small gothic letters upon vellum. 145 X 93 mm. 
 
 It contains 189 leaves, 12 being for the Calendar, a blank leaf (117), 
 and a frontispiece having on the verso a full-page miniature of the 
 owner of the manuscript kneeling in prayer, in a semi-open chapel 
 commanding a view of a walled town; St. John the Evangelist and St. 
 John the Baptist are standing behind him. At the top of the chapel 
 are his arms; on the recto of the leaf is another escutcheon (fourteen 
 ermines and crescents on a silver ground) surrounded by interlacing 
 ribbons of red and gold, with the initials "L. I." in the four corners. 
 The illumination on this page appears to have been added at a later 
 date. 
 
 There are 11 other beautiful half-page miniatures with oval tops, and 
 1 historiated initial (f. 54 r.) depicting the Visitation of Elizabeth. 
 Around these 12 miniatures are borders of fruits, flowers, birds, and 
 grotesques in brilliant colours heightened with gold. The initial letters 
 throughout the volume are remarkable for their variety of design and 
 colour. 
 
 The subjects of the 11 miniatures are 1. (F. 42 r.) The Annunciation; 
 the border on this page is the only one on a gold ground. 2. (F. 68 r.) 
 The Nativity. 3. (F. 73 r.) The Announcement to the Shepherds. 4. 
 (F. 77 r.) The Adoration of the Magi. 5. (F. 81 r.) The Presentation 
 in the Temple. 6. (F. 85 r.) The Flight into Egypt; a city beside a 
 river in the background, the devil ( ?) plunging through the air. 7. (F. 
 93 r.) The Coronation of the Virgin. 8. (F. 118 r.) King David 
 praying before an altar in a chapel. 9. (F. 143 v.) The Crucifixion;
 
 84 HOR.E 
 
 one of the soldiers bears a pennant with the split-eagle device. 10. (F. 
 148 r.) The Descent of the Holy Spirit. 11. (F. 152 r.) Death slaying 
 his victims; an unusual composition depicting a street scene, two dead 
 on the ground, a youth about to receive the arrow of Death, who is in 
 the form of a cadaver with a dagger in his left hand. The brilliant red 
 of these two weapons is characteristic of several of the paintings in this 
 volume. All of the illuminations are beautifully executed, with mi- 
 croscopic attention to detail. 
 
 HORA.E BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 Svo, brown levant morocco covered with a Grolieresque 
 design of interlacing bands in green enamel, with red and 
 white enamel ornaments, gilt tooled in fillets and azured 
 arabesques, vellum linings, gilt edges, by Duru. In a case of 
 red morocco. 
 
 A French Book of Hours executed in gothic characters upon fine 
 vellum in the latter part of the fifteenth century. 157 X 112 mm. 
 
 There are 158 leaves, 12 containing the Calendar, with 21 lines to the 
 page. The illuminations are 9 exquisitely painted miniatures in borders 
 of architectural design or in the form of frames in gold shaded with red 
 against a background of shaded red or dark green. Throughout the 
 volume are numerous large and small initial letters in gold on a ground 
 of blue or red, four of them being historiated in camaieu bleu on a ground 
 of camaieu bistre. 
 
 The subjects of the miniatures are 1. (F. 25 r.) The Annunciation. 
 2. (F. 41 r.) The Visitation of Elizabeth. 3. (F. 51 r.) The Descent 
 of the Holy Spirit. 4. (F. 52 v.) The Nativity. 5. (F. 58 v.) The 
 Announcement to the Shepherds. 6. (F. 65 v.) The Presentation in 
 the Temple; of exquisite softness of colour. 7. (F. 70 r.) The Flight 
 into Egypt ; an original and charming composition showing Joseph, the 
 Virgin and Child afoot, Joseph with a pack on his back. 8. (F. 89 r.) 
 King David in prayer, his left hand raised, his right resting on his harp. 
 9. (F. 105 v.) "Les trois vifs et les trois morts," one of the figures 
 of Death showing a youth his reflection in a mirror. 
 
 In five of the miniatures are charming little landscapes suggestive of 
 the school of Touraine. All of the paintings are highly finished, with 
 exquisite softness and harmony of colouring.
 
 HOR.E 85 
 
 HOR^E BEAT.E MARINE VIRGINIS. CIRCA 1477. 
 
 Small 4tto, red morocco richly tooled in pointille panels, 
 with clasps and gilt edges, by Le Gascon. In a modern case 
 of green morocco. 
 
 A superb French Book of Hours written in large and small gothic 
 letters upon fine vellum about 1477 for Anne de Beaujeu, daughter of 
 Louis XI, by whose command it was probably executed, as he had caused 
 one of a similar character to be made for Marie de Cleves, Duchesse 
 d'Orleans, mother of Louis XII. 147 X 108 mm. 
 
 It consists of 332 leaves, 6 containing the Calendar, with 10 lines to 
 the page. There are 107 full-page miniatures surrounded by gold 
 borders, 24 small paintings in the Calendar, and hundreds of illuminated 
 initials and finials. 
 
 The subjects of the large miniatures are 1. (F. 7 v.) The Virgin pray- 
 ing in the Temple; she is seated, while an angel kneels beside her; in 
 the portico is a large number of other worshippers. This miniature, 
 which is circular in form, is surrounded by a wreath of roses. 2. (F. 
 11 v.) Christ's Triumphal Entry into Jerusalem. 3. (F. 15 v.) The 
 Platting of the Crown of Thorns. 4. (F. 19 r.) The Crucifixion with 
 the two thieves ; a crowd of Roman soldiers surrounding the Cross. 5. 
 (F. 22 v.) Christ's Descent into Hell. 6. (F. 27 r.) St. John the 
 Evangelist on Patmos. 7. (F. 29 v.) St. Luke painting the portrait of 
 the Virgin, who stands before him in the attitude of prayer; on a panel 
 in the wall of the room is painted in camaieu gris the Annunciation. 8. 
 (F. 32 v.) St. Matthew. 9. (F. 35 v.) St. Mark. 10. (F. 37 v.) A 
 half-length painting of Christ, crowned with thorns and bleeding; 
 opposite 11. (F. 38 r.), as a pendant, the Virgin contemplating him in the 
 attitude of prayer. 12-13. (Ff . 42 v.-43 r.) The Annunciation, a double- 
 paged painting of a panelled room containing statues in niches; behind 
 the Angel, at the left, kneels a young Princess of about sixteen years, 
 presumably Anne de Beaujeu, clad in a red gown embroidered with gold 
 and trimmed with fur, wearing a pointed black head-dress with a veil, 
 her wasp-like figure bent backward. Behind her is a parted curtain 
 of blue embroidered with the fleurs-de-lys of France. On the verso of 
 folio 43 is an initial letter containing the arms of France. 14. (F. 46 v.) 
 God the Father blessing Adam and Eve in the Garden of Eden ; in the 
 background a gothic fountain. 15. (F. 48 v.) Eve offering the Apple
 
 86 HOR.E 
 
 to Adam. 16. (F. 51 r.) God the Son seated on a rainbow in the midst 
 of the Firmament. 17. (F. 54 v.) A child kneeling in prayer to God 
 the Father, who appears in the sky, above a lake. 18. (F. 57 r.) A King 
 (David ?) talking with a Prophet (Nathan ?) in a marble hall, at the end 
 of which is a painting in grisaille of the Assumption of the Virgin. 19. 
 (F. 61 r.) Korah, Dathan, and Abiram (revolting against Moses) 
 swallowed up in the earth. 20. (F. 63 v.) The Transfiguration. 21. 
 (F. 65 v.) The transportation of the Ark on an ox-cart from Kirjath- 
 jearim in the presence of David and the chosen men of Israel. 22. (F. 
 68 v.) The Death of Uzzah, son of Abinadab, for having touched the 
 Ark. 23. (F. 71 v.) The Ark borne into the Tabernacle of Zion at 
 Jerusalem, David heading the procession "girded with a linen ephod and 
 playing a harp." 24. (F. 77 v.) The entire Universe kneeling in 
 homage to Christ, who appears in the sky in a blaze of glory. In the 
 foreground is King Louis XI, clad in a blue robe covered with fleurs-de- 
 lys ; in the background are the towers of the Chateau de Loches, the 
 favourite residence of Anne de Beaujeu. 25. (F. 81 v.) The Visitation 
 of Elizabeth. 26. (F. 82 v.) The Prophet Nathan approving David's 
 purpose to build a Temple for the Ark. 27. (F. 84 v.) God speaking 
 to Samuel as he lay asleep beside the Ark of the Tabernacle. 28. (F. 
 86 v.) David talking with the Prophet Nathan and other old men; 
 in the background a castle on an island. 29. (F. 89 v.) Nebuchad- 
 nezzar causing Shadrach, Meshach, and Abednego to be cast into the 
 fiery furnace; the Angel delivering them. 30. (F. 93 r.) Devotees 
 rendering homage to Christ, enthroned on a rainbow in the sky. 31. 
 (F. 98 r.) The Virgin and the Infant Christ; a very fine painting, 
 probably a portrait of Anne de Beaujeu. 32. (F. 99 v.) St. John the 
 Baptist in the Desert; a company of horsemen approaching. 33. (F. 
 104 r.) The Nativity. 34. (F. 105 r.) The Virgin seated at prayer 
 in a gallery, the niches of which contain statues of saints; Joseph ap- 
 proaching her in the background. This painting is presumably another 
 portrait of Anne de Beaujeu. 35. (F. 106 r.) God demanding the 
 sacrifice of Isaac by Abraham. 36. (F. 108 r.) Jacob wrestling with 
 the Angel beside his ladder. 37. (F. 110 v.) Four kings and their 
 subjects in prayer; the scene is an open country, with a castle on an island 
 in the background. 38. (F. 114 r.) The Announcement to the Shep- 
 herds. 39. (F. 115 v.) Esau, garbed as a hunter, presenting a dish of 
 venison to his father Isaac, who is in bed. 40. (F. 117 r.) Rebekah
 
 HOR.E 87 
 
 giving Jacob a dish of "savoury meat" to present to Isaac, thus obtain- 
 ing his blessing. 41. (F. 119 r.) A battle-scene; in the background a 
 fortress on a high rock. 42. (F. 123 v.) The Adoration of the Magi. 
 43. (F. 125 r.) A devotee offering the image of a man (his soul ?) before 
 the altar. 44. (126 v.) Jacob setting the pilled rods before his flocks 
 at the watering-trough. 45. (F. 128 v.) A bonfire and banquet in a 
 street. 46. (F. 132 v.) The Presentation in the Temple. 47. (F. 
 134 r.) A procession of people, apparently on their way to market. 
 
 48. (F. 135 v.) Nathan rebuking David for his sin against Uriah. 
 
 49. (F. 137 r.) Street dances in a public square. 50. (F. 141 r.) The 
 Flight into Egypt. 51. (F. 142 r.) Christ seated at the right hand of 
 God the Father. 52. (F. 144 r.) King David addressing children at 
 the entrance to his palace, "Laudate pueri Dominum." 53. (F. 
 146 r.) A procession arriving at the doors of a gothic cathedral. 54. 
 (F. 148 r.) The building of Solomon's Temple. 55. (F. 149 v.) King 
 David leading children in song. 56. (F. 152 r.) The Virgin and Child 
 in celestial glory, surrounded by angels. 57. (F. 157 v.) The Death of 
 the Virgin; God the Father appearing in glory, holding in His arms the 
 soul of the Virgin, in the form of a little girl. 58. (F. 158 v.) The 
 Virgin receiving a palm from the hands of an angel. 59. (F. 160 v.) 
 The Entombment of the Virgin. 60. (F. 162 v.) The Assumption of 
 the Virgin. 61. (F. 165 r.) The Virgin enthroned with Christ. 62. (F. 
 186 r.) The Agony in the Garden. 63. (F. 188 r.) Christ before Pilate. 
 64. (F. 190 r.) Christ blindfolded and buffeted. 65. (F. 192 r.) The 
 Bearing of the Cross. 66. (F. 194 r.) The Crucifixion; a different 
 scene from miniature No. 4, with fewer soldiers. The centurion holds 
 a shield on which are the initials "P. R." in gold on a red ground. 67. 
 (F. 196 r.) The Descent from the Cross. 68. (F. 198 r.) The Anoint- 
 ing of Christ preparatory to the Entombment. 69. (F. 200 r.) The 
 Resurrection. 70. (F. 202 v.) The Ascension. 71. (F. 204 r.) The 
 Descent of the Holy Spirit. 72. (F. 205 v.) The Virgin and holy 
 women taking leave of the Apostles. 73. (F. 207 r.) Peter baptizing 
 the five thousand converts. 74. (F. 208 r.) Ananias and Sapphira 
 before Peter. 75. (F. 209 v.) The Death of Ananias. 76. (F. 211 r.) 
 David and Bathsheba. 77. (F. 213 v.) Ahasuerus receiving Esther 
 as queen; the walls of the apartment covered with blue hangings con- 
 taining in gold the letters "A H. V." 78. (F. 216 v.) Uriah receiving 
 the message from King David. 79. (F. 221 r.) The Departure of Uriah
 
 88 HOR^E 
 
 and his warriors. 80. (F. 225 r.) The Death of Uriah. 81. (F. 230 v.) 
 King David prostrate before the Prophet Nathan in repentance of his 
 sin against Uriah. 82. (F. 232 v.) King David praying in the moun- 
 tains; in the sky an angel bearing a sword. 83. (F. 236 r.) The 
 Virgin and Christ enthroned and adored by saints. 84. (F. 245 r.) 
 Death holding an arrow and issuing from a tomb. 85. (F. 247 r.) Saul 
 seeking David in the Cave of Adullam. 86. (F. 249 r.) Jacob's Lad- 
 der. 87. (F. 250 v.) The Punishments of Purgatory and Hell. 88. 
 (F. 252 v.) A Princess, presumably Anne de Beaujeu, going to mass, 
 attended by her ladies-in-waiting. 89. (F. 255 r.) A Funeral Proces- 
 sion entering a church. 90. (F. 257 r.) A dying man attended by three 
 monks. 91. (F. 261 v.) A Burial Service in the choir of a church. 
 92. (F. 264 r.) David and his warriors entering the camp of King 
 Saul, who is asleep in his tent. 93. (F. 267 r.) King David praying 
 to God, who appears in the sky. 94. (F. 269 v.) King David, armed 
 as a warrior, praying in an open field; beside him is a lion. 95. (F. 
 277 r.) Dives, the rich glutton, and Lazarus lying at his door. 96. 
 (F. 279 r.) The Death of Dives and Lazarus. 97. (F. 283 r.) Samuel 
 anointing Saul king. 98. (F. 290 v.) The Parable of the good Samari- 
 tan: the four thieves attacking the man are dressed as warriors. 99. 
 (F. 295 r.) Paul (?) preaching to converts. 100. (F. 298 r.) The 
 Parable of the good Samaritan concluded: the Samaritan taking the 
 victim on an ass to an inn. 101. (F. 307 r.) King David, dressed as a 
 warrior, praying to God; in the foreground is the abyss of Hell with 
 its victims, illustrating the allusion in the text "Libera me Domine 
 de viis inferni." 102. (F. 311 r.) Elijah ascending to Heaven in a 
 Chariot of Fire, Elisha kneeling on the ground ; both clad in the garb 
 of monks. 103. (F. 314 r.) King David (?) and the Prophet Nathan 
 (?). 104. (F. 317 v.) An angel ministering to a prophet (?) recumbent 
 on the ground. 105. (F. 321 r.) The Celebration of Mass in the choir 
 of a church. 106. (F. 32 r.) The Martyrdom of St. John the Baptist; 
 Salome standing ready to receive his head, Herod and Herodias at table 
 in the background. 107. (F. 329 r.) The Torments of Purgatory and 
 Hell. 
 
 The 24 small miniatures in the Calendar, depicting scenes appropriate 
 to the months and the signs of the zodiac, are at the bottom of the pages, 
 and nearly square. The latter are painted in cama'ieu bleu heightened 
 with gold.
 
 HOR.E 89 
 
 The miniatures in this manuscript were painted by several artists of 
 the school of Touraine, the finest being undoubtedly the work of 
 Jehan Foucquet, who, in 1477, the probable date of execution of the 
 volume, was about sixty years of age. The composition of the paint- 
 ings, the richness and elaboration of architectural detail, the predilection 
 for blue in the colouring of the costumes, and the lavish use of gold, 
 especially in armour, are all characteristic of Foucquet. Moreover, the 
 face of St. Luke (folio 29 v.) resembles the enamel portrait of him in 
 the Louvre. 
 
 There are several indications that the manuscript was intended for 
 Anne de Beaujeu; her portrait appears several times, both in her own 
 person and as the Virgin Mary (folios 7, 42, 98, 105, 253), and in several 
 landscapes is a representation of her favourite residence, the Chateau 
 de Loches (folios 77, 108, 126, 144, and 211). The figure of David in 
 armour (folios 269 and 307), with blond hair and beard, appears to be 
 the portrait of Pierre de Beaujeu, her husband. 
 
 The variety of subjects in this manuscript, including secular and 
 Biblical scenes from both the Old and the New Testament, make it one 
 of the most interesting in the present collection. It was formerly in the 
 collection of Ambroise Firmin-Didot. 
 
 HOILE BEAT.E MARI.E VIRGINIS. SJEC. XV. 
 
 Small 4to, old green Renaissance velvet over oak boards, 
 gauffred gilt edges. In a modern case of brown morocco. 
 
 A beautiful French Book of Hours written in gothic characters upon 
 fine vellum at the end of the fifteenth century. 171 X 118 mm. 
 
 There are 118 leaves, including 6 for the Calendar, with 21 lines to 
 the page; also 12 large and 29 small miniatures, including 24 in the 
 Calendar. The borders, painted in delicate colours and gold, are com- 
 posed of foliage, scrolls, birds, and insects, and are remarkable for their 
 exquisite finish and arrangement. In the Calendar they are trilateral, 
 having small miniatures on the outer margins and at the bottom of the 
 pages. They extend only across the bottom of pages containing large 
 miniatures, and along the side of pages of text, the design being the same 
 on the recto and the verso of the leaves. Folios 7-10, containing small 
 miniatures, have trilateral borders of a different design, but of equally 
 fine technique: flowers, scrolls, etc., in brilliant colours in compartments 
 on a gold or white ground.
 
 90 HOR^E 
 
 The subjects of the large miniatures are 1. (F. 15 r.) The Annuncia- 
 tion. 2. (F. 23 r.) The Visitation of Elizabeth. 3. (F. 32 r.) The 
 Crucifixion. 4. (F. 38 v.) The Descent of the Holy Spirit. 5. (F. 
 34 v.) The Nativity. 6. (F. 41 r.) The Announcement to the Shep- 
 herds. 7. (F. 46 r.) The Adoration of the Magi. 8. (F. 50 v.) The 
 Presentation in the Temple. 9. (F. 55 v.) King Herod before a mother 
 who has lost her child in the Massacre of the Innocents, an unusual 
 subject depicted with wonderful facial expression. 10. (F. 61 v.) The 
 Coronation of the Virgin. 11. (F. 67 r.) King David watching Bath- 
 sheba. 12. (F. 80 r.) Job and his three Comforters. 
 
 The 24 small miniatures in the Calendar represent the zodiacal signs 
 and scenes appropriate to the months, the remaining 5 depict the four 
 Evangelists and the Virgin and Child. 
 
 Two artists evidently illuminated this manuscript, the more skilful 
 having painted the large miniatures, which are remarkable for breadth 
 and boldness of treatment. The facial expression is especially interest- 
 ing, the perspective is good, and the colouring brilliant, gold being 
 used in profusion. 
 
 HOILE BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 [Recto of folio 36] Hore intemerate Virginis marie fecundum 
 vfum Romane curie. [Colophon] Horas prefentes fecit facere 
 litteratiffimus vir magifter francifcus d' mello pro forore fua 
 domina maria Manuel. 8vo, old Italian red morocco, back 
 and sides covered with elaborate tooling in panels, fan-shaped 
 ornaments in the corners and centre, the intervals filled with 
 angels' heads, cocks, fleurs-de-lys, insects, and foliage, gilt 
 edges. Interleaved with green silk and in an old green 
 morocco case tooled in fan-shaped ornaments. 
 
 An exquisite French Book of Hours written in large and small roman 
 characters in black, red, blue, and burnished gold upon vellum in the 
 latter part of the fifteenth century for Domina Maria Manuel. 201 X 134 
 mm. 
 
 There are 188 leaves, 12 being for the Calendar, with 20 lines to the 
 page. It contains 25 large and 56 small miniatures, including 24 of 
 unusually large size in the Calendar.
 
 HOILE 91 
 
 The borders, which surround every page, are remarkable for their 
 variety of design, richness of colour, and perfection of finish. They are 
 composed of flowers, foliage, fruit, grotesques, chimeras, vases, scrolls, 
 columns, birds, and snails, in brilliant colours on a ground of gold, 
 brown, blue, red, or grey studded with dots of red, brown, or gold, geo- 
 metrical compartments of gold being frequent. In eleven of the borders 
 are the initials "F. M.," of Francisco de Mello, who, according to the 
 colophon, caused the manuscript to be executed for his sister. On folios 
 60 and 134 recto and 90 verso are the initials "A. S." On the last page are 
 the illuminated arms of the owner. 
 
 The large miniatures are surrounded by shaded gold borders of archi- 
 tectural design; their subjects are 1. (F. 13 r.) The Virgin instructing 
 the young Jesus from a book, He standing beside her, a detailed land- 
 scape in the background. 2. (F. 26 r.) The Betrayal. 3. (F. 36 v.) 
 Christ before Pilate. 4. (F. 37 r.) The Annunciation. 5. (F. 51 v.) 
 The Scourging. 6. (F. 52 r.) The Visitation of Elizabeth; Joseph 
 accompanying Mary. 7. (F. 61 v.) The Platting of the Crown of 
 Thorns. 8. (F. 62 r.) The Nativity. 9. (F. 65 v.) Pilate washing 
 his hands of Christ. 10. (F. 66 r.) The Announcement to the Shep- 
 herds. 11. (F. 69 v.) Christ bearing the Cross. 12. (F. 70 r.) The 
 Adoration of the Magi. 13. (F. 73 v.) The Crucifixion. 14. (F. 74 r.) 
 The Presentation in the Temple. 15. (F. 77 v.) The Descent from the 
 Cross. 16. (F. 78 r.) The Flight into Egypt; Mary and the Child on a 
 grey palfrey with black and gold trappings, two angels following them, 
 a beautifully painted landscape in the background. 17. (F. 84 v.) The 
 Entombment, rocks and a castle in the background ; the expression of 
 sorrow on the faces is especially remarkable. 18. (F. 85 r. ) The Assump- 
 tion of the Virgin. 19. (F. 91 v.) The Virgin surrounded by her attri- 
 butes, God the Father at the top of the painting. 20. (F. 100 v.) The 
 Meeting of Joachim and Anna. 21. (F. 106 r.) The Resurrection, 
 including all the symbols of the Passion. 22. (F. 110 r.) The Holy Grail, 
 supported by two Angels. 23. (F. 118 v.) The Descent of the Holy 
 Spirit. 24. (123 r.) David praying, an Angel in the sky bearing a sword 
 and a skull. 25. (F. 140 r.) The Raising of Lazarus. Nos. 2, 3, 5, 7, 9, 
 11, 13, 15, 17, and 25 are in camaieu gris heightened with gold. 
 
 Besides the 24 miniatures at the top of the 12 leaves in the Calendar, 
 32 small paintings are scattered throughout the text, chiefly beginning
 
 92 HOILE 
 
 with folio 171 verso. They include St. Roch, St. John the Evangelist 
 on Patmos, St. Luke, St. Matthew, St. Mark, St. Veronica. St. Bernard, 
 St. Gregory, St. Michael, Sts. Peter and Paul, St. Laurence, St. Sebas- 
 tian, St. Stephen, St. George, St. Christopher, St. Ambrosius, St. 
 Jerome, St. Augustine, St. Francis of Assisi, St. Anthony of Padua, 
 St. Dominick, St. Benedict, St. Catherine, St. Lucia, St. Barbara, St. 
 Agatha, St. Apollonia, St. Mary Magdalene, St. Ursula, St. Genevieve, 
 St. Anna. 
 
 The miniatures in this elaborate manuscript were evidently painted 
 by two different artists, as the large ones are superior in execution to the 
 others. The colouring is brilliant, gold being freely used. The number 
 of Italian saints mentioned in the text indicates that it was intended 
 for use in Italy. 
 
 HOILE BEAT.E MARLE VIRGINIS. S^c. XV. 
 4/o, original vellum covers. 
 
 A beautifully written French Book of Hours executed in gothic char- 
 acters upon vellum in the latter part of the fifteenth century. 168 X 118 
 mm. 
 
 There are 177 leaves, including 11 for the Calendar, the first folio of 
 which is lacking, and 16 lines to the page. It contains 26 small minia- 
 tures painted with great delicacy of execution, each surrounded by a 
 rich border of flowers, fruit, insects, and foliage in camaieu gris and (Tor 
 on a ground of dull gold, grey, or delicate green. Besides these 26 
 borders there are 13 more of a similar character on pages containing 
 historiated initials, in camaieu gris and d'or on a dull gold or coloured 
 ground. 
 
 The subjects of the miniatures, which measure 29-36 X 23-34 mm., 
 are 1. (F. 12 r.) The Pieta. 2. (F. 13 v.) The Virgin and Child stand- 
 ing. 3. (F. 17 v.) The Virgin and Child seated. 4. (F. 20 r.) The 
 Trinity, a curious design of three golden points in a grey vapour out- 
 lined with rose. 5. (F. 21 r.) St. John the Baptist. 6. (F. 22 r.) Christ's 
 face outlined by angel's heads, painted in gold on a dull red ground. 
 7. (F. 23 r.) St. Michael. 8. (F. 23 v.) St. Nicholas. 9. (F. 24 r.) St. 
 Francis of Assisi. 10. (F. 25 r.) St. Anthony of Padua. 11. (F. 25 v.) 
 St. John the Evangelist with the ciborium. 12. (F. 26 r.) St. Sebastian. 
 13. (F. 27 r.) St. Jerome. 14. (F. 28 r.) St. Anna and the Virgin Mary
 
 HOR.E 93 
 
 with the Child. 15. (F. 29 r.) St. Catherine. 16. (F. 29 v.) St. Agnes. 
 17. (F. 30 v.) St. Apollonia. 18. (F. 31 r.) St. Elizabeth of Hungary. 
 19. (F. 32 r.) St. Barbara. 20. (F. 33 r.) St. Mary Magdalene. 21. 
 (F. 34 r.) St. Margaret. 22. (F. 34 v.) St. Leonard. 23. (F. 49 r.) St. 
 John the Evangelist on Patmos. 24. (F. 51 r.) St. Luke. 25. (F. 53 r.) 
 St. Matthew. 26. (F. 55 r.) St. Mark. 
 
 This manuscript is remarkable for the variety of flowers in its borders 
 and for the delicacy of colouring and composition in all of the illumina- 
 tions. The landscapes in the miniatures are painted in camawu gris 
 and the background is chiefly rose or red ornamented with gold flowers. 
 
 HOR^E BEAT.E MARINE VIRGINIS. 1484-1486. 
 
 Small 4<to, red velvet over old oak boards, vellum linings, 
 gilt edges. 
 
 A very beautiful French Book of Hours written in gothic letters upon 
 the finest vellum in the latter part of the fifteenth century for Katherine 
 d'Armagnac, second wife (1484-86) of Jean II, due de Bourbon et d'Au- 
 vergne, called "the Good," and also "the Scourge of the English." 
 163 X 116 mm. 
 
 There are 144 leaves, including 6 for the Calendar, folios 12 and 21 
 being blank, with 21 lines to the page. It contains 13 large miniatures 
 and 24 small ones in the Calendar, 2 on each page, representing scenes 
 appropriate to the months and the signs of the zodiac, and forming a 
 side border 78 mm. in height, with a dividing compartment of flowers in 
 colours on a gold ground. There are 135 other lateral borders of flowers 
 and scrolls in gold and colours, blue predominating, introducing birds, 
 animals, insects, human figures, and chimeras. When borders occur on 
 the recto and verso of a leaf, they are of the same design, but reversed, 
 so that when held to the light, the effect is of one border intensified in 
 colour. This characteristic is rather unusual. Around the large minia- 
 tures are similar borders, introducing flower-pots, trunks of trees, blank 
 escutcheons (folios 41 v., 62 v., and 77 r.), and, on nine leaves, the inter- 
 twined initials "I" and "K," for Jean and Katherine. On folio 59 recto 
 is an unusual trellis and grape-vine border, which is repeated in the side 
 border on the verso of the leaf. At the bottom of folio 27 recto are 
 painted a stag and a hind, the emblems of the house of Bourbon.
 
 94 HOR^E 
 
 The subjects of the 13 exquisite large miniatures, which measure 
 73 X 49 mm., and are oval at the top, are 1. (F. 27 r.) The Annuncia- 
 tion, with rich architectural detail. 2. (F. 41 v.) The Visitation of Eliza- 
 beth, two wooden houses with the gables and round chimneys of 
 Touraine and a charming landscape, in perfect perspective, in the back- 
 ground. 3. (F. 51 r.) The Nativity, painted in blue, brown, and camaieu 
 d'or, a night-scene, showing the stars through the dilapidated roof. 
 4. (F. 55 r.) The Announcement to the Shepherds, another marvellously 
 painted night-scene, the angel in gold heightened with red against a blue, 
 starry sky. 5. (F. 59 r.) The Adoration of the Magi, the setting sun in 
 the background. 6. (F. 62 v.) The Presentation in the Temple. 7. 
 (F. 66 r.) The Flight into Egypt, an exquisite landscape in the distance. 
 8. (F. 72 r.) The Coronation of the Virgin. 9. (F. 77 r.) The Crucifixion. 
 10. (F. 80 r.) The Descent of the Holy Spirit. 11. (F. 83 r.) The Last 
 Judgment, Christ seated on a rainbow, His feet on a smaller one, angels 
 holding the symbols of the Passion above, the elect and the damned 
 below. 12. (F. 96 r.) Job and his three Comforters, his wife in the back- 
 ground, a landscape in the distance. 13. (F. 143 r.) The Virgin, crowned 
 as a Queen and attended by angels, administering the sacrament to St. 
 Avoie (A via) through the barred window of a prison, perhaps a unique 
 representation of this saint. 
 
 The large miniatures, painted by a different artist from the one who 
 executed the small ones, are worthy of a Foucquet. They belong to the 
 school of Touraine, and, in colouring, composition, delicacy of finish, 
 and perspective, exemplify the perfection of fifteenth century art. 
 
 In the Calendar, which is written in small characters in black, blue, 
 and red, in Latin, occur the names of five Bishops of Mans : St. Aldric 
 (Jan. 7), St. Julien, the first Bishop (Jan. 27), St. Tiburce (April 16), St. 
 Liboire (June 9), and St. Pavace (July 24); and of three Bishops of 
 Angers: St. Aubin (March 1), St. Maurille (Sept. 13), and St. Rene 
 (Nov. 12). As each one of these names is followed by that of the epis- 
 copal see occupied by the bishop, it is probable that the manuscript was 
 executed in Maine or in Anjou. 
 
 The face of the Virgin (folios 27, 41, 51, 59), always the same, appears 
 to have been drawn from life and not from the imagination. It may be 
 the portrait of the Duchesse de Bourbon. 
 
 The text of this Book of Hours is rather exceptional in that it con- 
 tains a number of French prayers in verse, e. </., one to St. Catherine
 
 HOR.E 95 
 
 (folio 22), seventy-one lines beginning "Mon ame et mon corps te pre- 
 sente"; two to St. Avoie, in French and Latin; two prose prayers to 
 Christ (folios 135-138), one of which proves again that the manuscript 
 was executed for a woman, "Beau Sires Dieux soyez debonnaire a moy 
 pecker esse "; a prayer to the Virgin (folios 138-139) composed of fifty- 
 six verses beginning, "Doulce Vierge Marie"; and another prose 
 prayer (folios 139-142). 
 
 At the foot of the first page of the Calendar is the partially erased 
 signature "Pierre Vischer a Basle, 1793." 
 
 From the collection of Ambroise Firmin-Didot. 
 
 HOR.E BEATJ3 MARINE VIRGINIS. SJEC. XV. 
 
 4fo, old red morocco tooled in fillets, the arms of Philippe, 
 Comte de Bethune (d. 1649), on both covers, his interlaced 
 initials "P. P.," crowned, with "s ferme" in the corners of 
 the sides and the crowned initials on the back, gilt edges. In 
 a wrapper of dark red striped silk and satin. 
 
 A French Book of Hours written in gothic letters upon vellum for 
 Louis de Bruges, seigneur de la Gruthuyse (1422-92), whose initials 
 "L. B." occur in twenty-four borders in blue on a gold ground. 175 X 
 120 mm. 
 
 There are 143 leaves, 6 being for the Calendar, with 22 lines to the 
 page. It contains 13 full-page and 44 small miniatures, including 12 in 
 the Calendar, and numerous floriated initials. 
 
 All of the pages of text except the last two have side borders of flowers, 
 foliage, scrolls, fruit, insects, grotesques, and chimeras, in brilliant 
 colours and gold, arranged in compartments. The large miniatures 
 are in architectural borders of dull gold and red. Their subjects are 
 1. (F. 7 r.) St. John the Evangelist on Patmos. 2. (F. 11 v.) The 
 Virgin and Child enthroned, on each side an angel playing a musical 
 instrument. 3. (F. 17 r.) The Annunciation; a dove resting upon the 
 Virgin's head. 4. (F. 31 r.) The Visitation. 5. (F. 43 r.) The An- 
 nouncement to the Shepherds. 6. (F. 46 v.) The Adoration of the 
 Magi, one of whom is black. 7. (F. 50 r.) The Presentation in the 
 Temple. 8. (F. 53 r.) The Flight. 9. (F. 58 v.) The Assumption of 
 the Virgin, who stands upon a crescent supported by two angels. 10. 
 (F. 73 r.) The Descent of the Holy Spirit. 11. (F/76 r.) David and
 
 96 HOR.E 
 
 Bathsheba. 12. (F. 89 r.) Job and his Comforters. 13. (F. 124 v.) 
 St. Christopher. 
 
 The 12 small miniatures in the Calendar are at the top of the pages, 
 and represent scenes appropriate to the months, a sign of the zodiac 
 being in the sky of each painting, an unusual occurrence. The re- 
 maining 32 miniatures are scattered throughout the text, chiefly between 
 folios 120 and 140. The subjects are St. Luke, St. Matthew, St. Mark, 
 the Pieta, Christ crowned with thorns and bound, St. Bernard, St. 
 Michael, St. John the Evangelist, Sts. Peter and Paul, St. James the 
 Major, St. Bartholomew, St. Stephen, St. Laurence, St. Sebastian, St. 
 Ives of Bretagne, St. Nicholas, St. Claudius, St. Anthony of Padua, 
 10,000 Martyrs, St. Leonard, St. Anna and the Virgin Mary, St. Mary 
 Magdalene, St. Catherine, St. Margaret, St. Barbara, St. Apollonia, 
 St. Avia, St. Genevieve, the 11,000 Virgins, St. Gregory, the Virgin and 
 Child, and God the Father. 
 
 The paintings are interesting because of their quaintness of composi- 
 tion and freshness of colour. 
 
 The Calendar and some of the rubrics are in French, including the 
 Indulgence of Pope Boniface on folio 142 verso. 
 
 HOILE BEAT.E MARINE VIRGINIS. SJEC. XV. 
 
 Small 8vo, old French brown morocco, gilt back, gilt edges. 
 In its original case of mottled calf. 
 
 A beautiful little Norman French Book of Hours written in gothic 
 letters upon the finest abortive vellum at the end of the fifteenth cen- 
 tury. 85 X 63 mm. 
 
 It consists of 249 leaves, of which 12 contain the Calendar, with 13 
 lines to the page. There are 11 large and 6 small miniatures, also 44 
 borders, including 12 with paintings on the rectos of the folios of the 
 Calendar. These represent scenes appropriate to the months with 
 the signs of the zodiac in the sky. The large miniatures and the pages 
 opposite are surrounded by borders of brilliant flowers, birds, and in- 
 sects, on a dull gold ground or of architectural design. The small 
 miniatures have trilateral borders. There are numerous large and 
 small initial letters painted in cama'ieu gris and d'or on a coloured ground. 
 
 The subjects of the large miniatures are 1. (F. 15 v.) The Crucifixion. 
 2. (F. 25 v.) The Descent of the Holy Spirit. 3. (F. 75 v.) The Visita-
 
 HOR.E 97 
 
 tion of Elizabeth. 4. (F. 91 v.) The Nativity, a curious composition 
 showing the Virgin within the manger and Joseph outside of the door. 
 5. (F. 98 v.) The Announcement to the Shepherds. 6. (F. 105 v.) 
 The Adoration of the Magi, one of whom is black ; the scene is the same 
 as in No. 4. 7. (F. 112 v.) The Presentation in the Temple. 8. (F. 
 119 v.) The Massacre of the Innocents; a Norman castle in the back- 
 ground. 9. (F. 130 v.) The Flight into Egypt. 10. (F. 160 v.) David 
 praying; a Norman castle with a moat and drawbridge in the back- 
 ground; the borders on this and the opposite page are of architectural 
 design in camateu d'or and colours, jewels being introduced as orna- 
 ments. 11. (F. 188 v.) A curious death-scene preceding "Vigilie mor- 
 tuorum"; a nude corpse on the ground surrounded by wild animals; 
 in the background a representation of the Trinity, God the Father 
 in the sky, the Infant Christ and the Holy Spirit kneeling. 
 
 The 6 small miniatures, which measure about 20 X 20 mm., depict 
 St. John the Evangelist in Patmos, St. Luke, St. Matthew, St. Mark, 
 the Pieta (f. 150), painted in camaieu d'or on a blue ground, and the 
 Virgin Mary with another saint (f. 155 v.), painted in camaieu d'or on 
 a green ground. 
 
 All of the illuminations are finely executed and of extreme delicacy. 
 
 HOR^E BEAT.E MARI.E VIRGINIS. SJSG. XV. 
 
 12mo, green morocco, side panels and back delicately tooled 
 in scrolls, flowers, dots, and other small ornaments, lined with 
 rose moire silk, gilt edges, by Derome the younger, with his 
 ticket. In a modern case of brown levant morocco. 
 
 An exquisite French Book of Hours written in gothic characters upon 
 fine vellum in the latter part of the fifteenth century. 150 X 106 mm. 
 
 There are 165 leaves (folios 75, 108, 138, and 163-165 blank except 
 for the side borders), including 12 for the Calendar, with 16 lines to the 
 page. It contains 37 large and 6 small miniatures, also 19 borders with 
 35 small paintings. All of the pages of text have lateral borders of 
 flowers and scrolls in colours on a dull gold ground, and beginning with 
 folio 139, each large miniature has a similar border. There are also 
 numerous initial letters in red, blue, and gold. 
 
 Directly following the Calendar, on folio 13 recto, are 5 small minia- 
 tures, of the four Evangelists and the Martydom of St. Hippolytas. 
 
 7
 
 98 HOR.E 
 
 At the foot of folio 17 verso is a curious spherical miniature of Christ 
 with raised hands showing the stigmata, painted in white with pale red 
 dots, and surrounded by a dull gold border. 
 
 The subjects of the large miniatures are 1. (F. 18) The Annuncia- 
 tion, the border containing 7 small miniatures, one of which represents 
 the marriage of the Virgin and Joseph. 2. (F. 34) The Visitation of 
 Elizabeth, the border containing 4 small miniatures representing John 
 the Baptist preaching and scenes relating to the birth of Christ. 3. 
 (F. 44) The Nativity; the border in three compartments, one of which 
 is the Announcement to the Shepherds. 4. (F. 48) The Announcement 
 to the Shepherds, one of whom is a woman. 5. (F. 51) The Adoration 
 of the Magi ; in the border their journey to Bethlehem. 6. (F. 54) The 
 Presentation in the Temple, Joseph bearing a basket containing three 
 turtle-doves; 3 small miniatures in the margin, one depicting the Cir- 
 cumcision. 7. (F. 57) The Flight into Egypt ; in the margin the Massa- 
 cre of the Innocents. 8. (F. 62) The Coronation of the Virgin ; 3 minia- 
 tures in the margin relating to her death. 9. (F. 76) The Crucifixion; 
 St. Veronica in the margin. 10. (F. 80) The Descent of the Holy 
 Spirit; in the margin the Ascension and Christ's meeting with the two 
 Disciples at Emmaus. Following are allegorical figures of the Seven 
 Cardinal Sins, with smaller miniatures beneath them illustrative of 
 each vice, and five of them accompanied by a particular devil. 11. 
 (F. 84) Pride. 12. (F. 86) Envy. 13. (F. 88) Wrath. 14. (F. 91) 
 Avarice. 15. (F. 94) Gluttony. 16. (F. 97) Sloth. 17. (F. 98) Lust. 
 18. (F. 109) The Last Judgment; in the margin devils drawing a 
 carload of victims into Hell. 19. (F. 114) Job and his Comforters; in 
 the margin the Raising of Lazarus. 20. (F. 139) Three Angels adoring 
 the Virgin and Infant Christ. 21. (F. 145) St. Sebastian. 22. (F. 146) 
 St. Anthony. 23. (F. 147) St. Christopher. 24. (F. 148 v.) The Trinity. 
 25. (F. 149 v.) St. Michael. 26. (F. 150 v.) St. John the Baptist. 27. 
 (F. 151 v.) St. Stephen. 28. (F. 152 v.) St. Laurence. 29. (F. 153 v.) 
 St. George. 30. (F. 154 v.) The Mass of St. Gregory. 31. (F. 156 r.) 
 St. Martin. 32. (F. 157) St. Mary Magdalene. 33. (F. 158) St. Apol- 
 lonia. 34. (F. 159) St. Catherine. 35. (F. 160) St. Margaret. 36. 
 (F. 161) St. Barbara. 37. (F. 162) All Saints. 
 
 This beautiful manuscript is one of the best examples of French 
 miniature art of the period in which it was executed. It is remarkable
 
 HOIUE 99 
 
 for composition, technique, colouring, and finish, and for its freshness 
 and purity. The colouring is especially exquisite, in brilliant blues, 
 reds, greens, etc., softened by camaieu d'or, and many of the subjects 
 are unusual, e. g., the Seven Cardinal Sins with their accompanying 
 scenes. 
 
 From the Spitzer collection. 
 
 BEAT.E MARINE VIRGINIS. SJEC. XV. 
 
 Small 4/0, red morocco, inlaid borders of dark brown mo- 
 rocco and light brown medallions on the sides, which are 
 covered with delicate gold pointille tooling, gilt back, vellum 
 linings, gilt edges, by Le Gascon. In a modern case of red 
 morocco. 
 
 A French Book of Hours written in gothic letters upon fine vellum in 
 the latter part of the fifteenth century. 161 X 110 mm. 
 
 It contains 170 leaves (folios 27 and 28 blank) including 12 for the 
 Calendar, with 14 lines to the page. There are 11 large miniatures of 
 unusual delicacy and beauty, divided into upper and lower sections and 
 united by architectural borders in camaieu d'or. The text has no borders, 
 but it contains numerous initials in blue and red heightened with gold, 
 or historiated. 
 
 The subjects of the miniatures are 1. (F. 13) The Martyrdom of 
 St. John the Evangelist; below, St. John in Patmos, a devil approach- 
 ing. 2. (F. 20) The Descent from the Cross ; the Entombment, which, 
 with 2 other small miniatures in compartments, forms a trilateral border. 
 3. (F. 29) The Annunciation; below, the arms of the original owner 
 of the manuscript upborne by two angels. 4. (F. 51) The Visitation 
 of Elizabeth; below, Zacharias and Elizabeth. 5. (F. 63 v.) The Nativ- 
 ity. 6. (F. 68) The Announcement to the Shepherds, one of whom is a 
 woman; below, the Adoration of the Shepherds. [Between folios 71 
 and 72, 73 and 74, 76 and 77, three leaves are apparently missing, which 
 might have contained the usual miniatures for the Hours, ad Sextam, 
 The Magi; ad Nonam, The Presentation in the Temple; ad Vesperas, 
 The Flight into Egypt.] 7. (F. 83) The Ascension of the Virgin, a 
 striking composition in brilliant blue, red, and camaieu d'or; below, 
 the Death of the Virgin. 8. (F. 98) The Crucifixion; and Christ bear- 
 ing the Cross. In an historiated initial between the two miniatures is
 
 100 HOILE 
 
 the Sacred Sudarium of St. Veronica. 9. (F. 102) The Descent of the 
 Holy Spirit; below, the Ascension, showing only Christ's feet. 10. 
 (F. 106) King David praying; David astride Goliath, stabbing him 
 with a dagger. 11. (F. 130) The Raising of Lazarus; Job lamenting. 
 
 In technique, colouring, and finish, this manuscript is a very good 
 example of French miniature art of the period. 
 
 HOILE BEAT.E MARI^ VIRGINIS. S^c. XV. 
 
 4o, brown levant morocco, blind-tooled back and side panels, 
 vellum linings, gilt edges, by Riviere. 
 
 An Italian Book of Hours written upon vellum in large and small 
 gothic characters with frequent rubrication, in the fifteenth century. 
 182 X 130 mm. 
 
 There are 210 leaves, including 12 for the Calendar. Folio 192 is 
 blank, and there are 13 lines to the page. The name of the principal 
 scribe appears on the verso of twenty-three leaves, below the catchword, 
 generally abbreviated, but in four instances (ff. 157, 165, 172, and 188) 
 written in full, Johannes de Bruolio. There are 23 full-page miniatures 
 surrounded by elaborate borders in the French manner, " line and 
 leaf" decoration in black and burnished gold with flowers and foliage 
 in colours. The pages containing miniatures have large initial letters 
 in colours on a gold ground, and throughout the text are numerous 
 illuminated initials. On folios 170 and 171 verso are two curious gro- 
 tesques in black and green forming initial letters. 
 
 The subjects of the miniatures, which are very finely drawn and 
 painted in cama'ieu gris and blue heightened with gold, are 1. (F. 20 r.) 
 The Annunciation. 2. (F. 47 v.) The Visitation of Elizabeth. 3. (F. 
 61 v.) The Nativity. 4. (F. 67 v.) The Announcement to the Shepherds. 
 5. (F. 82 v.) The Flight into Egypt. 6. (F. 92 r.) The Coronation of 
 the Virgin. 7. (F. 100 v.) The Massacre of the Innocents. 8. (F. 132 v.) 
 The Descent of the Holy Spirit. 9. (F. 140 v.) King David praying. 
 10. (F. 161 v.) A Burial Service. 11. (F. 193 r.) St. Lazarus. 12. 
 (F. 194 r.) St. Christopher. 13. (F. 195 v.) St. Anthony. 14. (F. 196 v.) 
 St. Laurence. 15. (F. 197 v.) St. Mary Magdalene. 16. (F. 198 v.) 
 St. Catherine. 17. (F. 200 r.) St. Leonard. 18. (F. 201 r.) The Trinity. 
 19. (F. 202 r.) St. Eustache. 20. (F. 203 v.) St. Blaise. 21. (F. 206 r.) 
 St. Barbara. 22. (F. 207 v.) St. Apollonia. 23. (F. 208 v.) St. Francis 
 of Assisi.
 
 HOR.E 101 
 
 At least two scribes worked on this manuscript, the second one be- 
 ginning on folio 193 with the prayers to the various saints. On folios 
 204 verso, 205 recto, and 210 recto appears to be a third variety of 
 character, "De sancto bernardo," "De sancto Joseph," and "De sancto 
 Claudio." At the conclusion of the text on folio 209 verso is written, 
 by a different scribe from the one who completed the manuscript, "Les 
 presantes [sic] heures ont estes acheptees a dijon en bourgoingne 124." 
 
 HOILE BEAT^E MARINE VIRGINIS. SJEC. XV. 
 
 Square 8vo, brown levant morocco, blind-tooled back and 
 side panels, gilt edges. 
 
 An Italian Book of Hours written in gothic characters upon vellum 
 after 1450. 161 X 114 mm. 
 
 It contains 140 leaves, including 12 for the Calendar, with 15 lines 
 to the page. There are 15 large and 10 small miniatures, the latter in 
 the form of historiated initials, also numerous smaller illuminated 
 initials. 
 
 The borders, of which there are 25, all surrounding the miniatures, 
 are of a style rarely seen; they are outlined by a frame of blue inter- 
 lacing fillets and decorated with conventional flowers in blue or red, 
 peacocks, pheasants, partridges, lions, leopards, serpents, and nude 
 boys on a ground of thick foliage with tiny leaves in gold. The pages 
 of the text opposite the first 10 large miniatures, containing the 10 small 
 miniatures, have borders of a similar character. 
 
 The subjects of the 15 large miniatures, the first 10 of which are 
 painted on the verso of the leaves, are 1. (F. 19) The Annunciation. 
 2. (F. 33) The Visitation of Elizabeth. 3. (F. 49) The Nativity. 4. 
 (F. 56) The Adoration of the Magi. 5. (F. 62) The Resurrection. 
 6. (F. 67) The Ascension. 7. (F. 73) The Descent of the Holy Spirit. 
 8. (F. 82) The Assumption of the Virgin. 9. (F. 98) The Crucifixion. 
 10. (F. 109) King David playing the Psalter. 11. (F. 132) St. Nicholas. 
 12. (F. 133) St. Erasmus. 13. (F. 135) God the Father teaching a 
 young Burgundian priest to pray. 14. (F. 138) Sts. Peter and Paul. 
 15. (F. 139) St. Matthew. 
 
 Among the subjects of the 10 small miniatures are the Virgin with 
 the Infant Christ, several prophets and a sibyl, the crucified Christ 
 standing in the tomb, and King David praying.
 
 102 HOR.E 
 
 The paintings are evidently by artists of varying degrees of skill, but 
 belonging to the same school. The composition is occasionally rudi- 
 mentary, but the general effect is of careful attention to detail, par- 
 ticularly in facial expression. The painting of the Virgin and Child is 
 especially charming. The large miniatures are remarkable for original- 
 ity of design, e. g., in the Descent of the Holy Spirit, the group is repre- 
 sented as in a pillared space above a wall in the centre of which is a door. 
 
 This manuscript could not have been executed before 1450, as in the 
 Calendar, at May 20, is the name of St. Bernardino of Siena, who was 
 not canonized until that year. This circumstance and the fact that in 
 the Calendar are also the names of St. Francis of Assisi, St. Anthony of 
 Padua, and St. Elizabeth of Hungary, make it probable that the manu- 
 script was executed in a Franciscan monastery. 
 
 At the foot of folios 20 and 110 are arms, a cross surmounted by 
 a lambel with three pendants, both within a wreath of bay leaves. 
 
 From the library of Ambroise Firmin-Didot. 
 
 HORJE BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 Small 4o, in a sixteenth century binding of brown calf- 
 skin tooled in fillets, leaf-sprays, azured ornaments, angels' 
 heads, fleurs-de-lys, etc., in compartments in the manner of 
 the Eves, silk ties, gilt edges. In the centre of the recto is the 
 name "Francois le Bigot," in the centre of the verso, "Per- 
 rette D amours." In a case of brown morocco lined with 
 velvet. 
 
 An exquisite Book of Hours executed in gothic characters upon the 
 finest of vellum during the latter part of the fifteenth century, probably 
 in Italy. 141 X 100 mm. 
 
 There are 107 leaves, including 6 for the Calendar, with 26 lines to 
 the page. Folios 7, 8, 9, 11, 12, 42, and 91 are blank. The illumina- 
 tions consist of 7 miniatures measuring about 35 X 30 mm. and 5 meas- 
 uring 12 X 12 mm. The former have side borders of foliage, scrolls, 
 etc., in blue, green, and shaded gold. Throughout the volume are nu- 
 merous large and small initial letters in gold on a ground of blue and 
 red. 
 
 The 7 larger miniatures are exquisitely painted in camaieu d'vr on a 
 ground of blue, red, and brown, an unusual style of illumination.
 
 HOILE 103 
 
 The subjects are 1. (F. 18 v.) The Visitation of Elizabeth. 2. (F. 24 v.) 
 The Nativity; an historiated initial of blue on a gold ground, the scene 
 being in gold on a red ground. 3. (F. 27 r.) The Announcement to the 
 Shepherds. 4. (F. 29 v.) The Adoration of the Magi. 5. (F. 32 r.) 
 The Presentation in the Temple. 6. (F. 34 v.) The Flight into Egypt. 
 7. (F. 38 v.) The Coronation of the Virgin. 
 
 The 5 small miniatures, on folio 10, represent the four Evangelists 
 and the Virgin, and, like all the other illuminations, are painted with 
 microscopic delicacy. The text on this folio is extremely minute, with 
 tiny illuminated initial letters. 
 
 HOILE BEAT.E MARINE VIRGINIS. SJSG. XV-XVI. 
 
 Small 4to, black shagreen, the sides ornamented with chased 
 silver borders and plaques, in the centre of which are medal- 
 lions, also in chased silver, containing small busts; silver clasp, 
 gilt edges. 
 
 An exquisite Flemish Book of Hours written in gothic characters 
 upon the finest of vellum at the end of the fifteenth or the beginning of 
 the sixteenth century, probably at Bruges. 105 X 79 mm. 
 
 There are 209 leaves, including 13 for the Calendar, each page con- 
 taining 16 lines. On the last four folios is a "Canticum Athanasii epi." 
 There are 16 large and 40 small miniatures, of which 24 are in the 
 Calendar, also 73 borders, 24 in the Calendar, the others surround- 
 ing the large miniatures and the pages opposite. They are composed 
 of flowers, birds, animals, insects, fruits, jewels, skulls, grotesques (e. g., 
 a frog-woman, a man-fish, animals with two human heads) painted in 
 brilliant colours on a ground of dull gold, red, and green in such relief 
 that the objects appear almost detached from the background. The 
 first two pages of the Calendar have borders of jewels on a dark blue 
 ground ; those for September have a curious arrangement of grape-vines. 
 
 The subjects of the large miniatures, all painted on the verso of the 
 leaves, are 1. (F. 14) Adam and Eve standing at the foot of the Tree, 
 the Serpent with a woman's head and bat's wings coiled around the 
 trunk. The garden is an orchard exquisitely painted. 2. (F. 16) A 
 half-length figure of Christ in the act of blessing; in His left hand a 
 crystal ball supporting a gold cross. 3. (F. 19) The Crucifixion; a 
 beautiful landscape in the background, the Virgin and St. John in the
 
 104 HOR.E 
 
 foreground. 4. (F. 26) The Descent of the Holy Spirit. 5. (F. 32) The 
 Virgin and Child. 6. (F. 44) The Annunciation; a bed-room scene 
 painted with much delicacy. 7. (F. 63) The Visitation of Elizabeth. 
 8. (F. 75) The Nativity. 9. (F. 81) The Announcement to the Shep- 
 herds. 10. (F. 86) The Adoration of the Magi, accompanied by a 
 retinue. 11. (F. 79) The Flight into Egypt; a charming landscape in 
 the background. 12. (F. 195) The Massacre of the Innocents; a vil- 
 lage street in the background. 13. (F. 112) The Coronation of the 
 Virgin; painted in brilliant red and blue. 14. (F. 122) King David 
 praying; Roman towers and a landscape in the background. 15. 
 (F/144) A Burial Service within a chapel. 16. (F. 187) The Descent 
 from the Cross. 
 
 The 24 small miniatures in the Calendar represent the usual sub- 
 jects painted in medallions at the foot of the pages. The 16 other small 
 miniatures are historiated initals between folios 195 and 206. Their 
 subjects are St. Louis, St. Michael, St. John the Baptist, Sts. Peter and 
 Paul, St. James the Major, St. Anthony, St. Francis, St. Jerome, St. 
 Nicholas, St. Mary Magdalene, St. Catherine, St. Barbara, St. Susanna, 
 St. Margaret, All Saints, St. Athanasius. 
 
 More than one artist painted the illuminations in this manuscript. 
 The half-length painting of Christ, the Virgin and Child, the Annuncia- 
 tion, and the Coronation of the Virgin are the work of a master, some 
 connoisseurs say of Memling, who died in 1494. Whether or not this 
 be true, the same characteristics are apparent that distinguish him 
 from his contemporaries, purity of design, delicacy of colour and 
 technique, and charm of expression. All of the paintings, however, are 
 remarkable. 
 
 The Flemish origin of the Ynanuscript is shown also in the Calendar, 
 which contains a large number of saints especially venerated in Flanders, 
 e. g., St. Aldegonde, founder of the abbey of the canonesses of Mau- 
 beuge; St. Amand, Bishop of Maastricht and one of the patrons of the 
 city of Gand ; St. Medard, Bishop of Tournai ; St. Willibald ; St. Lam- 
 bert, patron of Liege ; and St. Hubert, first Bishop of that city. 
 
 It would be difficult to find a more exquisite manuscript of its kind 
 or one in more perfect condition. It was regarded as one of the gems 
 in the collections of J. J. de Bure, Ambroise Firmin-Didot, and Baron 
 de La Roche Lacarelle.
 
 HOILE 105 
 
 HOILE BEAT^E MARI.E VIRGINIS. S^c. XV-XVI. 
 
 4ito, pigskin blind-tooled in panels, the monogram of M. 
 Yememz in the corners, silver clasps formed of his monogram, 
 gilt edges, by Trautz-Bauzonnet. Enclosed in a pigskin 
 chamois-lined box. 
 
 A Flemish Book of Hours written at the end of the fifteenth or the 
 beginning of the sixteenth century in gothic letters of silver and gold 
 upon black vellum. 171 X 122 mm. 
 
 There are 121 leaves including a title-page and 12 folios for the Cal- 
 endar, with 17 lines to the page. The miniatures are 14 in number, 
 with oval tops, and throughout the text are numerous large and small 
 initial letters in burnished gold on a green ground. The title-page con- 
 tains the wording "Officium B: Marise Virginis" written in large letters 
 of gold, below which is a fleuron in the form of a large heraldic fleur-de- 
 lys within a mural crown. This page contains a border similar to the 
 others in the book. There are in all 134 borders composed of foliage, 
 flowers, birds, animals, grotesques, and chimeras painted in gold on 
 a dark blue ground, producing the effect of the beautiful enamels of the 
 Middle Ages. 
 
 The miniatures are all painted on the verso of the leaves, with the 
 rectos blank. Their subjects are 1. ;(F. 14) The Crucifixion. 2. (F. 18) 
 The Descent of the Holy Spirit. 3." (F. 22) The Virgin seated with the 
 Child, whom Angels are entertaining. 4. (F. 29) The Annunciation. 
 5. (F. 39) The Visitation of Elizabeth. 6. (F. 49) The Nativity. 7. 
 (F. 54) The Announcement to the Shepherds. 8. (F. 58) The Adora- 
 tion of the Magi. 9. (F. 62) The Massacre of the Innocents. 10. 
 (F. 66) The Flight into Egypt. 11. (F. 72) The Coronation of the 
 Virgin. 12. (F. 76) King David praying in the desert. 13. (F. 93) 
 The Resurrection of Lazarus. 14. (F. 98) A Burial Service in a chapel. 
 The Calendar contains a number of Flemish saints, e. g., St. Amand, 
 St. Waast, St. Lambert, and St. Bavon. The miniatures are extremely 
 well painted, in strong colours heightened with gold, harmonizing ad- 
 mirably with the borders. The black background imparts a sombre 
 tone which is maintained throughout. 
 
 This manuscript was formerly in the Yemeniz and Didot collections, 
 and is an iconographical curiosity.
 
 106 
 
 HORjE BEAT.E MARINE VIRGINIS. S^c. XVI. 
 
 4/o, old dark red velvet over oak boards, gilt edges. In 
 a modern cloth case. 
 
 A superb Book of Hours written in gothic characters upon vellum, in 
 the north of France, after January 7, 1499, for Louis XII and his first 
 wife, Anne de Bretagne. The arms of the King are found on folio 18. 
 230 X 166 mm. 
 
 It contains 254 leaves, 12 for the Calendar, with 14 lines to the page. 
 Folio 30 is blank. There are 16 large and 68 smaller miniatures, which 
 are all in the borders, including the 24 in the Calendar ; also numerous 
 large and small illuminated initials. 
 
 Every page is surrounded by an exquisitely painted "line and leaf" 
 border in black and burnished gold with flowers, fruit, foliage, birds, etc., 
 in brilliant colours. The borders containing miniatures are more elabo- 
 rately decorated in compartments with richly painted flowers on a 
 ground of white or gold. The first three miniatures occupy the entire 
 pages, and are remarkable for elaboration of design, colour, and finish. 
 
 The subjects of the large miniatures are 1. (F. 13) The Last Supper, 
 in an architectural border ; at the left in a niche is a female figure blind- 
 folded ; at the right, at the top of a flight of stairs between two columns 
 is Judas Iscariot holding the purse; above his head are the arms of 
 Louis XII painted in blue and gold. In another niche at the right is de- 
 picted a queen holding a chalice and a spear with a pennant. At the foot 
 of the page is St. John the Evangelist on Patmos, with a landscape con- 
 taining Norman towers in the distance. 2. (F. 16) Herod receiving the 
 Magi, one of whom is black. The scene is a richly painted interior, with 
 an open fireplace. The lower part of the page represents the procession 
 of the Magi and their retinue. In the lower left-hand corner is a small 
 miniature of St. Mark. 3. (F. 18 v.) The Ascension ; below, two compart- 
 ments formed by an architectural design in camaieu gris, representing St. 
 Matthew and an angel with peacock wings holding his ink-well. 4. (F. 
 20) The Descent from the Cross ; three small medallion miniatures in the 
 border, two on the outer margin, one at the bottom representing the 
 Betrayal, Christ carrying the Cross, and the Nailing to the Cross. 5. 
 (F. 31) The Annunciation ; a bed-room scene with a beautiful little land- 
 scape through the open window; in the border three small miniatures 
 of scenes relating to the Virgin, the one at the foot representing her mar-
 
 107 
 
 riage. On each side of this painting is a kneeling figure, of a man and a 
 woman, possibly Louis XII and Anne de Bretagne. 6. (F. 61) The 
 Visitation of Elizabeth ; in the border are the Annunciation, the Virgin on 
 her journey to Elizabeth, attended by two women, and the Birth of John 
 the Baptist. 7. (F. 75 r.) The Nativity; in the border, three scenes from 
 the life of the Virgin, including the Flight. 8. (F. 82 v.) The Announce- 
 ment to the Shepherds, one of whom is a woman ; a detailed landscape 
 containing two Norman towers in the background ; the borders show the 
 Shepherds in three scenes. 9. (F. 87 v.) The Adoration of the Magi, one 
 of whom is black; the procession of the Magi in the three small minia- 
 tures. 10. (F. 92 v.) The Presentation in the Temple. 11. (F. 105 v.) 
 The Coronation of the Virgin by the Trinity ; in the border, her Death and 
 Assumption. 12. (F. 113 r.) King David in full armour kneeling before 
 an altar, his army in the background. 13. (F. 137) The Crucifixion. 
 14. (F. 146) The Descent of the Holy Spirit; three scenes from the life 
 of Christ in the border. 15. (F. 153 v.) The Raising of Lazarus; his 
 Death and Burial in the border. 16. (F. 211 v.) The Virgin and Child 
 enthroned ; three Miracles in the border. 
 
 The 24 small miniatures in the Calendar (which is in French) repre- 
 sent the usual subjects ; the signs of the zodiac are one third the size of 
 the scenes appropriate to the months and are in the upper right-hand 
 corners of the recto of the folios ; the scenes are in the centre of the foot of 
 the pages. 
 
 All of the miniatures are remarkable for brilliancy of colouring, per- 
 fection of detail, and admirable perspective. 
 
 HOR.E BEAT^E MARLE VIRGINIS. S^c. XVI. 
 
 Small 8vo, old dark brown morocco, gilt back and side 
 panels with ornaments, gilt edges. 
 
 A Flemish Book of Hours written in gothic characters upon fine vellum 
 in the beginning of the sixteenth century for Catherine Hurault de Chi- 
 verny, whose arms, quartered with those of the Poncher family, are at the 
 foot of folio 83 verso. 161 X 111 mm. 
 
 It contains 120 leaves, including 12 for the Calendar, which is in 
 Latin, with 21 lines to the page. 
 
 There are 12 large and 3 small miniatures, borders of scrolls, flowers, 
 birds, and animals in colours on a gold ground, surrounding the large 
 paintings, and numerous illuminated initial letters.
 
 108 HOR/E 
 
 The subjects of the large miniatures are 1. (F. 13 r.) St. John the 
 Evangelist on Patmos. 2. (F. 18 r.) The Agony in the Garden. 3. (F. 
 27 r.) The Annunciation. 4. (F. 35 r.) The Visitation of Elizabeth. 5. 
 (F. 44 v.) The Nativity. 6. (F. 47 v.) The Announcement to the Shep- 
 herds. 7. (F. 50 r.) The Adoration of the Magi. 8. (F. 53 r.) The Presen- 
 tation in the Temple. 9. (F. 56 r.) The Flight into Egypt. 10. (F. 62 v.) 
 The Coronation of the Virgin. 11. (F. 67) King David praying. 12. 
 (F. 83 v.) The Resurrection of Lazarus. 
 
 The 3 small miniatures (34 X 34 mm., on folios 14, 15, and 17) 
 represent St. Luke, St. Matthew, and St. Mark. 
 
 The text of this manuscript is remarkably clear. Below the minia- 
 ture on folio 83 verso is written in gold letters, "Sensuiuent les vigiles des 
 trefpaffez en chant et notte." Almost every page following contains 
 music score, which differentiates this manuscript from most others of its 
 class. At the foot of folio 13 recto is a blank escutcheon. 
 
 The miniatures are finely executed and cleverly heightened with gold. 
 
 HOR.E BEAT^E MARLE VIRGINIS. S^c. XVI. 
 
 4to, old dark brown morocco, tooled in panels, on both 
 covers arms in gold within a chiselled border, silver-gilt clasps, 
 gauffred gilt edges. In a modern case of red levant morocco. 
 
 An exquisite Flemish Book of Hours written in gothic characters upon 
 fine vellum at the beginning of the sixteenth century, by one or more of 
 the Horebout family. Three or four of the especially fine miniatures 
 were painted by Gerard Horebout (about 1480-1540) one of the most 
 famous artists of his time. 213 X 153 mm. 
 
 The volume consists of 303 leaves, including 13 for the Calendar, with 
 17 lines to the page. There are 27 fine large miniatures surrounded by 
 borders, 24 miniature borders in the Calendar, and 71 other borders 
 beautifully painted in brilliant flowers, fruits, birds, insects, and scrolls, 
 in high relief, on a ground of yellow or dull gold, or after the manner of 
 the Italian Renaissance, with ornaments, scrolls, figures, etc., in colours 
 and camaieu d'or on a ground of blue, red, or green. There are also 
 numerous large (floriated) and small initial letters and finials delicately 
 painted in camdwu d'or on a ground of rose, blue, and green. 
 
 The subjects of the large miniatures are 1. (F. 13 v.) Christ in the act 
 of blessing; in His left hand a crystal ball surmounted by a cross. 2.
 
 HOR.E 109 
 
 (F. 15 v.) St. John the Evangelist on Patmos; in the background a 
 charming river scene. 3. (F. 17 v.) St. Luke painting the portrait of the 
 Virgin ; the detail of the interiors of this and the two following paintings is 
 remarkable. 4. (F. 19 v.) St. Matthew. 5. (F. 21 v.) St. Mark. 6. 
 (F. 24 v.) The Agony in the Garden; Christ kneeling upon a hill, at the 
 foot of which are the Roman soldiers approaching. 7. (F. 38 v.) Christ's 
 entry into Jerusalem, Zaccheus in the sycamore tree. 8. (F. 50 v.) Christ 
 before Pilate. 9. (F. 62 v.) The Last Supper. 10. (F. 81 v.) The Cruci- 
 fixion. 11. (F. 88 v.) The Descent of the Holy Spirit; the scene is a 
 chapel. The borders on this and the opposite pages contain Latin in- 
 scriptions in camaieu bleu or scrolls of camaieu d'or on a ground of rose. 
 12. (F. 103 v.) The Virgin and Child, two angels holding a crown above 
 her. 13. (F. 106 v.) Salome receiving from the executioner the head of 
 John the Baptist on a charger ; the body of St. John is on the ground, in 
 the distance is a temple. 14. (F. 112 v.) St. Francis of Assisi receiving 
 the stigmata. 15. (F. 114 v.) The Virgin and Child at the feet of St. Anna; 
 in the border is depicted the Birth of the Virgin. 16. (F. 116 v.) St. 
 Catherine with book and sword standing against a black drapery ; under 
 her feet is the Emperor Maximin, in the background the wheel and the 
 scene of her beheading. In the border are painted three noble ladies 
 kneeling before a Franciscan monk, who holds a portrait of the Virgin 
 and Child. This is a most exquisite miniature, worthy of Van Eyck. 
 17. (F. 136 v.) The Mocking of Christ; in the borders on this and the 
 opposite pages are Latin inscriptions in letters of blue, rose, and green on 
 a ground of dull gold ornamented with a diaper pattern. 18. (F. 147 v.) 
 Christ bearing the Cross; in the background the towers of Jerusalem, 
 in the borders vases or pots of flowers. 19. (F. 153 v.) The Crucifixion 
 with the two Thieves ; at the foot of the Cross a large group of soldiers, 
 three on horseback. 20. (F. 164 v.) The Entombment; the three Crosses 
 on a hill in the background. 21. (F. 187 v.) The Visitation of Eliza- 
 beth; an angel and Judith attending; the two beautiful borders are 
 composed of jewels in camaieu d'or and gris and colours on a ground of 
 diapered grey and rose. 22. (F. 214 v.) The Presentation in the Temple; 
 the two borders contain three small miniatures of a clown, a monk on 
 horseback on his way to market, and a woman carrying a basket of eggs 
 on her arm and a cage of birds on her head. 23. (F. 219 v.) Joseph and 
 the Virgin and Child pausing by the wayside in the Flight into Egypt ; a 
 domestic scene in which the ass is grazing, Mary is feeding the Child, and
 
 110 HOR^E 
 
 Joseph drawing water from a near-by stream. In the background is a 
 charming river scene. 24. (F. 228 v.) The Assumption of the Virgin. 
 25. (F. 234 v.) Christ's Genealogical Tree; Jesse recumbent on the 
 ground. 26. (F. 242 v.) David and Goliath. 27. (F. 265 v.) A Burial 
 Service within a church; in the two borders are skulls and a cadaver 
 looking into a mirror, with the legend, "Respice finem. " 
 
 The 24 miniature borders in the Calendar depict rural scenes appropri- 
 ate to the months and the signs of the zodiac in circular form in the upper 
 part of the recto of the leaves. 
 
 All of the miniatures are of exquisite design and technique. 
 
 HOILE BEAT.E MARINE VIRGINIS. [ALMANAC POUR 
 
 DIXHUIT ANS, 1513-1530]. 
 
 4<o, red morocco, side borders and back panels tooled in 
 fillets and ornaments, gilt edges, by P. Purgold. In a case of 
 half red morocco. 
 
 A French Book of Hours written in bold gothic letters upon vellum 
 about 1513. 250 X 187 mm. 
 
 It contains 228 leaves, including 12 for the Calendar and a preliminary 
 folio on the verso of which is an Almanac for eighteen years, from 1513- 
 30. Folio 227 is blank, folio 228 contains on the verso six lines be- 
 ginning "Quant court, xvi. vxiii. ii. x. xviii. vii. Fertile." Many of the 
 rubrics (written in blue ink) and several of the prayers are in French. 
 
 There are 185 miniatures, of which 39 are large, and 146 small, 96 of 
 them being in the Calendar, 4 on each page in architectural borders. The 
 large miniatures are surrounded by borders of an architectural design in 
 camaieu d'or heightened with blue, red, and green, introducing angels, 
 garlands, etc. There are also numerous large and small initial letters in 
 gold on a ground of blue and red, with scroll or floral decoration. The 
 presumable portrait of the original owner of the manuscript appears in 
 eight miniatures. 
 
 The subjects of the large paintings are 1. (F. 14 r.) St. John the Evan- 
 gelist on Patmos. 2. (F. 20 r.) The Trinity; in the background a choir 
 of angels painted in red heightened with gold. 3. (F. 28 r.) Christ ac- 
 companied by his Disciples and the Virgin Mary, the owner of the manu- 
 script ( ?) kneeling in prayer. 4. (F. 33 v.) The Cross and other Symbols 
 of the Passion, including the Sacred Sudarium, painted in camaieu d'or on
 
 HOILE 111 
 
 a ground of bistre, with some colours introduced. 5. (F. 36 v.) The 
 Assumption of the Virgin. 6. (F. 39 v.) A Choir of singing Angels; the 
 border has three small miniatures containing archangels and angels. 
 7. (F. 40 r.) All Saints; St. John the Baptist on the left, St. John the 
 Evangelist on the right. 8. (F. 42 r.) The owner of the manuscript ( ?) 
 supported by an angel, kneeling in an open field in prayer to God the 
 Father. 9. (F. 55 v.) The Annunciation. 10. (F. 66 r.) The Vision of the 
 Virgin and Child by Augustus Csesar,as prophesied by the Sibyl Tiburtina. 
 11. (F. 77 v.) The Crucifixion with the two thieves; Mary and other 
 holy women on the left, a group of Roman soldiers on the right. 12. 
 (F. 79 v.) The Descent of the Holy Spirit. 13. (F. 81 r.) The Nativity. 
 14. (F. 88 r.) The Announcement to four Shepherds. 15. (F. 94 v.) The 
 horses and retinue of the Magi awaiting their return. This original com- 
 position is on the page opposite No. 16 (F. 95 r.), the Adoration of the 
 Magi, and is surrounded by a narrow border in red and gold. 17. (F. 
 101 v.) Mary and Joseph on their way to the Temple, another original de- 
 sign which is opposite No. 18 (F. 102 r.), the Presentation in the Temple. 
 19. (F. 108 v.) The Flight into Egypt; two angels attending. 20. (F. 
 118 v.) The Coronation of the Virgin ; a group of seven persons. 21. (F. 
 128 r.) The owner of the manuscript kneeling before the Virgin and 
 Child. The French prayers begin at this point. 22. (F. 128 v.) The 
 Trinity ; a curious composition in which the Holy Spirit, seated between 
 God the Father and God the Son, is represented as a man-angel with 
 large wings and clothed in white. 23. (F. 134 v.) Joshua arresting the 
 courses of the sun and the moon. 24. (F. 169 r.) Death standing beside a 
 victim ; skulls in the border. 25. (F. 169 v.) The owner of the manuscript 
 kneeling in prayer to Christ; the scene is an open field. 26. (F. 170 r.) 
 Moses and the Burning Bush. 27. (F. 170 v.) Moses receiving the 
 Tables of Law. 28. (F. 175 v.) Death astride a bull and with a coffin 
 under his arm, trampling under foot a number of victims, among them a 
 pope, a bishop, and a king. 29. (F. 179 r.) The Last Judgment, the 
 Virgin kneeling at the left, St. John the Baptist at the right. 30. (F. 180 v.) 
 A representation of Hell; Satan and his fiends presiding over the de- 
 struction of a cauldron full of burning victims. 31. (F. 182 v.) God the 
 Father, God the Son, the Virgin Mary, and a group of Saints in Heaven. 
 32. (F. 193 v.) Death on a horse riding over a victim. 33. (F. 194 r.) 
 Cadavers and skulls lying in a graveyard in the centre of which is erected 
 a cross. 34. (F. 194 v.) Another representation of Hell; fiends casting
 
 112 HOJLE 
 
 victims into the jaws of a dragon. 35. (F. 195 v.) The owner of the manu- 
 script kneeling in prayer before Christ, who is attended by an angel bear- 
 ing a book. 36. (F. 196 r.) God the Son and God the Father. 37. (F. 
 196 v.) A death-bed scene. 38. (F. 206 r.) The death of a Pope (Julius 
 II, d. 1513 ?) surrounded by a bishop and four cardinals. 39. (Ff. 225 v.- 
 226 r.) Christ bearing the Cross; a large painting (140 X 340 mm.) 
 extending across two pages. 
 
 The large number of small miniatures in the Calendar - 96 - and the 
 subjects are unusual. At the foot of the recto of the twelve folios are 
 scenes appropriate to the months and the zodiacal signs; in the outer 
 borders and at the foot of the verso of the folios are depicted saints and 
 scenes from the life of Christ : (F. 2 v.) The Circumcision and St. 
 Stephen. (F. 2 v.) St. Anthony, St. Sebastian, St. Vincent, and the 
 Vision of St. Paul on the Road to Damascus. (F. 3 r.) The Presenta- 
 tion in the Temple and St. Blaise. (F. 3 v.) St. Agatha and St. Dorothea, 
 St. Apollonia, St. Peter as Pope, St. Matthias. (F. 4 r.) St. Albinus, St. 
 Thomas Aquinas. (F. 4 v.) St. Patricius, St. Anselm, St. Romanus, and 
 the Annunciation. (F. 5 r.) St. Mary of Egypt, St. Helena. (F. 5 v.) St. 
 Clement, St. George, St. Mark, St. Peter Martyr. (F. 6 r.) St. Philip, St. 
 James, and the Cross. (F. 6 v.) St. Bernardino of Siena, St. Juliana, 
 St. Urban, St. Petronilla. (F. 7 r.) St. Boniface, St. Barnabas. (F. 7 v.) 
 St. Gervasius and St. Protasius. the Birth of John the Baptist, St. John 
 the Evangelist and St. Paul, also St. Peter and St. Paul. (F. 8 r.) The 
 Visitation of Elizabeth, St. Martin of Tours. (F. 8 v.) St. Margaret, St. 
 Mary Magdalene, St. James, St. Anna and the Virgin. (F. 9 r.) The 
 Transfiguration, the Assumption of the Virgin. (F. 9 v.) St. Bernard of 
 Clairvaux, St. Bartholomew, St. Louis, and the Martyrdom of St. John 
 the Baptist. (F. 10 r.) St. Egidius and the Birth of the Virgin Mary. 
 (F. 10 v.) St. Matthew, St. Lupus, Sts. Cosmo and Damian, St. Michael. 
 (F. 11 r.) St. Francis of Assisi and St. Dionysius (Denis). (F. 11 v.) St. 
 Luke, St. Evaristus, St. Narcissus, Sts. Simon and Jude. (F. 12 r.) All 
 Saints, St. Martin. (F. 12 v.) St. Clement, Sts. Peter and Paul, St. Cath- 
 erine, St. Andrew. (F. 13 r.) St. Nicholas and St. Barbara. (F. 13 v.) 
 St. Thomas, the Nativity, St. Stephen, St. John the Evangelist. 
 
 Of the 50 other small miniatures scattered through the text, some are 
 only 17 mm. wide and extend across the page, an unusual feature, while 
 others approximate in size to some of the large paintings, e. g., the figure 
 of Christ on folio 168 verso, which measures 80 X 108 mm. The subjects
 
 HOR^E 113 
 
 are the four Evangelists (folios 16-19), various saints (folios 44-54), 
 Death twice depicted, the presumable owner of the manuscript (folios 
 193 r. and 217 r.), God the Father (three times), Christ (nine times), and 
 various angels. On folio 33 recto the Holy Grail is depicted on the open 
 Tomb. The miniature on folio 178 verso is, in subject, part of the large 
 miniature of the Last Judgment on the opposite page. This treatment is 
 an interesting and unusual feature of the present manuscript, which is 
 a very fine example of calligraphy. It was formerly in the collections 
 of Morel de Vinde and the Comte de La Bedoyere. 
 
 HOILE BEAT.E MARINE VIRGINIS SECUNDUM USUM 
 
 ROMANUM. SJEC. XVI. 
 
 12mo, old white morocco tooled in a Grolieresque design of 
 interlacing bands and arabesques painted in colours. In the 
 centre of the front cover are the Spanish towers and crown of 
 Charles I of Spain and V of Germany (b. 1500), with his 
 motto, "Plus ultra," which is repeated on the painted and 
 gauffred edges. On the back cover are stamped in gold the 
 crown and eagle of Maximilian I of Germany (d. 1519), 
 silver clasps. In the original slip morocco case. 
 
 An exquisite little Flemish Book of Hours in gothic characters upon 
 the finest of abortive vellum, believed to have been executed between 1500 
 and 1519 by command of Maximilian I for presentation to his grandson, 
 Charles V. 95 X 66 mm. 
 
 There are 183 leaves, including 13 for the Calendar, and a preliminary 
 leaf containing in Latin advice from the Emperor to his grandson: 
 "Fear God, Assist the Poor, Remember thine End." Folios 2 and 3 
 are blank. There are 10 extremely fine miniatures and 49 borders, of 
 which 43 are composed of miniatures. The 24 in the Calendar repre- 
 sent scenes appropriate to the months and the zodiacal signs, on the 
 recto of the pages. Perhaps the most interesting of these scenes are in 
 the month of May; on the verso of the leaf is a boating-party with 
 musicians playing the mandolin and flageolet; on the opposite page 
 is a river scene in the Netherlands with horsemen in the foreground 
 and in the background archers aiming at a mark on the top of a 
 windmill, all painted with great delicacy. Throughout the text are
 
 114 HOILE 
 
 15 large floriated initials painted in camawu gris, d'or and blue on a 
 ground of colours and gold, also many smaller initials delicately 
 painted. 
 
 The subjects of the miniatures are 1. (F. 17 v.) The Annunciation; 
 in the border, a rural scene with a bird-catcher in the foreground ; on 
 the opposite page, Moses and the Burning Bush. 2. (F. 45 v.) The 
 Visitation of Elizabeth ; in the two borders are games of ball, archery, 
 and golf. 3. (F. 63 v.) The Nativity, remarkable for colour and draw- 
 ing; in the border is a view of Antwerp Cathedral and the Scheldt, 
 with a mythological contest in the river; on the opposite page, at- 
 tached to a pillar in the water, is an escutcheon bearing the device 
 of Charles V, "Plus ultra." 4. (F. 71 v.) The Announcement to the 
 Shepherds; in the border are children spinning tops, a cathedral in the 
 background; on the opposite page is a hermit, accompanied by his 
 guardian angel, leaving his home in a tree to fetch water. On folio 
 79 recto is a red border containing a Latin inscription in blue letters. 
 5. (F. 86 v.) The Presentation in the Temple; in the borders are 
 boys playing at skittles and rolling hoops. On folio 94 recto is a 
 border representing a tournament, two ladies looking on from a balcony 
 from which hangs a wreath of victory. Folio 106 recto has a border in 
 camaieu bleu representing angels singing evening hymns. 6. (F. 120 v.) 
 King David praying; in the background a castle, in the border children 
 blowing bubbles ; on the opposite page, David killing Goliath. 7. (F. 
 153 v.) The Mass of St. Gregory; within a unique border of gold and 
 silver ornaments on a blue ground. On folio 161 recto, which begins 
 the Indulgence of Pope Sixtus, is an elaborate border of green ornaments 
 on a red ground, in the Italian manner. Folio 162 has a miniature border 
 containing a charming rural scene, a fox among the poultry, a tame owl 
 on a perch. 8. (F. 168 v.) The Pieta, the Virgin accompanied by St. 
 John the Evangelist; the borders contain Latin inscriptions in camaieu 
 d'or on a light green ground. 9. (172 v.) Christ showing His Wounds; 
 in the border a Bishop accompanied by two Cardinals is displaying 
 from a gallery in a cathedral the Sacred Sudarium to kneeling worship- 
 pers below; another devotional scene in the opposite border. 10. (F. 
 180 v.) The Crucifixion; in the borders are processions of Flagellantes. 
 
 The illuminations in this manuscript were painted by the same artist 
 that executed the Bruges Horce in the Royal Library of Brussels. They
 
 HORyE 115 
 
 are of the school of Memling, remarkable for microscopic detail and 
 delicacy of finish. Aside from their artistic excellence, they are interesting 
 contributions to our knowledge of the games, customs, architecture, 
 and costumes of the Netherlands in the first part of the sixteenth century. 
 
 HOILE BEAT^E MARINE VIRGINIS. 1524. 
 
 Svo, red levant morocco, richly tooled "a Voiscau" gilt 
 back and dentelle borders on the sides, gilt edges, by Derome. 
 In a modern case of blue levant morocco. 
 
 A superb French Book of Hours written in roman characters upon 
 fine vellum presumably by Geofroy Tory in 1524, according to the date 
 in gold letters in the miniature of Job on folio 79 verso. 227 X 141 mm. 
 
 There are 113 leaves, including 6 for the Calendar, with 23 lines to 
 the page, and 58 illuminations 16 full-page and 26 small miniatures, 
 with 16 richly painted borders opposite the large paintings, composed 
 of flowers, birds, insects, etc., in brilliant colours on a gold ground, or of 
 scrolls, figures, grotesques, and elaborate ornaments in the Italian manner 
 painted in camaieu d'or or gris on a ground of red, blue, and green. 
 
 The large miniatures are in rich ornamental borders of architectural 
 design in camaieu d'or shaded with red. Their subjects are 1. (F. 7 v.) 
 St. John the Evangelist on Patmos. 2. (F. 11 r.) The Agony in the 
 Garden; a half-page painting executed in brilliant colours. 3. (F. 19 v.) 
 The Annunciation; a bed-room scene. 4. (F. 30 v.) The Virgin and 
 Child appearing as a vision in the sky to a group of court ladies and 
 gentlemen in a village street; an original scene of much variety and 
 brilliancy, substituted for the usual subject, the Visitation, which ac- 
 companies the Lauds. 5. (F. 37 v.) The Nativity, within a ruin. 6. 
 (F. 40 v.) The Announcement to seven Shepherds, one of whom is a 
 woman; a charming landscape with ruins in the background. 7. (F. 
 43 v.) The Adoration of the Magi, one of them black; a scene of ruins. 
 
 8. (F. 46 v.) The Presentation in the Temple; a group of thirteen 
 people, the women brilliantly garbed in sixteenth century costumes. 
 
 9. (F. 49 v.) The Flight into Egypt; the Massacre of the Innocents in 
 the background. 10. (F. 53 v.) The Death of the Virgin Mary; a half- 
 page miniature containing the twelve Apostles surrounding the Virgin's 
 bed. 11. (F. 60 r.) Christ bearing the Cross. 12. (F. 62 v.) The De- 
 scent of the Holy Spirit. 13. (F. 65 r.) David and Bathsheba; a court-
 
 116 HOR.E 
 
 yard scene including ten persons. 14. (F. 76 r.) The Raising of 
 Lazarus. 15. (F. 79 v.) Job, with his Wife and three Comforters. 16. 
 (F. 112 r.) The Mass of St. Gregory. 
 
 Of the 26 small miniatures, 3 (ff. 8-10) depict Luke, Matthew, and 
 Mark. The remaining ones are chiefly of saints (ff. 98-111) : the Virgin 
 and Child, St. Michael, a Guardian Angel, Sts. John the Baptist and the 
 Evangelist, Sts. Peter and Paul, St. James the Major, St. Andrew, St. 
 Stephen, St. Christopher, St. Laurence, St. Sebastian, St. Dionysius, St. 
 Anthony, St. Martin, St. Nicholas, St. Claudius, St. Roch, St. Anna, 
 St. Mary Magdalene, St. Catherine, St. Margaret, St. Barbara. 
 
 De Bure, who compiled the catalogue of the library of the Due de La 
 Valliere, attributed this manuscript to an Italian. Other bibliographers 
 and art critics have ascribed it to Clouet, Lucas van Leyden, and Geofroy 
 Tory. Several reasons based upon comparative study of this volume 
 and the editions of Tory's Livres d'Heures make it probable that Tory 
 was the artist. The strong Italian influence in the paintings is accounted 
 for by his sojourns in Italy. His biographer, Bernard, records that after 
 his second journey to that country in 1514, he established himself in 
 Paris, where his principal resource appears to have been painting minia- 
 tures in manuscripts. 
 
 The reasons for ascribing the present volume to Tory are 1. The 
 text is identical with that of the Livre d'Heures published by him and 
 also dated 1524. 2. The first miniature (St. John the Evangelist on 
 Patmos) is engraved in Tory's Heurcs of 1543, folio 8 verso. 3. The 
 beautiful architectural borders surrounding the large miniatures are 
 similar. 4. In the painting of the Annunciation (f. 19 v.) the artist 
 has traced very lightly on the prie-dieu the cross of Lorraine with which 
 Tory signed his engravings. 5. The date " 1524 " in the miniature re- 
 presenting Job (f. 79 v.) is similar in design to the "1526" engraved on 
 wood on folio 111 of Champfleury. 6. In the painting of Christ bearing 
 the Cross (f. 60 r.) is a warrior with a shield similar to that in Champ- 
 fleury, 1529, folio 3. 7. In the Nativity (f. 37 v.) the Virgin has the same 
 attitude as in Tory's small Heures of 1527, page 2. 8. There is a general 
 resemblance between the antique ruins in the background, the shafts of 
 broken columns, the half-destroyed porticos, etc., in this manuscript and 
 in Tory's wood engravings. 
 
 The compositions are most elaborate and original in treatment, em- 
 bracing many figures all painted with the utmost delicacy. The colour-
 
 HOR.E 117 
 
 ing is fresh and rich, the calligraphy exceedingly neat, and the vellum 
 of the finest and whitest possible. 
 
 The manuscript was formerly in the Girardot de Prefond, Gaignat, 
 de La Valliere, Hamilton, and Ashburnham collections. 
 
 HOR^E BEAT^E MARLE VIRGINIS. 1537. 
 
 Small 4ito, red levant morocco tooled in a mosaic design of 
 compartments in dark and light brown morocco outlined in 
 gold and ornamented with dots, rosettes, and other small tools, 
 doubled with red morocco tooled in borders of flowers and 
 leaves, brown moire silk guards, gaufjred gilt edges, by Joly. 
 In a brown levant morocco case. 
 
 An exquisite Italian Book of Hours written in gothic letters upon fine 
 vellum in 1537, according to the last page, "in the noble house and 
 abbey of Saint Amand at the request of Maitre Fra^ois du Guelin," 
 (whose presumable arms are at the foot of the page), and possibly ex- 
 ecuted for a member of the Orleans family, as the Orleans arms are 
 painted at the foot of fourteen pages. The inscription on the last page 
 reads "en Ian de grace mil cinca cent trente et fept font efcriptes ces heures 
 en la noble maifon et abbaye de fainct Amand a la requefte de maiftre 
 francois du guelin." 142 X 102 mm. 
 
 According to this inscription and the Calendar, which is also in French, 
 the manuscript appears to have been made for use in France; the illu- 
 minator was evidently either a pupil of Giulio Clovio or an artist of his 
 school. 
 
 The volume contains 143 leaves, including 12 for the Calendar, with 
 16 lines to the page. Folio 13 is blank. 
 
 There are 11 extremely fine and brilliant full-page miniatures, 14 
 borders of architectural design in shaded gold and bright colours intro- 
 ducing figures, 8 floral and scroll borders (opposite the pages containing 
 miniatures) painted in red and blue heightened with gold, and nu- 
 merous large and small initial letters in shaded gold on a ground of solid 
 blue or in blue and red on a tracery ground. From these latter issue 
 marginal ornaments of scrolls similar to the borders. On the versos of 
 folios 32, 48, 65, and 73, the marginal decorations contain scrolls with 
 Latin inscriptions ; on 33 v. and 59 r. they contain the date 1536. At
 
 118 HOFLE 
 
 the foot of the borders on 61 v. and 68 r. are Passional emblems painted 
 to resemble escutcheons. 
 
 The subjects of the miniatures are 1. (F. 14 v.) The Annunciation. 
 2. (F. 24 v.) The Visitation of Elizabeth; a hilly landscape in the 
 background. 3. (F. 35 v.) The Announcement to the Shepherds, 
 who are seated around a fire. 4. (F. 40 v.) The Nativity; the stable 
 is composed of Roman arches. 5. (F. 45 v.) The Adoration of the 
 Magi, one of whom is black. 6. (F. 50 r.) The Presentation in the 
 Temple; a group of eight persons. 7. (F. 54 v.) The Flight into 
 Egypt; the Virgin feeding the Child, in the background a charming 
 landscape. 8. (F. 62 r.) The Coronation of the Virgin by the Trinity. 
 9. (F. 67 v.) The Crucifixion; Mary and two other holy women at the 
 foot of the Cross. 10. (F. 75 v.) King David praying. 11. (F. 04 v.) 
 An interesting subject symbolical of Death, beginning the "Vigilie 
 defunctorum": a half -naked man kneeling in supplication to a gaily 
 dressed man playing a flute and two women playing lutes ; in the back- 
 ground is a burning building, in the border the figure of Death, a grinning 
 skeleton in a black robe. 
 
 The drawing of the miniatures and of the designs composing the 
 borders is in the best Italian taste of the period. 
 
 HOILE BEAT.E MARINE VIRGINIS. 1549. 
 
 Hevres de Nostre Dame a Ivsaige de Rome escriptes avdict 
 liev. Ian M.D.XLIX. par M. Franc. Wydon. et dediees a 
 Messire clavde Dvrfe Chevalier D lordre dv Roy tres chrestien 
 et son ambassadevr av S Siege Apostoliqve. Small folio, old 
 red morocco, gilt back, gilt edges, by Padeloup (?) 
 
 A very interesting and curious French Book of Hours executed in 
 large roman characters upon vellum in 1549 by Fra^ois Wydon for 
 Claude d'Urfe. 278 X 195 mm. 
 
 There are 85 leaves, including the title, with 23 lines to the page. 
 The illuminations consist of the title, the arms of the owner, 23 full-page 
 miniatures, 5 historiated initials (55 X 55 mm.), nearly 150 illuminated 
 initials in gold on a ground of blue, green, red, yellow, and mauve, and, 
 on every page, borders of silver in a scroll design on a ground of mauve, 
 with tiny scenes, elliptical in form, painted at the top and bottom.
 
 HOILE 119 
 
 The title-page represents the fa9ade of a Corinthian temple painted 
 in yellow and mauve heightened with gold. The text is written in the 
 centre in letters of gold on a mauve ground. In the frieze is written in 
 gold letters: "D Clavd Dvrfe Reg. Legat. Dicatvm." In the base is a 
 medallion portrait, "Salvator Mundi." On the verso of the folio are 
 the arms of Claude d'Urfe in gold and colours above a Latin inscription. 
 
 The large miniatures are painted in an unusual style in bistre (pre- 
 senting the effect of grisaille) heightened with gold and delicate colours. 
 The subjects are 1. (F. 2 r.) A sacrificial altar containing a burnt offer- 
 ing, with the legend in gold letters, "Uni et nunc et semper." 2. (F. 
 2 v.) Janus holding the key to the Temples of Peace and War. This 
 is the first of seven miniatures accompanying the Calendar, and is op- 
 posite the first page of January. In the upper right-hand corner of each 
 of these paintings is a sign of the zodiac. The miniatures accompany- 
 ing five of the months appear to have been cut out. 3. (F. 5 v.) Mars, 
 holding a lance in his right hand, a shield in his left; opposite March. 
 4. (F. 10 v.) Europa carried to Crete by the Bull; opposite July. 5. 
 (F. 12 v.) Pluto carrying Persephone to Hades; opposite August. 6. 
 (F. 14 v.) Vulcan at his forge; opposite September. 7. (F. 16 v.) Bac- 
 chus and the Bacchantes, opposite October. 8. (F. 19 v.) The Temple 
 of Vesta; opposite December. 9. (F. 29 v.) The Annunciation. 10. 
 (F. 35 r.) The Visitation of Elizabeth; a group of seven women, of 
 whom one bears on her head a basket containing two turtle-doves; a 
 landscape with a church in the background. 11. (F. 41 r.) The 
 Nativity; three shepherds presenting a lamb. 12. (F. 43 v.) The 
 Announcement to the Shepherds. 13. (F. 45 v.) The Adoration of 
 the Magi. 14. (F. 47 v.) The Circumcision. 15. (F. 49 v.) The 
 Flight into Egypt. 16. (F. 53 v.) The Coronation of the Virgin. 17. 
 (F. 56 v.) King David kneeling to receive from an angel a sheaf, an 
 arrow, and a death's head; his army in the background. 18. (F. 62 v.) 
 At the beginning of "Letaniae, fiue fupplicationes ad deum op," a group 
 of six dignitaries kneeling in prayer in the foreground, the principal 
 figure, according to the arms embroidered on his cope, being that of 
 Leo X (d. 1521) ; in the background, hovering over the Castle of St. 
 Angelo, the Genius of War is replacing his sword in its scabbard. 19. 
 (F. 68 v.) The Raising of Lazarus. 20. (F. 72 v.) The Pieta; the 
 Virgin Mary sitting at the entrance of the Tomb with Christ on her 
 knees. 21. (F. 77 r.) The Last Judgment. 22. (F. 80 r.) The Cruci-
 
 120 HOILE HORATIUS FLACCUS 
 
 fixion with the two Thieves; Jerusalem in the background. 23. (F. 
 82 v.) The Descent of the Holy Spirit. 
 
 The 5 historiated initials (between ff. 21 and 24) represent the four 
 Evangelists and the Agony in the Garden. 
 
 An interesting feature of this manuscript is the mingling of Christian 
 with pagan feasts in the Calendar, e, g., under January 1 (f. 3 v.) "Ce 
 iour, eft folempnifee la circoncifion de noftre feigneur, lefu chrift. 
 Ancienement, c'eftoyet les feftes annuelles de lanus, & luno." This 
 fact accounts for the mythological character of the miniatures in this 
 part of the manuscript. The Calendar contains also interesting chrono- 
 logical data: under February 23 (f. 4 v.), "S. Mathias, apoftre. A tel 
 iour, & Ian mil.ccccc. vous naquiftes monfeigneur, Meffire Claude 
 D'urfe, a femblable iour auffi, Ian. 1524, fut prins a Pauie Francoys de 
 Valoys, premier de ce nom Roy de France." Under May 6 (f. 8 r.) "S. 
 lehan, dauant la porte Latine. Et a tel iour, 1529, fut prife, et faccaigee 
 la ville de Rome, par le Due de Bourbon." Under September 29 (f. 16 r.) 
 "S. Michel, Archange. Ce iour cy Ian 1549, vous Monfeigneur, Meffire. 
 C. D'urfe, fuftez apelle au fainct college de Monf. S. Michel, par le Roy 
 nfe Sire Hery. II. et faict, et cree Cheualier de fon ordre." 
 
 This manuscript was formerly in the libraries of the Due de La 
 Valliere and Baron de La Roche Lacarelle. 
 
 HOILE. See OFFICIUM. 
 
 HORATIUS FLACCUS, QUINTUS. 
 
 Poemata cum Commentario Acronis. Ssec. XV. Folio, 
 original vellum wrappers, gilt edges. In a brown morocco 
 case. 
 
 An Italian manuscript of Horace's Poems written in the beginning 
 of the fifteenth century in -roman characters upon vellum. 286 X 
 194 mm. 
 
 There are 141 leaves, including a frontispiece on saffron-coloured 
 vellum painted in the style of Mantegna in camaieu heightened with gold, 
 and representing a faun and a satyr playing on flutes at each side of a 
 tablet bearing in letters of gold "Q. Oratii Flacci Venusini Carminum 
 liber primus incipit. M. Antonius Maurocenus Patricius Venet. sibi et
 
 HORATIUS FLACCUS 121 
 
 suis V. F." This inscription indicates that the manuscript was once in 
 the library of Marc Antonio Morosini, a protector of Aldus, who dedi- 
 cated to him his edition of Lucan published in 1502. Morosini's arms in 
 gold and colours are in the lower part of the border of folio 2. 
 
 The text has 30 lines to the page and is written in black with initials 
 painted in blue ; explanatory notes in Latin, in very fine cursive hand- 
 writing, are between the widely spaced lines. On the outer margins and 
 occasionally above and below is the commentary of the scholiast Acron, 
 also written in small characters with initial letters in red. 
 
 The beginning of each of the eleven subdivisions of the Poems is 
 written in uncial letters in colours and burnished gold. There are 11 
 large initial letters of burnished gold on an elaborate ground of scrolls in 
 white, blue, red, and bistre, similar in design to the six beautiful borders 
 on the pages beginning the main divisions of the volume ; folio 2 r., " Car- 
 mina"; f. 56 r., "De Arte Poetica"; f. 64 v., "Epodon"; f. 76 r., 
 "Carmen Saeculare"; f. 78 r., "Epistolae"; f. 104 r., "Sermones." 
 Folio 141 contains the Life of Horace in Latin. 
 
 HORATIUS FLACCUS, QUINTUS. 
 
 Q. Horatii Flacci Venusini Poemata. Ssec. XV. Folio, 
 purple straight-grain morocco, back and side borders tooled 
 in fillets and scroll ornaments, vellum linings, gauffred gilt 
 edges, by Charles Lewis. In a case of green morocco. 
 
 A fine Italian manuscript of Horace's Poems written in italic char- 
 acters upon vellum at the end of the fifteenth century. 302 X 194 mm. 
 
 There are 149 leaves, with 28 lines to the page, 6 beautiful borders, 
 and 11 historiated initials, all painted in camaieu bistre heightened with 
 gold. The headings of the main divisions of the volume are written in 
 uncial letters of gold and colours, the subdivisions are in colours, with 
 large initials in blue. 
 
 The border on folio 1 is the most elaborate of the six, being of archi- 
 tectural design in camaieu bistre with floral ornaments in colours. At 
 the foot of the page, supported by two cupids, are painted the arms of 
 the original owner, a red tower on a blue ground. These are repeated 
 in camaieu bistre in the two pedestals of the border, and also (in colours) 
 in the historiated initial on folio 101 verso.
 
 JOSEPHUS 
 
 The remaining five borders are lateral only, of an elaborate, highly 
 finished design in camaicu bistre on a light green or mauve ground. 
 
 The divisions of the volume are 1. "Carmina," folio 1. 2. "Epodes," 
 folio 60 v. 3. "Carmen Sfeculare," folio 73 r. 4. "De Arte Poetica," 
 folio 74 v. 5. "Epistolse," folio 83 r. 6. "Sermones," folio 110 v. 
 
 The manuscript is on the whitest of vellum, with wide margins, and 
 exemplifies one of the best styles of Italian art. 
 
 JOSEPHUS, FLAVIUS. 
 
 Antiquitates Judaicae et de Bello Judaico libri. [Ssec. 
 XIII]. Imperial 4/o, two volumes, green levant morocco 
 blind-tooled in panels, gilt edges, by The Club Bindery. 
 
 A superb French manuscript written in clear, beautiful gothic char- 
 acters upon vellum, two columns to the page, during the first half of the 
 thirteenth century. 440 X 340 mm. 
 
 Volume I contains 178 leaves, Volume II, 170, making 348 in all, 
 with 42 lines to each column. In Volume I are 3 borders containing 
 27 small circular miniatures (ff. 1, 23, and 97), and in Volume II (f. 1) 
 is 1 border with 13 medallions of grotesques. Each volume contains 12 
 large historiated initials (about 95 X 95 mm.) in from one to four com- 
 partments, making 64 paintings in all. The colours of the miniatures 
 are chiefly blue, red, and brown on a ground of burnished gold. The 
 heads and hands of all the figures are finely and delicately drawn with 
 the pen and lightly coloured. The running head-lines and capital letters 
 are executed in red and blue. 
 
 The 10 small miniatures in the border on the first page of Volume I 
 represent God the Father, the seven Days of Creation, the Temptation 
 of Adam and Eve, and the Expulsion from the Garden of Eden. Other 
 subjects represented are the Crucifixion, the Descent from the Cross, the 
 Angel and the Holy Women at the Tomb, the Resurrection and the 
 Descent into Hell. (II, 107-150). 
 
 This manuscript was formerly in a Carthusian monastery at Dijon 
 and later in the Hamilton collection. 
 
 JOSEPHUS, FLAVIUS. 
 
 [Colophon, f. 307 r.] Cy finift le xiiii e liure des anciennetez 
 des Juifz felon la fentence de Jofephe. [XV Siecle]. Folio,
 
 JOSEPHUS 123 
 
 brown morocco covered with an elaborate geometrical design 
 of fillets with azured arabesques, gilt edges, by Clovis Eve. 
 In a modern case of brown levant morocco. 
 
 A French manuscript written in the latter part of the fifteenth century, 
 in gothic letters (double columns) upon fine vellum, with 13 large minia- 
 tures (220 X 178 mm.), 153 delicately painted and illuminated large 
 initials, some with short marginal decorations of flowers on a gold ground, 
 and many hundred smaller capital letters. 377 X 273 mm. 
 
 There are 308 leaves, with 36 lines to the page, the Prologue occupy- 
 ing the first two folios, with an historiated initial of the author writing the 
 book. The beginning of the text is lacking and presumably the first 
 large miniature, as each of the following thirteen books is accompanied 
 by a painting. Folio 3 begins "quant Adam la vit il congnut quelle 
 auoit efte faicte et formee de lui." 
 
 The subjects of the miniatures are 1. (F. 24) Joseph's brethren 
 casting him into the pit; the Ishmaelites on their camels passing by. 
 2. (F. 48) Moses leading the Children of Israel out of Egypt. 3. (F. 69) 
 The Punishment of the Rebellion of Korah, Dathan, and Abiram. 4. 
 (F. 87 v.) The Fall of Jericho. 5. (F. 109) The Death of King Saul. 
 6. (F. 133 v.) The young Amalekite presenting to David the crown and 
 bracelet of King Saul. 7. (F. 161) The Building of the Temple, the 
 same painting, with slight variations, as that engraved by M. Barrois in 
 his "Bibliotheque protypographique." 8. (F. 191 v.) The Israelites led 
 captive by the King of Assyria. 9. (F. 211) The capture of Jerusalem 
 by the army of Nebuchadnezzar, King of Babylon, and the burning of 
 the Temple. 10. (F. 228) Artaxerxes, King of Persia, receiving Ezra 
 and the other Israelites. 11. (F. 245 v.) Antiochus (IV) Epiphanes, 
 King of Syria, marching upon Jerusalem. 12. (F. 268) Johanan Hyr- 
 canus besieging Ptolemy in his Castle of Dagon. 13. (F. 290) The De- 
 filement of the Temple by Crassus in his war against the Parthians. 
 
 All of the miniatures, which include hundreds of personages in varied 
 brilliant costumes and armour, are remarkable for their vigorous draw- 
 ing, lively expression of face, and clear and glowing colour. 
 
 From the libraries of Nicholas Joseph Foucault, John Towneley of 
 Towneley, and Lord Ashburnham.
 
 1 24 JOSHUA JUVENALIS 
 
 JOSHUA, JUDGES, SAMUEL AND KINGS. [ABOUT 
 
 1460.] 
 
 4to, original oak boards covered with a unique Flemish 
 binding of repousse silver in bold relief, especially made for 
 the volume about 1600. On the front cover, within a beaded 
 border, is a large panel containing a representation of Judah 
 smiting off the thumbs and toes of Adoni-bezek, the Canaanitish 
 king (Judges 1:6); on the back cover is a similar panel 
 depicting the killing of Sisera by Jael, who comes out to meet 
 Barak and the other Jewish warriors (Judges 4). In the 
 corners of both sides are heads and fruit. On the back are 
 four panels in very fine and delicate repousse work illustrating 
 scenes from Joshua II, VI, and X : Rahab lowering Joshua's 
 two spies from her roof, the Fall of Jericho, Joshua hang- 
 ing the five Kings and commanding the sun to stand still. 
 There are two chased silver clasps. 
 
 A Hebrew manuscript of six books of the Old Testament written upon 
 182 leaves of vellum about the middle of the fifteenth century. It has 
 two columns to the page and 23 lines to the column. 
 
 JUVENALIS AND PERSIUS. 
 
 Junii Juvenalis Aquinatis et Auli Flacci Persii Satyrse. 
 Saec. XV. Folio, dark blue levant morocco tooled in an 
 elaborate mosaic design of olive, maroon, and citron morocco 
 with gold ornaments forming borders and a central figure, 
 doubled with vellum richly tooled in dentelle borders, gauffred 
 gilt edges, by Mercier. In a case of brown levant morocco 
 blind-tooled and lined with calfskin. 
 
 A beautiful Italian manuscript of the Satires of Juvenal and Persius 
 written in the fifteenth century in roman characters upon 83 vellum 
 leaves, with 28 lines to the page. 223 X 180 mm. 
 
 On the first folio is an elaborate border of interlacing white scrolls on 
 a ground of blue, red, and green, in the Italian manner, introducing 
 cupids, animals, etc., and divided into compartments outlined by wide
 
 LIVRE 125 
 
 fillets of burnished gold. At the foot of the page, supported by three 
 cupids, is a coat-of-arms, a sheaf of wheat in gold on a blue ground 
 surrounded by a laurel wreath. On folio 71, on which the Satires of 
 Persius begin, is a side border of similar design issuing from two initial 
 letters. On the verso of folio 71, surrounded by a border, is a beautiful 
 full-page painting illustrative of the Prologue to the Satires of Persius. 
 In the background is Pegasus on Mt. Parnassus, with its twin peaks; 
 in the foreground stand the nine Muses, the Daughters of Helicon, sing- 
 ing to the accompaniment of lutes around the fountain of Pirene. Over 
 the Grove of the Muses behind them hovers an angel with a floral 
 crown. 
 
 Scattered throughout the manuscript are 22 large initial letters in 
 burnished gold on a ground of red and blue decorated with white. 
 
 On folio 69 verso is written "Bernardinuf excribi fecit amicif eq: ac 
 fibi," and on folio 83 recto, "Angelus fcripfit." 
 
 LIVRE des Fais Darmes et de Cheuallerie lequel dit 
 Livre est partis en Quatre Parties. [XV Siecle]. Small 
 folio, old dark brown mottled calf tooled in an outline border 
 of scrolls and dots, gauffred gilt edges. 
 
 A French manuscript written in lettres bdtardes, two columns to the 
 page, upon fine vellum during the early part of the fifteenth century. 
 282 X 190 mm. 
 
 It contains 136 leaves, with 33 lines to each column. There are 4 
 half-page miniatures at the beginning of the divisions of the poem sur- 
 rounded by borders, the last 3 of which are composed of tracery with 
 burnished gold leaves and flowers in bright colours. The first border and 
 miniature are of entirely different style from the others, and were evi- 
 dently painted by a different artist. This border is composed of scrolls 
 and flowers in pale colours, with two monkeys and a blank escutcheon at 
 the bottom. The miniature is also in subdued tones. There are 4 large 
 initial letters in gold and colours and many smaller ones in blue and red 
 on a tracery ground of red and black. 
 
 The subjects of the miniatures are 1. (F. 3 r.) A woman suppliant 
 kneeling before a noble lady, who is seated in a high-backed chair, with 
 a sceptre in her hand; the scene is a panelled room. 2. (F. 46 r.) A
 
 126 LORRIS LYDGATE 
 
 noble lady seated in a walled garden attended by a lady-in-waiting, re- 
 ceiving three courtiers richly clad and bearing swords, the first one 
 carrying also a halberd. The background is of the diaper design in gold, 
 red, and blue characteristic of the early art of the fifteenth century. 
 8. (F. 82 v.) Two fully armed knights about to fence in a picketed space 
 within a walled enclosure; in the background a richly canopied bal- 
 cony containing seven spectators. 4. (F. 112 r.) A halberdier leading a 
 courtier and his wife into the presence of a nobleman. 
 
 The colouring of the last three miniatures is of unusual freshness and 
 brilliancy. All of the paintings contain interesting costumes of the 
 period. 
 
 LORRIS, GUILLAUME DE. - - See DE MEUNG AND DE 
 LORRIS. 
 
 LYDGATE, JOHN. 
 
 The Lyf of our Lady [Before 1431 ?]. 8vo, blue straight- 
 grain morocco, the sides and back gilt and blind-tooled in 
 borders, gilt edges, by Kalthoeber. 
 
 An English manuscript written upon vellum presumably during the 
 first part of the fifteenth century. 221 X 155 mm. 
 
 There are 111 leaves, with from 26 to 29 lines to the page. Folios 
 109-111 were written by a different scribe from the one who executed the 
 rest of the manuscript. On the first three pages are the table, "Thefe 
 bene the notable matiers yat bene contynede in thys booke," recording 
 xxxvi chapters, instead of the Ixxxii arbitrary divisions made by Caxton 
 in his undated folio edition. The Prologue extends from folio 2 verso to 
 folio 3 verso, upon which the first chapter begins, "The Natiuite of oure 
 lady." 
 
 Each division of the poem has at the beginning a large initial letter of 
 burnished gold on a coloured ground with floral ornaments extending 
 into the margin. The chapter-headings are rubricated and there are 
 numerous initial letters in blue and red. 
 
 Inserted is an original water-colour portrait of Lydgate.
 
 MARTIALIS MEUNG 127 
 
 MARTIALIS, MARCUS VALERIUS. 
 
 M. Valerii Martialis Epigrammaton Libri XII. [F. 
 176 v.] Xenia, ad Musas. [F. 182 r.] Apophoreta, ad 
 Saturnum. [Saec. XV]. Large Svo, red morocco, side borders, 
 centre ornaments, and back tooled in a Florentine design of 
 broken chains, vellum linings, gilt edges, by F. Bedford. In 
 a case of maroon morocco. 
 
 A beautiful manuscript of Martial's Epigrams written in italic char- 
 acters upon 194 leaves of vellum in the latter part of the fifteenth century, 
 in Italy, for an Archbishop of the Magalotti family. 232 X 152 mm. 
 
 The text of the first page, "M. Valerii Martialis Epigramaton Lib. I. 
 ad Lectores Epistola, Spero me secuturum in Libellis meis tale tempe," is 
 written in letters of gold, blue, red, green, and violet within an elaborate 
 architectural border containing heads, garlands, fruits, etc., painted in 
 blue, rose, green, and camaieu d'or on a ground of violet. In the centre 
 is a beautifully painted historiated initial "S," containing a Muse and 
 two cupids playing a lute, a flageolet, and a tambourine. On each side 
 of the initial letter is a cupid wearing a Cardinal's hat and holding a 
 coat-of-arms. There are 13 other beautifully painted historiated ini- 
 tials at the beginning of the various divisions of the volume. The 
 headings to the Epigrams are written in uncial letters of red, and each 
 Epigram begins with a large initial letter in blue. 
 
 From the collection of Robert Samuel Turner. 
 
 MEUNG, JEHAN DE, AND GUILLAUME DE LORRIS. 
 
 [Folio 1] Cy comece le Rommant de la Rofe q feifl maiftre 
 Jeha de meun. [et Guillaume de Lorris. Aussi (Euvres 
 diverses de Jehan de Meung. XV Siecle]. Folio, old green 
 velvet, with corner-pieces and clasps of brass and a monogram 
 in brass in the centre of each cover; at the top of the recto is 
 an engraved silver plate, probably from an older binding, 
 with the inscription "Le Roman de la Rose," gilt edges. In 
 a brown morocco case. 
 
 A very fine French manuscript of the Romance of the Rose written by 
 at least two scribes in lettres bdtardes, two columns to the page, upon 
 fine vellum about 1475. 340 X 238 mm.
 
 128 MEUNG 
 
 It contains 202 leaves, with 40 lines to the column. There are 2 large 
 miniatures surrounded by full-page floral and scroll borders in colours 
 heightened with gold, the one on the first page introducing figures, and 
 74 smaller paintings illustrating the poem scattered through the text. 
 These are surrounded by borders of leaves and flowers in colours ex- 
 tending, in most instances, around the columns in which the miniatures 
 occur. There are also numerous illuminated initials. 
 
 The subjects of the 2 large miniatures, which have oval tops and 
 measure 130 X 155 and 110 X 150 mm., are, the Poet dreaming of 
 the characters in his Romance, who are seen in procession passing 
 through a castle (f. 1), and the Poet seated at a writing-table at work on 
 his "Testament" (f. 151 r.). 
 
 Among the subjects of the 74 small miniatures (ff. 2-143), which 
 measure about 82-72 mm., are allegorical representations of Hate, 
 Meanness, Covetousness, Avarice, Pride, Envy, Old Age, Hypocrisy, 
 and Poverty (f. 5), the Poet beginning his poem (f. 32 r.) "Cy commence 
 le Rommant maif tre Jehan de meun " ; the Wheel of Fortune (ff. 38 and 
 47), the former of the two being one of the finest paintings in the manu- 
 script; Virginius killing his daughter (f. 43 v.); the Death of Dido 
 (f. 95 r.), and Pygmalion and Galatea (f. 143 v.). 
 
 "Le Roman de la Rose" occupies folios 1-150. On the recto of 
 folio 150, after 
 
 "Explicit le romant de la rofe 
 
 Ou Tart d'amours eft toute eclofe," 
 
 is an Epilogue of 24 lines, found in few manuscripts, beginning 
 "Et puis que je fu efueille 
 
 Du fonge q ma traueille," 
 and ending 
 
 "Que tout quan Oj iay recite 
 Eft fine & pure verite." 
 
 On folio 151 is the "Testament de Jean de Meung," beginning "Ly 
 Peres et ly Filz et ly fains Esperis." On folio 178 is the rare "Songe 
 rime" of one hundred and thirty-six lines, " Jeftoie lautre iour en con- 
 templacion"; ff. 180-200, "Le codicile maif tre iehan de meun," which 
 in most manuscripts is entitled "Tresor." The last two poems begin 
 "Dieux ait mercy des trefpassez" (f. 200 v.) and "Miserere de functo- 
 rum" (f. 201 v.), the second in Latin.
 
 MINIATURE PAINTINGS 129 
 
 This manuscript was formerly in the collections of Le Tellier, Marquis 
 de Courtanvaux, whose stamp is on the first and last pages. Later it 
 was in the library of Henri Bordes. 
 
 MINIATURE PAINTINGS. XIV-XV CENTURIES. 
 
 4sto, brown morocco stamped with fleurs-de-lys and other 
 ornaments, carved medallions in ivory set in silver, depicting 
 the Adoration of the Magi and the Crucifixion, inserted in 
 the centre of both covers, four ivory bosses set in silver in the 
 corners of each cover, silver clasps, gilt edges. In a brown 
 morocco case. 
 
 A fine collection of 32 large historiated and floriated initials taken 
 from various early illuminated vellum manuscripts and mounted upon 
 black cardboard. 
 
 Among the subjects are a group of Dominican monks, Sts. Peter and 
 Paul, St. Mary Magdalene, St. Paul on the road to Damascus, St. Lau- 
 rence, St. Stephen, and St. Vincent, the Virgin and Child, the Nativity, 
 the Assumption of the Virgin, King David praying, the Ascension, four 
 curious paintings of the Trinity, and Christ surrounded by saints. Eight 
 of the illuminations are floriated initials. 
 
 MINIATURE PAINTINGS. XV CENTURY. 
 4tto, half brown morocco. 
 
 A volume containing 8 large miniatures (117 X 73 mm.) painted 
 upon vellum and surrounded by borders. They formed part of a fif- 
 teenth century Flemish manuscript. At the end of the book are three 
 vellum leaves of manuscript from a Psalter written in small gothic 
 characters in two columns, also 3 large illuminated initials and an 
 ornament. 
 
 The subjects of the miniatures are the Descent of the Holy Spirit, 
 Christ disputing with the Doctors in the Temple, the Resurrection of 
 the Dead, God the Father receiving Spirits into Glory, the Adoration of 
 the Magi, the Presentation in the Temple, the Announcement to the 
 Shepherds, the Flight into Egypt.
 
 130 MINIATURE PAINTINGS 
 
 MINIATURE PAINTINGS. XV CENTURY. 
 
 4to, in gilt frames. 
 
 Two miniatures delicately painted upon vellum (220 X 210 mm.) 
 taken from a French manuscript, "Les Forteresses de la Foi," executed 
 in the middle of the fifteenth century. 
 
 One painting represents the entrance to the mystical fortress and 
 the Defenders of the Faith disputing with heresiarchs ; the other shows 
 the entire fortress defended by ecclesiastical authorities and theologians 
 and surrounded by heretics attempting to undermine the foundations 
 with pickaxes. These original conceptions are the work of an excellent 
 artist. 
 
 Formerly in the Didot collection. 
 
 MINIATURE PAINTING. XV CENTURY. 
 Large folio, in an ebonized frame. 
 
 A beautifully painted historiated initial upon vellum, taken from a 
 fifteenth century Spanish manuscript. 590 X 405 mm. 
 
 The upper part of the painting contains a representation of the Resur- 
 rection, below which are two bars of music painted in gold and colours. 
 In the border immediately surrounding the letter are 6 small minia- 
 tures of saints. The outer borders is composed of cupids, grotesques, 
 scrolls, birds, etc., in rich colours and gold; at the foot of the page is 
 the figure of a saint (75 X 75 mm.) in an oval. 
 
 MINIATURE PAINTING. XV CENTURY. 
 4/o, in an ebonized frame. 
 
 An historiated initial taken from a fifteenth century French manu- 
 script upon vellum (295 X 265 mm.) depicting God the Father enthroned 
 and in the act of benediction. The border is painted in flowers and 
 scrolls in rich colours heightened with gold. 
 
 MINIATURE PAINTINGS. XV CENTURY. 
 
 4/o, in carved oak frames. 
 
 Two historiated initials from fifteenth century manuscripts exquisitely 
 painted upon vellum, in oval form within rich borders of flowers, angels, 
 grotesques, etc., in colours heightened with gold.
 
 MINIATURE PAINTINGS MIROUER HISTORIAL 131 
 
 One painting (380 X 335 mm.) represents the Martyrdom of St. 
 John the Evangelist, who stands in the cauldron of boiling oil looking 
 up to God the Father in the sky; six men are bringing faggots and 
 fanning the flames. 
 
 The other painting (385 X 340 mm.) depicts the Presentation in the 
 Temple, a group of ten figures, with a view of a landscape through three 
 windows. The top of the miniature contains a fine architectural design. 
 
 MINIATURE PAINTINGS. XVI CENTURY. 
 
 4to, in a gilt frame. 
 
 Two historiated initials from sixteenth century French manuscripts 
 beautifully painted upon vellum (155 X 165 mm.), representing Christ 
 and the Woman of Samaria at the Well and the Return of the Prodigal 
 Son. They are oval in form, within borders of flowers, etc., in colours 
 on a gold ground. In both paintings fine landscapes are introduced. 
 
 MINIATURE PAINTINGS. XVI CENTURY. 
 
 Small 4<to, crimson velvet, crimson silk linings, gilt edges. 
 
 A series of 20 small sixteenth century Italian miniatures exquisitely 
 painted and inlaid in vellum leaves, within gold borders. 
 
 The subjects are the Annunciation, the Nativity, the Adoration of 
 the Magi, the Presentation in the Temple, the Agony in the Garden, 
 the Betrayal, the Platting of the Crown of Thorns, the Scourging, Christ 
 bound and shown to the people, Christ carrying the Cross, the Cruci- 
 fixion, the Descent from the Cross, the Virgin Mary, St. Mary Magda- 
 lene, St. Catherine, St. Martha, St. Barbara, St. Dominick, St. Jerome, 
 and St. John the Baptist. 
 
 MIROUER HISTORIAL DE FRANCE. XV SIECLE. 
 
 Small folio, old calf over oak boards, tooled in fillets, with 
 brass bosses, corner pieces, and clasps, gilt edges. At the top 
 of the front cover in a brass border under isinglass is the 
 title in gothic characters, "Le miroir hyftorial de f ranee." 
 
 A beautiful French manuscript executed in Latin and French in 
 gothic characters upon 132 leaves of fine vellum, with 33 lines to the
 
 132 MISSALE 
 
 page, for a Duke of Burgundy, presumably during the reign of Charles 
 VII (d. 1461) or of Louis XI (1461-1483). 293 X 218 mm. 
 
 There are 5 large half-page miniatures surrounded by delicately 
 painted borders of scrolls, fruit, flowers, birds, and grotesques in gold 
 and colours, 36 historiated initials in colours and burnished gold (about 
 55 X 55 mm.), and numerous large and small illuminated initials and 
 finials. 
 
 On all of the pages containing large miniatures are the arms of a 
 Duke of Burgundy, possibly Philippe le Bon (1396-1467), and the 
 device "Nul ne si [s'y] frote," also, on folio 1, the initials "N C, " "U 
 E,"and"ac." 
 
 The subjects of the large miniatures are 1. (F. 1 r.) A King of 
 France (Louis XI ?) receiving an angel; the scene is an open field 
 in which grow the lilies of France. 2. (F. 4 v.) Pope Innocent IV giv- 
 ing Indulgences to various kings. 3. (F. 55 r.) A feast; on the floor of 
 an entry outside the room lies a man. 4. (84 v.) The Tomb of Pepin 
 with his effigy. 5. (F. 117 r.) The Coronation of Hugues Capet at 
 Reims. 
 
 The historiated initials represent the Kings of France through Charles 
 V (d. 1380). The Table at the end of the volume records the death of 
 Charles VII in 1460 [1461]. 
 
 The miniatures are finely painted. 
 
 MISSALE. &EC. XV. 
 
 Folio, original fifteenth century French binding of calf 
 tooled in fillets, corner ornaments, and centre panels in the 
 Aldine manner, arms in the central lozenge on both sides, 
 gilt ornaments including fleurs-de-lys on the back, gilt edges. 
 
 A French Missal beautifully executed in large gothic characters upon 
 parchment at the beginning of the fifteenth century. 338 X 233 mm. 
 
 There are 118 leaves, with 11 and 15 lines to the page, folios 1-85 and 
 86-117 being written in characters of a different size, the latter part in 
 smaller letters with initial decorations of a different style. Folio 118 
 ("Requiem") contains 25 lines to the page, and is written in a third 
 variety of letter. 
 
 The illuminations consist of 6 large historiated initials (about 70 X 70 
 mm.) accompanied by .bilateral borders of flowers, scrolls, and fruit, in
 
 MISSEL DE CHARLES VI 133 
 
 colours and gold on a ground of white, dull gold, or maroon arranged in 
 compartments, and over 300 large and small initial letters. Those in the 
 first part of the book are chiefly in blue, red, and burnished gold with 
 conventional ornamentation, the letter beginning the Canon of the Mass, 
 "Te igitur," ( f. 70 r.) representing a cross in dull gold on a red and blue 
 ground elaborately decorated, and measuring 90 X 85 mm. The initial 
 letters in the latter part of the volume are chiefly in blue, rose, and green 
 on a dull gold ground with floral decoration. 
 
 The subjects of the historiated initials are 1. (F. 5 r.) The Nativity; 
 in the border on this page are the figures of Christ and (presumably) the 
 person for whom the manuscript was executed. At the foot of the page 
 are his arms in gold and colours supported by two angels. 2. (F. 13 v.) 
 The Resurrection. 3. (F. 18 r.) The Descent of the Holy Spirit. 4. 
 (F. 27 r.) The Assumption of the Virgin. 5. (F. 35 v.) The Birth of the 
 Virgin. 6. (F. 43 r.) The Last Judgment. On folios 54 verso to 56 verso 
 and 108 verso to 113 verso is musical notation, sixteen pages in all. 
 
 MISSEL DE CHARLES VI. XV SIECLE. 
 
 Folio, bound in oak boards covered with old brown velvet, 
 and having the old corner-pieces and clasps of silver elabo- 
 rately chased after the manner of nielli, representing the four 
 Evangelists, the Annunciation, and the Nativity, and bearing 
 the date 1610. The velvet is of the sixteenth century, and 
 superceded the original calf covers, now applied as inside 
 linings, and upon which are partly effaced stamped orna- 
 ments and centre-pieces in gold. The back has also been 
 recovered with brown morocco; the edges are gilded. In a 
 velvet-lined oak case, with brass clasps. 
 
 A superb French manuscript of great interest and value independent of 
 its origin and history, having been written and illuminated for Charles 
 VI, King of France, in the early part of the fifteenth century. The 
 double representation of the Martyrdom of St. Catherine (folios 319 and 
 330) makes it presumable that it was executed on the occasion of the 
 marriage of Catherine de Valois, his youngest daughter, to Henry V of 
 England, in 1420, and the second frontispiece, containing her arms and 
 those of her husband, bears out this theory.
 
 134 MISSEL DE CHARLES VI 
 
 The text is written in gothic characters, in double columns, upon 359 
 leaves of finest vellum, now as fresh and unblemished as when first made. 
 The volume measures 365 X 260 mm. 
 
 There are 2 frontispieces, 107 large miniatures, averaging 163 X 123 
 mm., and 428 smaller ones, 2 rectangular ones at the side (65-70 X 45- 
 53 mm.), and 2 spherical ones (about 60 mm. in diameter) at the foot of 
 each page containing a large miniature and within the borders, which are 
 richly decorated in blue and gold with scrolls and flowers. 
 
 The first of the two frontispieces represents a room hung with blue 
 material covered with circular ornaments containing alternately the in- 
 itial "K" and a fleur-de-lys; in the centre is a pillar surmounted by an 
 escutcheon upheld by an angel bearing the arms of France, and a red 
 banderole with the inscription, "Karolus VI, Rex Francise." To the 
 pedestal of the pillar is attached an escutcheon with the arms of 
 Charles VI and his wife, Isabeau de Baviere. To two other pillars are 
 attached (at the left) the arms of six large feudatories of the crown, the 
 Dukes of Burgundy, Aquitaine, and Normandy, and the Counts of Flan- 
 ders, Champagne, and Toulouse ; at the right, those of six ecclesiastical 
 duchies, Reims, Langres, Laon, Beauvais, Noyon, and Chalons. The 
 top escutcheon of each of these two lateral series is upheld by an angel, 
 and attached to all twelve are red banderoles bearing, in Latin, in letters 
 of gold, the designation of the owner of each coat-of-arms. The pillar, 
 the angels, and the escutcheons are all painted in camaieu d'or, 
 
 There are certain indications that this frontispiece was not contempo- 
 raneous with the rest of the manuscript. The composition is of the style 
 of the fifteenth century, but the execution is probably of the seventeenth 
 century and perhaps a copy of an original leaf, which may have become 
 worn in protecting the rest of the manuscript. 
 
 The second frontispiece contains within a rich border a painting of the 
 Tabernacle and the Holy Sacrament in the gothic manner in camaieu 
 d'or, with "L'Office de la Messe" at the foot. The border is in com- 
 partments in scrolls of blue and gold, and, at the corners, ornaments of 
 jewel-like design in camaieu d'or, white, and green, on a rose ground. At 
 the left side of the page are the arms of Henry V of England, quartered 
 with those of France and England; at the right, the arms of his wife, 
 Catherine de Valois. In the margin above the border is a leaf-spray in 
 camaieu d'or, attached to which, on the left and right margins of the page, 
 are chaplets, the one ending in two medals, the other in a cross.
 
 MISSEL DE CHARLES VI 135 
 
 Although the border of this second frontispiece is painted in the same 
 manner as the others, this leaf, like the preceding one, was undoubtedly 
 added to the volume. Folios 3-5 contain the Table, beginning " Ceft la 
 table pour trouuer les offices chafcun iour par ordre," and ending "Meffe 
 de faint loys roy de france." The paintings begin on the recto of folio 6. 
 
 The subjects of the large miniatures are 1. (F. 6 r.) Christ's entry into 
 Jerusalem. 2. (F. 7 v.) Christ predicting to His Disciples the Destruc- 
 tion of Jerusalem. 3. (F. 9 r.) Christ receiving the two Disciples sent 
 by John the Baptist. 4. (F. 160) John the Baptist talking to the Levites 
 sent by the Jews from Jerusalem. 5. (F. 22 r.) The Nativity. 6. (F. 25 r.) 
 The Circumcision. 7. (F. 27 r.) The Adoration of the Magi. 8. (F. 
 31 r.) The Miracle at the Marriage of Cana. 9. (F. 32 v.) Christ healing 
 a leper, and 10. (F. 35 v.) giving to His Disciples the Parable of the 
 Labourers in the Vineyard. 11. (F. 38 r.) Christ describing the Last 
 Judgment to His Disciples, 12. (F. 40 v.) entering Jerusalem with His 
 Disciples, 13. (F. 48 r.) tempted by the Devil. 14. (F. 51 v.) Christ 
 teaching in the streets of Jerusalem, and 15. (F. 56 r.) going to Jeru- 
 salem for the Feast of the Passover. 16. (F. 58 r.) The Transfiguration. 
 
 17. (F. 61 v.) The Woman of Canaan before Christ and His Disciples. 
 
 18. (F. 66 r.) Christ and His Disciples on the outskirts of Jerusalem. 19. 
 (F. 67 v.) Dives and Lazarus. 20. (F. 71 r.) The Departure of the Prodi- 
 gal Son. 21. (F. 74 r.) Christ healing a dumb demoniac. 22. (F. 76 r.) 
 Christ telling the Nazarites that a prophet is not without honour save in 
 his own country, and 23. (F. 81 r.) healing Peter's mother-in-law. 24. 
 (F. 82 v.) Christ and the Woman of Samaria. 25. (F. 85 r.) Christ teach- 
 ing in the Temple. 26. (F. 88 v.) Christ and His Disciples in the desert 
 by the Sea of Galilee. 27. (F. 93 v.) Christ healing a blind man, and 28. (F. 
 96 v.) raising to life the son of the widow of Nain. 29. (F. 98 v.) The 
 Resurrection of Lazarus. 30. (F. 102 v.) Christ disputing with the priests 
 in the Synagogue. 31. (F. 108 v.) Mary, the sister of Lazarus, anointing 
 Christ's feet. 32. (F. 113 r.) Mary Magdalene anointing His head, and 
 33. (F. 119 v.) His feet. 34. (F. 122 r.) The Last Supper. 35. (F. 127 r.) 
 Judas receiving the twelve pieces of silver. 36. (F. 133 v.) Christ at table 
 with His Disciples ; the four small miniatures in the border represent the 
 washing of their feet. 37. (F. 135 v.) The Crucifixion. 38. (F. 153 r.) 
 The Resurrection. 39. (F. 154 v.) Christ appearing to the two Disciples 
 at Emmaus, 40. (F. 156 y.) to the twelve Apostles at Jerusalem, and 
 41. (F. 158 v.) to His Disciples at the Sea of Tiberias. 42. (F. 160 v.)
 
 136 MISSEL DE CHARLES VI 
 
 Mary Magdalene at the Tomb which is guarded by two Angels. 43. (F. 
 162 v.) Christ blessing eleven Apostles at Bethany. 44. (F. 164 r.) Mary 
 Magdalene at the empty Tomb. 45. (F. 165 v.) The Incredulity of 
 Thomas. 46. (F. 175 r.) The Transfiguration. 47. (F. 183 r.) The De- 
 scent of the Holy Spirit. 48. (F. 189 v.) Christ in the midst of the Doctors, 
 and 49. (F. 191 r.) entering Peter's house. 50. (F. 195 r.) The Trinity. 
 
 51. (F. 196 v.) Dives and Lazarus; a different composition from No. 19. 
 
 52. (F. 202 r.) Christ on the shore of the Sea of Galilee, 53. (F. 205 r.) 
 giving the Parable of the Loaves and Fishes, and 54. (F. 209 r.) with 
 His Disciples approaching Jerusalem. 55. (F. 212 r.) Christ healing a 
 deaf-mute, and 56. (F. 215 r.) ten lepers, two in the large miniature, the 
 other eight in the four small paintings in the border. 57. (F. 218 r.) Christ 
 raising the son of the widow of Nain ; a different composition from No. 
 28. 58. (F. 220 v.) Christ healing the demoniac child. 59. (F. 223 r.) 
 John the Baptist (?) led by soldiers before Herod the Tetrarch. 60. (F. 
 229 v.) Christ healing a sick man. 61. (F. 232 r.) Jairus asking Christ's 
 help, and the woman with an issue of blood. 62. (F. 236 r.) Christ raising 
 Jairus' daughter, and 63. (F. 237 r.) instructing His Disciples. 64. (F. 
 238 v.) Zaccheeus in the sycamore tree watching Christ. 65. (F. 242 r.) 
 The Martyrdom of St. Andrew. 66. (F. 244 v.) One of the Apostles re- 
 ceiving money from a rich man. 67. (F. 245 v.) The Martyrdom of St. 
 Stephen. 68. (F. 247 r.) The Miracles of St. John the Evangelist. 69. (F. 
 248 v.) Herod ordering the Massacre of the Innocents. 70. (F. 253 v.) 
 The Martyrdom of St. Sebastian. 71. (F. 255 r.) Christ and His Disciples 
 meeting a company of horsemen. 72. (F. 256 r.) St. Paul on the road to 
 Damascus. 73. (F. 258 v.) The Circumcision. 74. (F. 261 r.) St. Peter 
 preaching. 75. (F. 262 v.) The Descent of the Holy Spirit. 76. (F. 264 v.) 
 The Annunciation. 77. (F. 268 v.) St. Philip the Apostle raising those 
 killed by the Dragon. 78. (F. 270 r.) The Emperor Constantine, at the 
 head of his army, going to receive the fragment of the Holy Cross sent by 
 his mother, St. Helena. 79. (F. 272 r.) The Martyrdom of St. John the 
 Evangelist. 80. (F. 273 r.) St. Barnabas. 81. (F. 276 r.) The Circum- 
 cision of John the Baptist. 82. (F. 279 v.) St. Peter and St. Paul. 83. 
 (F. 284 r.) St. Margaret led before Olybrius, Governor of Antioch. 84. 
 (F. 285 r.) The Appearance of Christ to Mary Magdalene. 85. (F. 287 r.) 
 St. James the Major led before Herod Agrippa. 86. (F. 288 r.) The Mar- 
 tyrdom of St. James the Major and one of his converts, before Herod 
 Agrippa. 87. (F. 291 r.) The Martyrdom of St. Laurence. 88. (F. 293
 
 MISSEL DE CHARLES VI 137 
 
 v. ) The Death of the Virgin. 89. (F. 295 r.) St. Barthelemy. 90. (F. 
 297 r.) Salome bringing the head of John the Baptist to her mother and 
 Herod. 91. (F. 298 v.) Sts. Joachim and Anna offering a lamb in the 
 Temple. 92. (F. 300 v.) The Emperor Heraclius carrying to Con- 
 stantinople the part of the Cross left at Jerusalem by St. Helena. 93. 
 (F. 303 r. ) St. Matthew putting to flight two dragons evoked by magi- 
 cians. 94. (F. 304 r.) St. Maurice and the Theban legion summoned 
 before the Emperor Maximin. 95. (F. 305 v.) St. Michael slaying the 
 Dragon. 96. (F. 308 r.) St. Francis of Assisi receiving the Stigmata. 
 97. (F. 309 r.) The Martyrdom of St. Denis (Dionysius) and his compan- 
 ions. 98. (F. 310 r.) St. Luke. 99. (F. 312 r.) St. Simon the Apostle. 
 100. (F. 314 v.) All Saints. 101. (F. 316 r.) A Burial Service. 102. (F. 
 317 v.) St. Martin of Tours. 103. (F. 319 v.) St. Catherine and her 
 attributes. 104. (F. 320 v.) St. Paul the Apostle writing the Letter to the 
 Ephesians and young men reading it (two compartments). 105. (F. 322 
 v.) A group of Saints. 106. (F. 326 v.) Two Saints, a man and a woman, 
 reading sacred books (two compartments). 107. (F. 330 r.) The Martyr- 
 dom of St. Catherine. 
 
 The small miniatures occasionally, but not always, refer to the subject 
 of the large paintings, as on folio 218, where four scenes from the miracle 
 of the raising of the widow's son are depicted, explanatory of the large 
 miniature. When the large paintings bear no relation to the text, the 
 small ones relate to that part of the Old Testament which corresponds to 
 the Office of the day. 
 
 The miniatures taken together form an almost complete iconography 
 of the New Testament, with many scenes from the lives of the Saints, 
 which are possibly unique. As a rule in manuscripts the Saints are 
 represented only with their attributes; here the actual scene of martyr- 
 dom is often depicted. 
 
 At least three artists, of different talents, painted the beautiful minia- 
 tures in this manuscript, and one of them, with the brilliant quality of the 
 school of Touraine, preceding Jehan Foucquet, did most of the work. 
 The difference in manner may easily be seen by comparing the minia- 
 tures on folios 108, 189, 205, 209, 215, and 220, with those on folios 195 
 and 304, where the influence is undoubtedly Flemish. Every miniature is 
 a finished painting, full of life and movement, well conceived, well or- 
 dered, and showing marvellous intelligence in composition for work of 
 this period. Each figure has a distinct physiognomy of its own and an
 
 138 MISSALE ECCLESLE TURONENSIS 
 
 attitude appropriate to its role. The heads, which are expressive and 
 natural, are in general studied with much care. The knowledge of 
 technique is wonderful, especially in the representation of the nude, in 
 foreshortening, and in perspective. The landscapes are charmingly pic- 
 turesque, and the costumes, armour, furniture, and architecture of the 
 period, both exterior and interior, faithfully represented. Many of the 
 small miniatures are quaint in design and show the free imagination of 
 the artist, e. g., on folio 158 two apostles are represented as grilling a 
 fish, and on folio 198 a devil is carrying away in a wheelbarrow the soul of 
 Dives. Several of the miniatures are in cama'ieu d'or. 
 
 The colouring throughout is striking but harmonious, gold being freely 
 employed. Christ is always represented in a robe of reddish gold, aureis 
 rutilans. 
 
 The text, with rubricated headings and innumerable large and small 
 initials in gold and colours, is entirely in French, except for the first 
 words of prayers, epistles, gospels, etc., which are in Latin. 
 
 The royal origin of the volume is repeatedly attested to by the frequent 
 presence of fleurs-de-lys and heraldic emblems, e. g., in the first small 
 miniature on folio 25 recto are the arms of France and Bavaria, in 
 camaieu d'or, painted on the side of a prie-dieu; on folio 66 recto is a 
 small miniature of a king with a crown of fleurs-de-lys, kneeling before a 
 prie-dieu on which are the arms of France. 
 
 After the death of Queen Catherine, in 1438, this manuscript became 
 the property of her son, Henry VI, and was placed in Whitehall. After 
 the schism under Henry VIII it was transported to Antwerp by a man 
 named Gilles and sold, in 1545, to the Abbey of Tongerloo by the heirs of 
 Jean Legrand, with a copy of the Last Supper painted by Leonardo da 
 Vinci for Henry VIII. There it remained until 1869, when it passed into 
 the hands of Ambroise Firmin-Didot, and thence to the Countess Mnis- 
 zeck, step-daughter of Balzac, who died in 1887. 
 
 MISSALE ECCLESLE TURONENSIS. S^c. XVI. 
 
 Folio, old crimson velvet, vellum linings, gaufjred gilt 
 edges. In a brown morocco case lined with crimson satin. 
 
 A superb French Missal written upon fine vellum in beautiful gothic 
 characters, two columns to the page, at the beginning of the sixteenth cen- 
 tury, for use in the church of Tours, possibly by the Lalement family of
 
 MISSALE ECCLESLE TURONENSIS 139 
 
 the province of Berry, near Touraine, whose probable arms are painted 
 at the foot of the borders surrounding the large miniatures on folios 8 and 
 50 and in six of the small miniatures. 346 X 230 mm. 
 
 The volume contains 169 leaves, including 2 for the Index, and the 
 text has 30 lines to the page. Folios 4, 84, 106, 111, 112, 152, 153, and 
 154 are blank. There are 5 large and 19 small miniatures surrounded by 
 rich and elaborate Italian Renaissance borders in camaieu (Tor and blue 
 on a ground of blue and gold. The pages containing the large minia- 
 tures have the outer margins of the borders finished in black. There are 
 numerous elaborately illuminated initial letters in floral and scroll designs. 
 
 The subjects of the large miniatures are 1. (F. 8 r.) The Nativity; a 
 half-page pointing of the Infant Christ in a cradle filled with straw, sur- 
 rounded by six angels painted in blue; above hover six more angels in 
 rose ; Joseph and Mary kneel on each side, two shepherds are on the right 
 outside the dilapidated stable, two on the left, and two in the distance re- 
 ceiving the Announcement from an Angel. 2. (F. 50 v.) The Resurrec- 
 tion, a half-page painting in which Christ in a blaze of glory appears to 
 three soldiers clad in rich armour who are seated on the ground outside 
 the rock- tomb. The border on this page is especially elaborate, intro- 
 ducing angels playing lutes and highly ornamental vases in blue and 
 camaieu d'or. 3. (F. 59 r.) The Descent of the Holy Spirit; of half-page 
 size and surrounded by an architectural border in camaieu d'or on a 
 ground of blue and bistre. 4. (F. 85 v.) Preparations for the Crucifixion; 
 a superb full-page miniature depicting Christ sitting on a rock, bound 
 and crowned with thorns ; a workman near by is completing the Cross, 
 the two thieves, bound, stand at the foot of the other two crosses ; in the 
 foreground are soldiers and the Virgin Mary supported by holy women 
 and the Beloved Disciple. There are 34 figures in all. 5. (F. 86 r.) The 
 Crucifixion; a full-page miniature serving as pendant to the one pre- 
 ceding. At the foot of the three crosses are the holy women, one of whom 
 supports on her knees the fainting Virgin, and the soldiers casting lots, in 
 the background are more soldiers, on foot and on horseback, in the dis- 
 tance is Jerusalem surrounded by blue hills. 
 
 The subjects of the small miniatures (about 85 X 60 mm.) are 1. 
 (F. 5 r.) The Announcement to the Shepherds; a night-scene of great 
 beauty. 2. (F. 10 r.) The Circumcision ; the High Priest, with the Infant 
 Christ on his knee, is surrounded by several persons. 3. (F. 11 r.) The 
 Adoration of the Magi. 4. (F. 13 r.) Christ's Entry into Jerusalem. 5.
 
 140 MISSALE 
 
 (F. 52 r.) The Transfiguration. 6. (F. 61 r.) God the Father in celestial 
 Glory. 7. (F. 63 r.) The Last Supper. 8. (F. 90 r.) An historiated initial 
 (50 X 50 mm.) "T" beginning the Canon of the Mass, "Te igitur," con- 
 taining a half-length figure of Christ bound and crowned with thorns. In 
 the margin are painted the symbols of the Passion, the division between 
 the two columns of text being the lower part of the cross. 9. (F. 115 v.) 
 St. Gatien, the first Bishop of Tours, preaching. 10. (F. 117 r.) The Mar- 
 tyrdom of St. Stephen. 11. (F. 119 v.) The Presentation in the Temple. 
 12. (F. 121 v.) The Annunciation; a charming miniature in which both 
 figures are standing. 13. (F. 125 r.) The Birth of St. John the Baptist. 
 14. (F. 131 r.) The^Assumption of the Virgin. 15. (F. 132 v.) The Birth 
 of the Virgin Mary; a beautiful interior with a large fire-place and six 
 figures. 16. (F. 136 v.) St. Maurice and his warriors. 17. (F. 141 r.) 
 St. John the Evangelist on Patmos; in the sky Christ in His glory sur- 
 rounded by all the saints. 18. (F. 143 r.) The Raising of Lazarus. 19. 
 (F. 144 r.) St. Martin of Tours dividing his cloak with the beggar. 
 
 The illuminations in this manuscript are of the first order of merit, 
 superbly drawn, and remarkable for purity of design and composition, 
 vigour of execution, and brilliancy of colour. They are examples of the 
 best work of the school of Touraine, and were possibly painted in part 
 by Jehan Foucquet, the characteristics of whose art they possess, viz., 
 variety in physiognomy, predilection for landscapes with rich architec- 
 tural designs, knowledge of linear and aerial perspective, and luminous 
 colouring. The manuscript as a whole is one of the finest possible ex- 
 amples of the calligraphy and art of the period in which it was executed. 
 
 On folios 87-96, 102-103, and 109-110 is music-score. The rubrics 
 on folios 50 and 76 verso read, "In ecclesia Touronensis." Further evi- 
 dence that the Missal was intended for use in Tours is found in the fact 
 that Saint Monegonde, a recluse of Tours, is mentioned in the Litany of 
 the Saints. 
 
 From the library of Ambroise Firmin-Didot. 
 
 MISSALE. SJSG. XVI. 
 
 Folio, brown levant morocco, Janseniste, vellum linings, 
 gilt edges, by Chambolle-Duru. 
 
 A Spanish Missal executed in very large gothic characters of black 
 and red upon 1 75 leaves of vellum during the first half of the sixteenth
 
 MUSIC-SCORE 141 
 
 century, presumably by Jesuit monks for Francisco Borgia (b. 1510), 
 Vicar General of the Jesuit order in Spain and Portugal from 1545-65, 
 whose name, "Divo Fr. Borgia," appears in a medallion on the inner 
 margin of the full-page border on folio 63 recto. 376 X 275 mm. 
 
 The text has 11 lines to the page, folios 62, 87, and 88 are blank, and 
 a leaf containing an Index is prefixed. There is 1 historiated initial of 
 the crucified Christ (an oval 50 X 38 mm.) at the beginning of the 
 Canon of the Mass (folio 117 r.), surrounded by a floral border in colours 
 on a ground of burnished gold, with marginal decorations, an elaborate 
 full-page border with 4 small miniatures in the corners, 119 large gold 
 and coloured initials (from 32 X 32 to 90 X 90 mm.) and 220 smaller 
 capitals in gold on a ground of colours. 
 
 The full-page border is composed of flowers and scrolls in blue, red, 
 green, and gold, on a white ground, a cardinal's arms at the foot, on the 
 inner margin Borgia's name in black on a gold ground, at the beginning 
 of the text a large historiated "R" in colours and burnished gold (180 X 
 135 mm.) containing a bull in red surmounted by a gold crown. This 
 device appears also in arms at the top of the page, and in sepia on a 
 black ground in the centre of the initial on folio 1. 
 
 Beginning with folio 141 verso the work of a second scribe and illumi- 
 nator is apparent, and from this point on the initials are painted in blue 
 on a tracery ground of red. On folios 6-10, 112-116, 127-129, 131, and 
 147-152 is music-score. 
 
 MUSIC-SCORE. BEFORE 1559. 
 
 Oblong 4to, brown morocco covered with a beautiful Gro- 
 lieresque design of interlacing bands and arabesques painted 
 black, ivory, green, and blue outlined in gold, the arms and 
 crowned "H" of Henri II and the crescents and monogram 
 of Diane de Poitiers in gold and silver in the centre of the 
 recto, the word "Bassus" in gold letters on a black cartouche 
 on the verso, gilt and silver back, edges gilt and gauffred in 
 an elaborate design. In a purple velvet case. 
 
 A sixteenth century French manuscript of the basso part of several 
 pieces of Church music in Latin and French, written in gothic characters 
 of black and red upon 138 leaves of paper. 150 X 204 mm.
 
 142 OFFICIUM BEAT.E MARI.E VIRGINIS 
 
 The verso of the first folio contains the initial letter " B " elaborately 
 painted in scrolls of blue and brown with the remaining letters of the 
 word "Bassus" in red in the centre. Similar ornaments in various 
 colours occur throughout the volume. Folios 2-5 contain Tabula. On 
 page 168 are "Chansons a quatre parties Josquin Baston." 
 
 From the collection of L. Double and sold at the dispersion of his 
 library as having belonged to Diane de Poitiers. There have since been 
 doubts as to the genuineness of the arms and monogram on the front 
 cover, but the binding is of the period of Henri II and a very fine ex- 
 ample. 
 
 OFFICIUM BEAT.E MARLE VIRGINIS. SJSG. XV. 
 
 Small 4o, old green silk, gilt edges. In an old case of 
 green morocco tooled in gilt. 
 
 A Flemish Office of the Virgin written at the beginning of the fifteenth 
 century in gothic characters upon vellum. 128 X 91 mm. 
 
 It contains 186 leaves, including 12 for the Calendar, and the text has 
 18 lines to the page. There are 15 large miniatures, 30 borders, and 
 numerous large and small initial letters in burnished gold on a coloured 
 ground or in blue and gold on a tracery ground of red and black with 
 flourishes extending into the margins. The borders, which are around 
 the miniatures and on the opposite pages, are composed of flowers, fruit, 
 scrolls, and birds in brilliant colours heightened with gold. 
 
 The subjects of the miniatures, which are all on the verso of the leaves, 
 are 1. (F. 13) The Crucifixion. 2. (F. 20) The Descent of the Holy 
 Spirit. 3. (F. 26) The Virgin and Child ministered to by three Angels. 
 4. (F. 36) The Annunciation. 5. (F. 53) The Visitation of Elizabeth. 
 6. (F. 64) The Nativity. 7. (F. 69) The Announcement to the Shep- 
 herds. 8. (F. 74) The Adoration of the Magi. 9. (F. 79) The Presenta- 
 tion in the Temple. 10. (F. 84) The Massacre of the Innocents ; Herod 
 enthroned watching the slaughter. 11. (F. 92) The Flight into Egypt. 
 12. (F. 98) The Coronation of the Virgin. 13. (F. 107) King David 
 praying within a walled garden. 14. (F. 126) A Burial Service in a 
 chapel. 15. (F. 164) St. Jerome. 
 
 The drawing is somewhat stiff and formal, but the compositions are 
 original in design and the colouring fresh and bright.
 
 OFFICIUM BEAT^E MARINE VIRGINIS 143 
 
 OFFICIUM BEAT.E MARI^ VIRGINIS. S*jc. XV. 
 
 Small 4fo, russia, the sides and back blind-tooled in panels 
 with gilt fillets, gilt edges. 
 
 A Flemish Office of the Virgin written in the fifteenth century in 
 gothic letters upon fine vellum. 117 X 84 mm. 
 
 There are 139 leaves, with 17 lines to the page, 16 beautiful trilateral 
 and 4 quadrilateral borders composed of brilliant flowers, insects, birds, 
 monkeys, and scrolls in camaieu d'or on a ground of dull gold, grey, light 
 green, red, and blue. They are remarkable for variety of design and 
 freshness of colour. Throughout the text are numerous small initial let- 
 ters in camaieu gris on a ground of camaieu d'or, and 24 large capitals in 
 blue on a red ground elaborately decorated in gold. 
 
 There is no Calendar, and the prayers for special saints precede the 
 Lessons from the Four Gospels and the Hours proper, instead of follow- 
 ing the Penitential Psalms and the Litany. 
 
 OFFICIUM BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 Beate Marie Virginis secundum usum et consuetudinem 
 Romane Curie. [Folio 270] Officium de Passione domini 
 Jesu Christ! . [Folio 322] Officium sancti angeli custodis. 
 [Folio 354] . . . Sancte Catherine martiris. [Folio 369] . . . 
 Beate Marie Magdalene. 4to, old stamped calf, gaufjred gilt 
 edges. In a modern case of green levant morocco. 
 
 A Spanish Office of the Virgin and other Saints written in large gothic 
 characters of black and red upon vellum in the early part of the fifteenth 
 century. 217 X 147 mm. 
 
 It contains 647 leaves, including 12 for the Calendar, and the text has 
 14 lines to the page. Folios 13, 149, and 456 are blank. There are 13 
 large miniatures surrounded by borders, 24 historiated initials, and 156 
 richly decorated borders of scrolls, flowers, birds, figures, and grotesques 
 in brilliant colours heightened with gold, besides hundreds of illuminated 
 initials in burnished gold on an ornamental ground of blue and red. On 
 the pages opposite the miniatures are large initials of floral design in 
 blue on a gold ground, measuring about 47 X 47 mm. Many of the 
 borders extend around three sides only of the pages. At the foot of folio
 
 144 OFFICIUM BEAT.E MARINE VIRGINIS 
 
 15 recto are the illuminated arms of the original owner, upborne by 
 four angels. 
 
 The subjects of the large miniatures are 1. (F. 14 v.) The Annuncia- 
 tion. 2. (F. 27 v.) The Visitation of Elizabeth. 3. (F. 50 v.) The 
 Nativity. 4. (F. 57 v.) The Announcement to the Shepherds. 5. (F. 
 63 v.) The Adoration of the Magi. 6. (F. 69 v.) The Presentation in the 
 Temple. 7. (F. 75 v.) The Massacre of the Innocents. 8. (F. 85 v.) 
 The Flight into Egypt. 9. (F. 116 v.) St. Anna and the Virgin Mary. 
 10. (F. 150 v.) The Raising of Lazarus. 11. (F. 206 v.) King David 
 praying. 12. (F. 262 v.) The Meeting of Joachim and Anna. 13. (F. 
 422 v.) St. Veronica holding the Sacred Sudarium. 
 
 The 24 small miniatures, in the form of historiated initials (folios 136 
 and 424-463), depict fourteen saints and scenes from the lives of Christ 
 and the Virgin Mary. There are prayers in Spanish on folios 448-455. 
 
 The paintings in this manuscript are extremely brilliant in colour 
 and the drawing is strong and vigorous to a degree bordering on rough- 
 ness. 
 
 OFFICIUM BEAT^E MARINE VIRGINIS. SJEC. XV. 
 
 4>to, old red morocco, the sides elaborately and delicately 
 tooled in panels and compartments containing stars, with a 
 fan-shaped ornament in the centre, gilt back, vellum linings, 
 gilt edges, by Du Seuil. 
 
 A French Office of the Virgin written during the first half of the 
 fifteenth century upon 27 vellum leaves, with 13 lines to the page. 192 X 
 136 mm. 
 
 There are 4 miniatures (57 X 53 mm.), numerous illuminated initials, 
 and, on all the pages, elaborate borders of pen and ink tracery with 
 burnished gold leaves, also foliage sprays in blue, red, and gold issuing 
 from the large illuminated initials and from the gold and coloured lines 
 bordering the outer margins of the pages. 
 
 The subjects of the miniatures are 1. (F. 1 r.) A monk (the scribe?) 
 kneeling before the Virgin and Child. 2. (F. 19 v.) The Virgin seated 
 with the Infant Child. 3. (F. 23 r.) The Virgin standing with the Child, 
 who holds a dove, two angels behind them supporting a robe. 4. (F. 
 25 r.) The Virgin seated with the Child, St. John the Baptist and St.
 
 OFFICIUM BEAT.E MARINE VIRGINIS 145 
 
 Stephen beside her. The background of all the miniatures is painted in 
 a mosaic design of minute squares in blue, red, and burnished gold 
 characteristic of late fourteenth and early fifteenth century work. 
 
 The rubrics and the first thirteen leaves are in French and begin with 
 the prayer "Douce dame de misericorde." 
 
 OFFICIUM BEATyE MARI.E VIRGINIS. &EC. XV. 
 [Folio 7] Incipit officium beate et gloriofe virginis Marie 
 matris domini nfi ihu xpi fin romanum curiam. [Folio 39] 
 Officium Passionis. [Folio 53] Officium mortuorum. . . . 
 Small 4to, light green velvet, gilt edges. 
 
 An Italian Office of the Virgin written in gothic letters upon vellum in 
 the fifteenth century. 187 X 137 mm. 
 
 There are 121 leaves, including 6 for the Calendar, with 22 lines to the 
 page. 
 
 The illuminations consist of 15 historiated initials (45 X 45 mm.) 
 with borders of scrolls in pen tracery and burnished gold introducing 
 flowers, angels, animals, etc., and numerous large and small illuminated 
 initial letters. The subjects of the miniatures are the usual ones accom- 
 panying the various offices. The last page contains only the words " Deo 
 gras. Amen," the initial letter depicting a woman kneeling before a 
 crucifix. In the border at the foot of folio 7 recto are the illuminated 
 arms of the person for whom the manuscript was made. 
 
 OFFICIUM BEAT.E MARINE VIRGINIS. S^c. XV. 
 
 Small 8vo, old Italian red morocco tooled in an intricate 
 Gasconesque design of scrolls in gold, with arabesques in white 
 enamel and centre rosettes of similar execution, gilt edges. 
 
 An Italian Office of the Virgin written in roman letters of black, red, 
 and burnished gold upon vellum by Jacopo Tarranus in the fifteenth 
 century. 113 X 76 mm. 
 
 There are 80 leaves, with 12 lines to the page. Folios 35, 36, 79, and 
 80 have no text, but are ruled in borders of double gilt fillets such as sur- 
 round every page of text. The scribe's signature appears at the foot of 
 the blank folio 79 following the last page of text, "lacobus Tarranus 
 
 10
 
 146 OFFICIUM BEAT.E MARINE VIRGINIS 
 
 Romanus Scribebat." The large initials are in gold surrounded with 
 red scrolls within squares of double gold fillets. 
 
 The divisions of the manuscript are 1. "Officium S. Crucis ad Matu- 
 tinum," folios 1-19. 2. "Officium S. Spiritus ad Matutinum," 20-34. 
 3. "Septem Psalmi Poenitentiales," 37-59. 4. "Litaniae," 60-78. 
 
 OFFICIUM BEAT.E MARI.E VIRGINIS. S^c. XV. 
 [Folio 13] Incipit off in btiffime virginis marie fm ofuetu- 
 dinem romane curie ufus. Small Svo, old green morocco, gilt 
 back, narrow side borders, gilt edges. 
 
 An Italian Office of the Virgin written in the fifteenth century, in large 
 and small gothic characters upon vellum. 96 X 71 mm. 
 
 It contains 201 leaves, including 12 for the Calendar, and the text has 
 13 lines to the page. The last 3 pages are in different characters from 
 the rest of the manuscript. 
 
 The illuminations consist of initial letters and 3 full-page borders on 
 folios 13 recto, 106 verso, and 195 recto surrounding large historiated 
 initials representing the Virgin and Child, King David praying and a 
 three-quarter figure of Christ on the Cross. The borders are composed 
 of conventional flowers, fruit, and foliage in brilliant red, blue, and 
 green, with pen and ink scrolls and dots in burnished gold. The his- 
 toriated initials are in the same colours, the backgrounds being of red 
 or blue. Scattered through the manuscript are 19 large initials in colours 
 and burnished gold with marginal scrolls in blue and green introducing 
 flowers and gold points; also initials in red and blue with marginal 
 flourishes and scrolls in the same colours. 
 
 At the foot of the border on folio 13 are the arms of the original owner. 
 
 OFFICIUM BEAT.E MARL VIRGINIS. S^c. XV. 
 
 [Folio 13] Incipit officium beate marie virginis fecundum 
 confuetudinem Komane curie. Small 4>to, brown levant 
 morocco, sides blind-tooled in panels, green silk linings, silver 
 clasps, gilt edges, by Gruel. 
 
 An Italian Office of the Virgin written in the latter part of the fifteenth 
 century in black and red gothic letters upon vellum. 127 X 95 mm.
 
 OFFICIUM BEAT.E MARLE VIRGINIS 147 
 
 It has 145 leaves, including 12 for the Calendar, with 12 lines to the 
 page. The illuminations, in addition to the initial letters, consist of 3 
 elaborate full-page borders surrounding a miniature of King David pray- 
 ing (folio 113 v.) and 2 large historiated initials depicting the Virgin and 
 Child (folio 13 r.) and King David playing the harp (folio 114 r.). The 
 borders are composed of flowers and scrolls in red and blue, small min- 
 iatures, and angels upon a gold ground. At the foot of folio 13 is a blank 
 coat-of-arms supported by two angels. 
 
 There are 8 large initials in colours on a burnished gold ground, with 
 pen and ink scrolls and gold balls extending into the margins also other 
 initials in burnished gold and blue, with marginal decorations in red 
 and blue. 
 
 OFFICIUM BEAT.E MARINE VIRGINIS SECUNDUM 
 
 CONSUETUDINEM CURIE RoMANE. 1498. 
 
 Small 8vo, blue velvet, white moire silk linings, gaufjred 
 gilt edges. In a brown morocco case. 
 
 A beautiful Italian Office of the Virgin written in roman characters 
 upon vellum in 1498 by Sigismund de Sismondi, one of the most dis- 
 tinguished copyists and calligraphers of his time, for Francesco Sfon- 
 drato, Senator of Cremona, who became Bishop of Cremona and, in 
 1534, Cardinal. His illuminated arms are at the foot of the first two 
 borders (folios 13 v. and 14 r.). 112 X 77 mm. 
 
 On folio 148 recto is the inscription by the artist, written in red ink, 
 "Expliciunt feptem pfalmi penitentialef in caft. Carpi die xxii octobrif 
 Mcccc Lxxxx viiij per Sigifmundum de Sigifmondis de Carpo." 
 
 The volume contains 235 leaves, including 12 for the Calendar, and 
 the text has 14 lines to the page. There are 5 beautiful miniatures, 6 
 historiated initials, 11 full-page arabesque borders delicately painted 
 in colours on a dull gold ground, each containing at least 7 medallion 
 heads, 7 borders of flowers and scrolls extending along one side of the 
 page, and numerous large and small initial letters in burnished or dull 
 gold on a ground of red, blue, or green, with decorations in gold. 
 
 The subjects of the miniatures are 1. (F. 13 v.) The Annunciation. 
 2. (F. 116 v.) King David praying near a cave commanding a view of 
 Jerusalem and a distant landscape. 3. (F. 148 v.) The Raising of Laza- 
 rus; in the border at the bottom of the page. 4. (F. 205 v.) The Cruci-
 
 148 OFFICIUM BEAT.E MARINE VIRGINIS 
 
 fixion; painted with microscopic detail, even to the blood on the ground. 
 At the foot of the Cross are the Virgin Mary and another holy woman, 
 in the distance a charming river scene. In the compartment below this 
 painting in the border is a miniature (slightly effaced) of Christ bound 
 for scourging. 5. (F. 218 v.) The Virgin Mary ascending the steps of 
 the Temple for the benediction of the High Priest, Joachim and Anna 
 in the background, a charming little landscape in the distance. 
 
 The subjects of the historiated initials are 1. (F. 14 r.) The Virgin 
 and Child, within the letter " D " painted in burnished gold on a ground 
 of red. Above and below it is the text, "Incipit Officium," etc., written 
 in letters of gold on a ground of dark blue. 2. (F. 117 r.) King David 
 clasping his harp. The text on this page, "Incipiunt Septem pfalmi 
 poenitentialef," is in letters of gold on a red ground. 3. (F. 148 v.) A 
 cadaver in camaieu gris on black. The text on this and the opposite 
 page, "Incipit officium mortuorum" is in gold letters on a red ground. 
 4. (F. 206 r.) A three-quarter painting of Christ crucified; in the border 
 below are symbols of the Passion painted in camaieu d'or on blue. 5. (F. 
 212 r.) The Descent of the Holy Spirit; in a medallion at the top of the 
 border is the Dove. 6. (F. 219 r.) The Virgin Mary praying. 
 
 All of the illuminations are painted with the greatest delicacy, and the 
 manuscript is a beautiful example of Italian work of the end of the 
 fifteenth century. 
 
 OFFICIUM BEATyE MARI^ VIRGINIS. S^c. XV. 
 
 Large 8vo, red straight-grain morocco, blind and gilt- 
 tooled borders, gilt edges. 
 
 A French Office of the Virgin written in black and blue gothic char- 
 acters upon vellum during the second half of the fifteenth century. 
 233 X 151 mm. 
 
 It has 159 leaves, including 12 for the Calendar, with 20 lines to the 
 page, and contains 15 vigorously painted full-page miniatures within 
 architectural borders of shaded gold. Throughout the volume are 
 numerous large and small initial letters and finials in black on a ground 
 of dull gold ornamented with black scrolls, producing a rich effect. The 
 Calendar, containing 12 initials, is written in letters of black, blue, and 
 burnished gold.
 
 OFFICIUM 149 
 
 The subjects of the miniatures are 1. (F. 13 v.) The Annunciation. 
 2. (F. 30 v.) The Visitation of Elizabeth. 3. (F. 41 v.) The Crucifixion. 
 4. (F. 43 r.) The Descent of the Holy Spirit, represented by a shower 
 of gold. 5. (F. 44 v.) The Nativity. 6. (F. 50 r.) The Announcement 
 to the Shepherds, the knees of whose leggings are ragged from kneeling. 
 7. (F. 55) The Adoration of the Magi, one of whom is black. 8. (F. 
 61 r.) The Presentation in the Temple. 9. (F. 66 v.) The Flight into 
 Egypt. 10. (F. 75 r.) The Coronation of the Virgin. 11. (F. 92 r.) 
 King David praying; a curious composition showing a youthful war- 
 rior, a woman, and Death wifh a coffin before him. 12. (F. 110 v.) 
 Job and his three Comforters. 13. (F. 149 v.) St. John the Evangelist 
 on Patmos. 14. (F. 151 v.) The Virgin and Child enthroned. 15. 
 (F. 156 r.) The Crucifixion. 
 
 The colouring of this manuscript is unusual, being confined to blue, 
 black, dull gold, and green. Red is used only once, in the miniature 
 of the Nativity. 
 
 OFFICIUM De Quatuor Dominicis de Adventu . . . [Folio 
 363] Officium de Septem Festivitatibus Beate Virginis, etc. 
 [Saec. XV-XVI]. Small folio, in a seventeenth century Ital- 
 ian binding of red morocco tooled in panels and corner orna- 
 ments, gilt edges. In a modern blue morocco case. 
 
 A superb Italian manuscript of Offices written in beautiful roman 
 characters of black and red upon pure Italian vellum in the late fifteenth 
 or early sixteenth century for Andrea Mattheus Aquiviva, whose arms 
 are painted at the foot of the border on folio 18 recto. 272 X 187 mm. 
 
 The volume begins with the title in black and gold, "Verba divina 
 ab Andrea Matthaeo Aquivivo Duce Adrianoru. Quotidie fieri solita: 
 ab semet code pro sua pretate ordinata. Summus Potifex. Authori- 
 tatem suam, & indulgentias, quisquis recitauerit, adiecit." The next 
 two leaves contain, in italic characters, the Letter of Pope Leo X, in 
 which the book is described as having been arranged by Aquiviva: 
 "Psalmi cum Hymnis, Antiphonis et Orationibus in unum redegerit," 
 and in which indulgences are granted to the Aquiviva family and to 
 whoever should use the book. The Letter is dated "Romae apud 
 Sanctum Petrum sub Annulo Piscatoris die quinta Februarij M DXVIIII. 
 Pontificatus nostri Anno sexto."
 
 150 OFFICIUM 
 
 It is written upon 425 leaves, including 15 of preliminary matter, viz., 
 title, letter, Calendar, and Tabula, with 20 lines to each page of 
 text. Folios 4, 16, 50, 86, 154, 189, 222, and 273 are blank. 
 
 There are 9 beautiful large miniatures surrounded by Renaissance 
 borders containing in all 48 small miniatures in compartments. These 
 paintings, which are in the best style of art of the period, have been 
 attributed to one of the Ghirlandajo family. On folio 18 recto is a full- 
 page border of scrolls on a ground of blue, red, and green heightened 
 with gold, with the arms of Aquiviva at the bottom. There are 87 
 other single borders and 12 large initial letters of similar design scattered 
 through the book, also hundreds of initials in gold on a ground of colours. 
 
 The subjects of the large miniatures are 1. (F. 17 v.) The Annun- 
 ciation (150 X 103 mm.), an oval-topped painting of the Virgin pray- 
 ing in her bed-room in a domed edifice open on one side; God the 
 Father in the sky, and Joseph in the courtyard, in which are playing 
 rabbits, a trained monkey, etc. The capital letter "T" occurs on a 
 silver shield at the top. Among the 8 small miniatures in the border 
 are St. Andrew, St. Vincent, the Angel appearing to Joachim, two 
 Bishops, the Sibyl Tiburtina, and, in a diamond-shaped compartment 
 below the large miniature, the Marriage of the Virgin and Joseph. 
 2. (F. 51 v.) The Nativity (150 X 115 mm.); the scene is outside the 
 mouth of a cave, two Shepherds and an angel join in worship, and in 
 the distance two more Shepherds are receiving the Announcement. Of 
 the 3 small miniatures in the border, the largest, in an arched compart- 
 ment at the bottom, represents the Magi before Herod. The left side 
 of the border depicts naked boys climbing a tree-trunk encircled by a 
 grape vine. 3. (F. 87 v.) One of the finest of the miniatures (130 X 
 75 mm.) depicting Adam and Eve expelled from the Garden of Eden 
 by an angel bearing a sword, within an arched marble portico of various 
 colours. In the pediment of the architectural border of arabesque de- 
 sign is the letter "T" in burnished gold on a red ground. 4. (F. 121 v.) 
 Christ calling his Apostles (156 X 102 mm.); the border is in an ara- 
 besque design of grotesques in rose, blue, and green on a burnished 
 gold ground, with 6 small miniatures containing scenes from the life 
 of Christ, the Bearing of the Cross, the Temptation by the Devil, 
 etc. 5. (F. 155 v.) The Resurrection (147 X 101 mm.); Christ in 
 Glory leaving the Tomb by a road leading to Jerusalem, an Angel and 
 four Holy Women in the foreground. The border contains flowers,
 
 OFFICIUM ONOSANDER 151 
 
 fruits, birds, animals, gems, and 9 small miniatures, representing Christ 
 walking on the water, and descending into Hell, the Meeting of Joachim 
 and Anna, St. Mark, King David, Christ on the road to Emmaus, the 
 Last Supper, etc. At the foot of the page are two Angels supporting 
 organ-pipes between which are the Medici arms. 6. (F. 245 v.) The 
 Last Judgment (140 X 85 mm.), a brilliantly painted miniature, within 
 an architectural border, representing Heaven and Hell; in the base 
 are 5 small miniatures, at the left are trophies on a burnished gold 
 ground. 7. (F. 274 v.) Jonah at Nineveh (75 X 75 mm.) in an archi- 
 tectural border, in the upper oval portion of which is a painting of a 
 king kneeling before a bishop. In the border, which is in compart- 
 ments of gold and colours on a white ground, are 5 other small minia- 
 tures depicting the Crucifixion, King David praying, Mary Magdalene 
 anointing Christ's feet, etc. 8. (F. 304 v.) The Descent of the Holy 
 Spirit (150 X 115 mm.) surrounded by a brilliant border of compart- 
 ments in bright colours outlined with interlacing fillets of burnished 
 gold, and introducing angels, musical instruments, gem-like ornaments, 
 and the figure of a monk. 9. (F. 362 v.) Various subjects connected 
 with the life of the Virgin, in an architectural painting of 11 compart- 
 ments, the central one of which (88 X 40 mm.) represents the Meet- 
 ing of Joachim and Anna, with the Virgin as a young girl in glory above. 
 
 The paintings in this fine manuscript are of the highest order of 
 merit, finely drawn and of great delicacy and brilliancy. The borders, 
 original and varied in design, are painted in the best Italian manner. 
 
 From the collection of the Earl of Morley. 
 
 OFFICIUM. See HOILE. 
 
 ONOSANDER. 
 
 Onosandri de optimo Imperatore eligendo per Nicolaum 
 Secundinum e grseco in Latinum conuerfus. [Circa 1480]. 
 Large Svo, contemporary Florentine binding of red morocco 
 over oak boards, tooled in panels of broken chains with centre 
 ornaments, gilt edges. Reproduced in facsimile in Home's 
 "Binding of Books." 
 
 An Italian manuscript beautifully written in cursive characters of 
 black and red upon vellum about 1480. 219 X 142 mm.
 
 152 ONOSANDER OVIDIUS NASO 
 
 It consists of 69 leaves, with 20 lines to the page. The heading of 
 the first page is written in letters of blue and burnished gold within a 
 beautiful border of white scrolls on a ground of blue, light green, and 
 rose, surrounded by gilt fillets. There are 3 large initial letters of bur- 
 nished gold on a ground of similar design (folios 1, 4, and 7), and in 
 the border at the foot of folio 1 is a blank coat-of-arms surrounded by 
 a wreath. Throughout the volume are numerous small initial letters 
 of burnished gold on a ground of pen tracery in violet. 
 
 From the collection of William Morris. 
 
 ONOSANDER. See ^ELIANUS AND ONOSANDER. 
 
 OVIDIUS NASO, PUBLIUS. 
 
 Ovidii Artis Amatorise Libri III. Remediorum amoris 
 Liber. Heroides seu Epistolse XXI. Amorum Libri III, etc. 
 [Ssec. XV]. 12mo, citron levant morocco, mosaic ornaments 
 of green and violet morocco in the back panels, which are 
 delicately tooled in leaf-sprays, doubled with blue morocco 
 having a border of leaf-sprays with mosaic ornaments of red 
 morocco, gilt edges, by Lortic. In a case of green levant 
 morocco. 
 
 A beautiful Italian manuscript written in roman characters upon fine 
 vellum during the first half of the fifteenth century. 149 X 78 mm. 
 
 It contains 203 leaves, with 26 lines to the page. Folios 44 and 60 
 are blank. There are 8 Renaissance borders, 7 large historiated or 
 floriated initials in gold and colours, and 81 smaller initials in bur- 
 nished gold on a ground of decorated blue and red. 
 
 The border on the first page is painted in camaieu d'or on a ground of 
 crimson extending around three sides, with a ground of green and blue 
 at the bottom. 
 
 The first line of De Arte Amandi is written in capital letters in camaieu 
 d'or on a ground of the same. The accompanying large initial letter is 
 beautifully painted in shaded gold on a ground of green. The other 
 borders are in red, green, and camaieu d'or on a ground of deep blue, 
 the last four being only lateral in form.
 
 OVIDIUS NASO 153 
 
 The divisions of the poems are 1. "Ars amandi," folios 1-43 r. 2. 
 "Remedium amoris," folios 45-59 v.; 3. "Heroides," folios 61-129 r. ; 4. 
 A poem on Sappho, beginning "Nunquid ubi aspecta et studiose littera 
 dextre," followed by a prose notice of Sappho, folios 129 r.-133 v. ; 
 5. Three responses to as many "Heroides" attributed to Sabinus, the 
 friend of Ovid, and a short note on the former, folios 133 V.-140 r. ; 6. 
 "Amorum libri III," folios 141-186 v.; 7. "Pulex," an Elegy attributed 
 to Ovid, folio 187 r.-187 v. 8. "De Philomela," another Elegy, not 
 written by Ovid, folios 187 V.-189 r. ; 9. "De Medicamine faciei," a 
 fragment of elegiac verse on cosmetics addressed to young girls, folios 
 189 r.-191 r. 10. "Nux," an Elegy, folios 191 r.-194 r. 11. "Con- 
 solatio ad Liviam Augustam," on the death of Drusus Nero, his son, 
 folios 194 V.-203 v. 
 
 On folio 203 recto is a partially defaced note, "Dono accepit Augus- 
 tinus Amodeus a D. Dominico Seglia," and the quartered arms of the 
 original owner are painted at the foot of the borders on the rectos of 
 folios 1 and 141. 
 
 All of the illuminations are painted with much care. The manu- 
 script was formerly in the library of Ambroise Firmin-Didot. 
 
 OVIDIUS NASO, PUBLIUS. 
 
 Les XXI Epiftres Des Dames Illuftres, traduicttes 
 d'Ouide par Le Reuerend Pere en Dieu: Monseig. 
 L'Evesque De Angoulefme. [1499-1502]. Large 8vo, old 
 red morocco delicately tooled in panels with centre and corner 
 ornaments, gilt edges. In a modern case of red morocco. 
 
 A beautiful French manuscript of the French poetical version of Ovid's 
 Epistolcs Heroidum, which is universally ascribed to Octavian de Saint- 
 Gelais, Bishop of Angouleme (1494-1502), written in gothic characters 
 upon vellum. As the miniature on folio 46 is probably a portrait of 
 Queen Anne de Bretagne, who married Louis XII on January 7, 1499, 
 the manuscript was presumably executed about 1499, and as the portrait 
 on folio 112 resembles the heads of Louis XII found on coins of the 
 period, it may safely be asserted that it was executed for this royal 
 couple. 242 X 165 mm. 
 
 It consists of 130 leaves, with 36 lines to the page.
 
 154 OVIDIUS NASO 
 
 The title, which was painted at a later date than the body of the 
 book, is in an architectural border of camdieu d'or containing at the top 
 a medallion profile portrait of Ovid in a red robe on a blue ground. There 
 are 21 exquisite half-page portraits, 18 of women, 3 of men, in full-page 
 borders of colours and dull gold. 
 
 The subjects of the miniatures are 1. (F. 3 r.) Penelope in a blue 
 and gold gown with a jewelled cincture, an outer robe of red and gold 
 lined with white, a heavy gold chain around her neck, on her head a 
 white and red cap ornamented with gold stars. She sits writing at a 
 table in a room panelled with grey, red, and gold. 2. (F. 7 v.) Phyllis 
 in a red and gold gown fastened at the waist with a green girdle, around 
 her neck two heavy gold chains, over her head and shoulders a robe of 
 red and gold. She sits at a table in a grey panelled room containing 
 two windows. 3. (F. 11 v.) Briseis in a red gown embroidered with 
 gold, large flowing sleeves lined with white, a black coif over her hood 
 of red and white. She stands before a table on a battlemented roof. 
 4. (F. 17 r.) Phedre in a green robe embroidered in gold with close 
 black sleeves under flowing yellow ones, on her head a black coif. She 
 stands before a gilt writing-table in a vaulted room with decorated grey 
 walls, and holds a quill pen in her raised left hand, a pen-knife in her right 
 hand. 5. (F. 23 v.) (Enone in a rose and red gown with cap, sitting in 
 a pillared porch, beyond which is a landscape. 6. (F. 30 r.) Hypsipyle 
 in a blue robe trimmed with bands of gold and red, a triple jet necklace, 
 a jet bandeau with roses in her flowing hair. She stands against a back- 
 ground of dull green with mauve ornamentation in stripes. 7. (F. 35 v.) 
 Dido in a blue gown with gold and red robe covering her head, which 
 is crowned. She stands writing in a book, near her a gilt reading-stand. 
 The room is brick-walled, and the ceiling vaulted. 8. (F. 42 v.) Her- 
 mione in a loose blue robe edged with gold and red, a massive gold chain 
 around her neck, on her head an elaborate cap in red and gold. She 
 stands at a table before a window, a knife in her left hand. 9. (F. 46 r.) 
 Dejanira sitting at a table before a window, clad in a red gown with a 
 blue coif over her crowned head. This painting is supposed to be a 
 portrait of Anne de Bretagne, as it resembles the one in her Livre d'Heures. 
 10. (F. 52 r.) Ariadne on the island of Naxos, a weeping figure in a 
 gown of gold and red, with a grey scarf over her head; in the back- 
 ground high rocks and trees. 11. (F. 57 r.) Canace stabbing herself. 
 She stands holding her pen in her left hand. Her robe is mauve over
 
 PASSIO CHRISTI 155 
 
 red embroidered with gold. 12. (F. 62 r.) Medea in an elaborate gown 
 of gold and red with white head-dress covered with a red and gold mantle. 
 She stands before a table reading her Epistle from a book. 13. (F. 69 v.) 
 Laodamia in a blue gown embroidered with white and a red and gold 
 robe, a fillet around her flowing yellow hair. She stands at a table before 
 a window. 14. (F. 75 v.) Hypermnestra in prison. 15. (F. 80 r.) 
 Paris, a youthful figure in a fur-trimmed blue robe with a red cap on his 
 flowing yellow hair. 16. (F. 88 v.) Helen dressed in a red robe height- 
 ened with gold, a black mantle on her head, and standing before a 
 window writing. 17. (F. 97 r.) Leander seated on the shore of Abydos 
 removing his shoes, in the background the Hellespont and Hero's tower 
 with the light burning in the window. 18. (F. 105 r.) Hero in a red 
 and gold robe, with flowing yellow hair, standing at the battlements of 
 her tower. 19. (F. 112 r.) Acontius, a portrait of Louis XII, seated 
 before a window, a crown on his red cap and wearing a mauve 
 robe embroidered in gold and lined with ermine. 20. (F. 118 v.) 
 Cidippe in a red and silver robe, standing with crossed arms. 21. 
 (F. 123 r.) Sappho in a silver gown embroidered in white over a red 
 undergarment, with a white and red head-dress embroidered in gold 
 stars. 
 
 All of the miniatures are very carefully painted and with so much 
 individuality as to be undoubtedly portraits, some of them possibly of 
 the maids of honour of Anne de Bretagne. They are also interesting 
 as examples of the costume of the period, executed in the style of the 
 famous Livre d'Heures d'Anne de Bretagne, in the Bibliotheque Nation- 
 ale. That library contains at least four manuscripts of the present 
 translation, one of which belonged to Louis XII, but none of them as 
 interesting as this one. 
 
 PASSIO CHRISTI. 
 
 [Folio 2] Auifo y inftrucion Para dho exercicio y delos 
 frutos que fe Alcan an por el. [Folio 8] Siguen las Veinte 
 y quatro horas de la passion de nro senor. Hid xpo con sus 
 Oraciones. A la tarde a seys horas Oracion. [1591]. 24-mo, 
 original calf, tooled in gilt, with gilt edges. In a modern 
 case of brown levant morocco.
 
 156 PERSIUS PETRARCA 
 
 A Spanish manuscript of the Passion executed in italic characters of 
 black and red upon 44 leaves of vellum in 1591, according to the date 
 on the last miniature. 82 X 59 mm. 
 
 All of the twenty-five divisions of the book begin with delicately 
 painted initial letters in colours heightened with gold, and there are 25 
 miniatures surrounded by borders of gold. 
 
 The subjects illustrate Christ's Passion with the exception of the first 
 two, which depict the Nativity and Christ with five Disciples. The 
 last painting, the Entombment, contains the date 1591 in letters of gold. 
 The miniatures are all well painted, in soft rather than brilliant colours. 
 
 PERSIUS, AULTJS FLACCUS. See JUVENALIS AND PERSIUS. 
 
 PETRARCA, FRANCESCO. 
 
 Sonetti, Canzoni e Trionfi. [Ssec. XV]. Folio, original 
 vellum covers. 
 
 An Italian manuscript of Petrarch's Italian Poems written in italic 
 characters upon fine vellum in the early part of the fifteenth century 
 288 X 170mm. 
 
 It consists of 176 leaves, with from 28 to 30 lines on a page. Folio 
 139 is blank. There are 361 large initial letters in burnished gold on 
 a ground of blue and red with white scroll decorations, and two full- 
 page borders, on folios 1 and 140. The first is a quadrilateral "line and 
 leaf" design of black and burnished gold introducing flowers, figures, 
 helmets at the four corners, and, at the foot of the page, a shield con- 
 taining the arms of an owner, of later date than the manuscript itself. 
 On each side are angels in blue with peacock's wings. The second 
 border, at the beginning of the Trionfi, is trilateral and less elaborate in 
 design. 
 
 The vellum upon which this manuscript is written is unusually white 
 and fresh. 
 
 PETRARCA, FRANCESCO. 
 
 Sonetti, Canzoni e Trionfi. [Ssec. XV]. Svo, light brown 
 levant morocco tooled in panels in the Aldine manner, vellum, 
 Jin ings, gilt edges, by Chambolle-Duru.
 
 PETRARCA 157 
 
 An Italian manuscript of Petrarch's Poems written in roman char- 
 acters upon fine vellum in the fifteenth century. 228 X 145 mm. 
 
 There are 197 leaves, with 29 lines to the page. Folios 8, 9, 10, 188, 
 189, and 190 are blank. The divisions of the volume are 1. "Tabula," 
 folios 1-7. 2. "Francisci Petrarce Poetae Clarissimi Sonectorum," 11 
 150. 3. "Francisci Petrarce Poetse Clarissimi De Amore Triumphus," 
 151-187. 4. "Vita Francisci Pe. Poe. Clar. edita per Leonardum Arreti- 
 num virum cl." 191-197. 
 
 The illuminations consist of borders and initial letters painted in 
 colours and burnished gold. On the first page of the Sonnets (folio 11) 
 is an elaborate full-page border of garlands, cupids, and birds, with 8 
 compartments, 5 of which contain men's heads. In the centre of the 
 foot of the page is a blank oval compartment intended for the arms of 
 the person for whom the manuscript was executed. The title of the 
 Sonnets is in two compartments in burnished gold letters on a blue and 
 rose ground. An historiated initial containing a half-length portrait 
 of Petrarch begins the text. 
 
 The remaining 14 borders are lateral and occur in the second division 
 of the poems, the Trionfi. They are of two varieties: 6 borders are 
 composed of brilliant flowers, urns, birds, and gold dots and are ac- 
 companied by historiated initial letters delicately painted, e. g., a blind- 
 folded cupid shooting an arrow (f. 151); Death, represented by a 
 winged cadaver (f. 166 v.); and a winged hour-glass (f. 182). The 
 other variety of border is composed of scrolls in blue, white, green, and 
 rose, with gold dots, attached to initial letters of a similar character. 
 
 This is a fine specimen of a classical Italian manuscript. 
 
 PETRARCA, FRANCESCO. 
 
 Rime. (I) [Folio 1] Voi chascoltate in rime sparse il suono 
 di quei sospiri ondio nutriva il core in sul mio primo giovenil 
 errore quando era in parte . . . [Folio 97] Haec reperta sunt 
 in Papienfi Bibliotheca in quodam Virgilio Domini Francifci 
 Petrarcae fcripta manu propria eiusdem Domini Francifci. 
 Laura propriis virtutibus illustris : et meis longum celebrata 
 carmimbus: primum oculis meis apparuit: sub primum 
 adolefcentise meae Tempus anno Domini MCCCXXVII. 
 die vi. menfis Aprelis . . .
 
 158 PETRARCA 
 
 (II) [Folio 98 verso] Francisci Petrarchse Florentini de 
 Morte Laurese Elegia. 
 
 (III) [Folio 142 recto] Francisci Petrarchse Florentini 
 Triumphi incipiunt. Amoris Triumphus I. [Sa3C. XV]. 
 8vo, original Venetian binding of red morocco gilt-tooled in 
 a Moorish design in panels, morocco and brass clasps, gilt 
 edges. In a modern case of green morocco. 
 
 A delicately written Italian manuscript of Petrarch's Italian poems 
 executed in small italic characters upon fine vellum in the fifteenth 
 century. 166 X 111 mm. 
 
 Folios i-viii and 1-178, folios viii, 139, 140 being blank; 28 lines to 
 the page. Each of the three parts has a separate title-page written in 
 uncial letters in blue, red, and gold, and surrounded by a border of 
 architectural design containing figures, garlands, etc., painted in colours 
 and camaieu d'or. The first border (f. 1) has at the foot a blank medal- 
 lion intended for a coat-of-arms. The second border (f. 98 v.) contains 
 at the top an exquisite small miniature representing a stag with a woman's 
 face pursued by two greyhounds, an allegorical illustration of the seventh 
 stanza of Canzone 21, in which the poet complains of having lost the 
 way leading to the desired port (represented in the miniature by a ship 
 at anchor in the background) and of being tormented by fatal remorse 
 on one hand and, on the other, by the sweet memory of earthly pleasures, 
 from which he vainly seeks to free himself, although he knows that his 
 end is near. In the miniature, death is represented by a sarcophagus; 
 the stag is the poet's soul disquieted by contradictory instincts, depicted 
 by the two greyhounds, one black and one white. Attached to a wreath 
 of laurel at the foot of the page is a blank oval intended for arms. 
 
 The third border (f. 142) is painted in camaieu (for with a scene in 
 gold and colours at the foot: Love triumphant riding on a burning 
 chariot followed by vanquished couples. On the opposite page (f. 141 
 v.) is a full-page miniature of a similar theme painted upon saffron- 
 coloured vellum in camaieu d'or and pale green. The poet, in a hooded 
 robe, with a companion, views the procession from a neighbouring hill. 
 
 The first seven leaves of the volume contain an alphabetical index of 
 the first lines of the poems. There are numerous capital letters in blue 
 and burnished gold, also variants and Greek characters on the margins.
 
 PETRARCA 159 
 
 PETRARCA, FRANCESCO. 
 
 Rime : [Folio 9 verso] Francisci Petrarcae Florentini 
 Poetse excellentiss. Rhythmi incipiunt. [Folio 106 recto] 
 Eiusdem Francisci Petrarcse de Morte Dominae Laurese 
 Rhythmi incipiunt. [Folio 149 verso] Francisci Petrarcae 
 Florent. Poetae clariss. Triumphi incipiunt. [Saec. XV]. 
 Svo, original Medicean binding of calfskin, ornamented with 
 panels partly gold and partly blind-tooled, medallions of 
 Petrarch and Laura stamped in the centre of the covers, edges 
 gauffred and gilt. In a modern case of brown morocco. 
 
 An Italian manuscript of Petrarch's Italian poems executed in italic 
 characters upon vellum in the fifteenth century. 234 X 142 mm. 
 
 It contains 187 leaves including 7 for the Index to the first lines of the 
 poems in the first two parts of the volume. Folios 8, 147, and 148 are 
 blank, 148 being of purple vellum. There are 2 frontispieces, one on 
 saffron, the other on purple vellum, in the style of Andrea Mantegna, 
 3 beautiful coloured borders surrounding titles written in letters of gold 
 and colours, and 400 initial letters in burnished gold on a blue ground 
 decorated with white, 7 being elaborated with symbols. 
 
 The first border (f. 10 r.) is of an architectural design in blue, red, 
 and green heightened with gold, introducing at the base 3 medallions 
 containing herons, in the columns 2 blank escutcheons. On this page 
 is a beautifully painted initial containing two rabbits. 
 
 The second border, around the title-page "De Morte Dominse Laureae 
 Rhythmi" (f. 106 r.), is in the form of a memorial tablet in bistre on a 
 ground of shaded blue, the upper part containing a death-scene of a 
 woman thrown from a chariot, beautifully painted in gold and silver on 
 a black ground. The third border (f. 150 r.) is of an architectural 
 design in blue, red, and brown heightened with gold, introducing em- 
 blematic ornaments and an historiated initial containing a doe. This 
 border is somewhat rubbed. 
 
 The first frontispiece, on saffron vellum (f. 9 v.) is in the form of an 
 elaborate memorial tablet, in the upper part of which are the portraits 
 of Petrarch and Laura. Poetical symbols are introduced and at the 
 left stands Apollo with his lyre. In the lower right-hand corner is a 
 Cardinal's hat surmounting an effaced coat-of-arms. The frontispiece 
 to "Triumphi" (f. 149 v.) is painted in gold and silver on purple vellum.
 
 160 PETRARCA 
 
 PETRARCA, FRANCESCO. 
 
 Triompho dello Amore d. M. Fr. Petrarca Poeta F. 
 Triompho della Pudititia, della Morte, della Fama, - 
 del Tempo, della Divinita. [Florentiae, ante 1492]. 8vo, 
 red levant morocco, centre ornaments of interlacing fillets and 
 leaf-sprays, with a cupid's head in the middle, vellum linings, 
 gilt edges, by Trautz-Bauzonnet. 
 
 An Italian manuscript beautifully written in italic characters upon 
 vellum for Lorenzo de Medici (d. 1492), whose arms are painted in gold 
 and colours on folios 1, 14, and 25. 251 X 143 mm. 
 
 It contains 41 leaves, with 27 lines to the page. The 6 divisions of the 
 poem have at the beginning borders supposed to have been painted by 
 the celebrated Florentine miniaturist Attavante, as the initials "M. A." 
 (Maestro Attavante?) are in a cartouche in the lower left-hand corner 
 of the first painting. There are 6 large initial letters in gold and colours 
 and 7 initials in gold. 
 
 The illuminations are 1. (F. 1) A full-page border of architectural 
 and emblematical design introducing a Corinthian column, trophies, 
 cupids, gems, etc., painted in gold and delicate colours on a dark red 
 and blue ground. In the centre of the base of the design are the Medici 
 arms supported by two cupids ; at the top are medallion cameo portraits 
 of Lorenzo-de Medici and Petrarch on a black ground. 2. (F. 14) A 
 half-page border painted in mauve in the form of a tablet with broken 
 pediment. At the foot are the Medici arms with a chaplet of jewels. 3. 
 (F. 18) A full-page border representing a tablet in light green against a 
 mauve ground ; a skull in the pediment, winged horses in red, gold, and 
 light green at the base. 4. (F. 25) A three-quarter border in the form 
 of a tablet painted in mauve on a rose ground, introducing vases, jewels, 
 emblems, scrolls, fruit, and the Medici arms. 5. (F. 36) A three- 
 quarter border of tablet design somewhat similar to the preceding, 
 but containing two heads of men painted in mauve. 6. (F. 38 v.) A 
 tablet occupying the lowest third of the page, painted in light green, red, 
 brown, and gold, and supported by two turtles. 
 
 The illuminations are very beautifully and delicately painted. The 
 manuscript is from the collection of Baron de La Roche Lacarelle.
 
 PRAYER-BOOK PRECES PLE 161 
 
 PRAYER-BOOK. See GHEBEDTE. 
 
 PRECES PLE. CIRCA 1310. 
 
 4to, red levant morocco covered with a superb original 
 desiqn of conventionalized flowers and scrolls, in mosaic of 
 
 / / I I 
 
 dark and light green, citron, and ivory morocco, vellum linings, 
 gilt edges, by The Club Bindery; Leon Maillard, finisher. 
 In a case of red levant morocco. 
 
 A Flemish manuscript executed in gothic characters upon vellum about 
 1310. 163 X 114 mm. 
 
 It contains 218 leaves, including 6 for the Calendar, with 19 lines to 
 the page. There are 15 full-page miniatures, 12 of medium size in the 
 Calendar, 9 large historiated initials, and 16 small figures in a border, 
 making 52 paintings in all, besides over 175 large initials in burnished 
 gold on a ground of blue and red, and numerous smaller initials, chiefly 
 in the borders of blue, red, and burnished gold which surround every 
 page of text. These borders have three sides, ending on the outer margin 
 in monkeys' heads painted in green and red, or owls, peacocks, and 
 other animals. 
 
 The subjects of the large miniatures are 1. (F. 7 v.) The Annuncia- 
 tion. 2. (F. 8 v.) The Nativity. 3. (F. 9 v.) The Adoration of the 
 Magi. 4. (F. 10 v.) The Flight into Egypt. 5. (F. 11 v.) The Trinity; 
 St. Mary Magdalene standing at the right with her vase of ointment. 
 6. (F. 12 v.) The Scourging. 7. (F. 13 v.) The Crucifixion; surrounded 
 by a border of 16 small miniatures depicting Old Testament writers. 
 8. (F. 14 v.) A full-page letter "B" containing 2 miniatures in the divi- 
 sions : the Resurrection and the Descent into Hell. 9. (F. 42 r.) St. Mary 
 Magdalene kneeling at the feet of the resurrected Christ. 10. (F. 60 v.) 
 Christ and St. Thomas. 11. (F. 77 v.) The Ascension. 12. (F. 94 v.) 
 The Descent of the Holy Spirit. 13. (F. 115 v.) A Dominican (St. Dom- 
 inick ?) preaching from a pulpit. 14. (F. 135 v.) St. Francis of Assisi 
 preaching to the birds. 15. (F. 157 r.) The Last Judgment. 
 
 The 12 miniatures in the Calendar represent scenes appropriate to the 
 months, and are painted on the right side of the page. The subjects of 
 the 9 historiated initials (folios 41-156) are St. Peter, St. Paul, St. Lau- 
 rence, St. Stephen, St. Margaret, St. Nicholas, St. Martin, the Behead- 
 ing of St. John the Baptist, and the Coronation of the Virgin. 
 
 11
 
 162 PSALTERIUM 
 
 From the hagiographical indications in the Calendar of this manu- 
 script, it was written by a Flemish scribe, but the miniatures appear to 
 have been executed by an English artist. They are painted chiefly in 
 deep blue, brilliant red, and light green on a ground of burnished gold. 
 It is a superb example of the art of the scribe and miniaturist at the be- 
 ginning of the fourteenth century. 
 
 From the Bibliotheca Renesiana. 
 
 PSALTERIUM. S^c. XIII. 
 
 8vo, brown levant morocco, gilt back, corner and centre or- 
 naments of dark brown morocco stamped in gold on the sides, 
 the intervals filled in with stars, doubled with vellum, the old 
 coloured edges preserved, by Riviere. 
 
 An English Psalter written in gothic characters upon fine vellum in the 
 thirteenth century. 202 X 137 mm. 
 
 It contains 117 leaves, including 4 for the Calendar (which lacks folios 
 3 and 4, May to August), and the text has 23 lines to the page. The 
 Calendar, which is written in black, red, and blue characters, contains 
 16 medallion miniatures in colours, principally blue and red, on a raised 
 burnished gold ground, and 8 illuminated initials. In the text are 10 
 large historiated initials similarly painted, depicting figures and animals 
 and averaging 600 X 600 mm. in size. 
 
 The text is clearly written in brilliant black ink, with small initials and 
 finials in red and blue and larger initials in the same colours heightened 
 with burnished gold. 
 
 The last page, containing prayers in Latin and French, is in larger 
 characters than the remainder of the volume, and appears to have been 
 added. 
 
 PSALTERIUM DAVIDIS CUM CANTISIS ECCLESI.E ET 
 
 LITANIA. S^EC. XIII. 
 
 4eto, in a seventeenth century binding of dark brown mo- 
 rocco over oak boards, brass clasps, gilt edges. In a modern 
 case of brown levant morocco. 
 
 A superb Psalter executed in large gothic characters upon fine vellum 
 by either a Norman or an English illuminator for the abbey of St. Peter 
 at Sens in the thirteenth century. 229 X 162 mm.
 
 PSALTERIUM 163 
 
 It contains 191 leaves, including 6 for the Calendar (folios 26-31), with 
 20 lines to the page. The first 25 leaves contain 50 large circular minia- 
 tures, two on each folio (about 57 X 57 mm.) within ornamental panels 
 (148 X 81 mm.) in rose, blue, and burnished gold. There are also 217 
 small miniatures, 6 within the border of the first miniature, 24 in the 
 Calendar, and 187 in the form of historiated initials. 
 
 Every page of text is beautifully and elaborately ornamented with 
 designs of the most varied character, small initial letters, marginal 
 tracery in red and blue, and finials in the form of fish, birds, and gro- 
 tesques in gold and black. 
 
 The subjects of the large miniatures are 1-2 (F. 1 v.) David playing 
 the harp and slaying Goliath, forming the upper and lower compart- 
 ments in the initial letter "B"; the 6 small miniatures in the corners 
 and at the sides represent musicians playing on the viol, the cithern, the 
 organ, etc. 3-4. (F. 2 v.) The Annunciation and the Visitation of Eliza- 
 beth. 5-6. (F. 3 r.) The Nativity and the Announcement to the Shep- 
 herds. 7-8. (F. 4 v.) The Magi journeying towards Jerusalem and 
 before Herod, in whose ear a fiend is whispering. 9-10. (F. 5 r.) The 
 Adoration of the Magi and the Magi warned of God in a dream; they 
 are represented as lying in one bed, two of them asleep, the third wakened 
 by the Angel's touch. 11-12. (F. 6 v.) Herod directing the slaughter of 
 the Innocents, a fiend whispering in his ear, and the Flight into Egypt, 
 idols falling from their pedestals as the Holy Family approaches. 13-14. 
 (F. 7 r.) The Marriage Feast at Cana and the Baptism of Christ by John 
 the Baptist; an angel stands at the right holding Christ's garments. 
 15-16. (F. 8 v.) The Presentation in the Temple and the Devil tempting 
 Christ to turn stones into bread. 17-18. (F. 9 r.) Christ tempted of the 
 Devil on the pinnacle of the Temple and the Devil offering Him the 
 riches of the world, symbolized by golden vessels upon which Christ 
 treads. 19-20. (F. 10 v.) The Transfiguration and Christ casting out 
 devils. 21-22. (F. 11 r.) Christ's Triumphal Entry into Jerusalem and 
 Judas bargaining with the Jews for the thirty pieces of silver. 23-24. 
 (P. 12 v.) The Betrayal and Christ in the Judgment Hall of Pilate; at 
 the left St. Peter warming his hands. 25-26. (F. 13 r.) The Scourging 
 of Christ and Judas hanging himself. 27-28. (F. 14 v.) Pilate washing 
 his hands and Christ bearing the Cross. 29-30. (F. 15 r.) Christ cruci- 
 fied with the two Thieves and the Descent from the Cross. 31-32. (F. 
 16 v.) The Entombment and the Resurrection. 33-34. (F. 17 r.) The
 
 164 PSALTERIUM ET HYMNARIUM 
 
 Visit of the three Maries to the Sepulchre and Christ delivering the 
 Spirits of the Just from Limbo. 35-36. (F. 18 v.) St. Man' Magdalene 
 and Christ in the Garden and Christ on the road to Emmaus. 37-38. 
 (F. 19 r.) The Supper at Emmaus and the Incredulity of Thomas. 39-40. 
 (F. 20 v.) The Ascension and the Descent of the Holy Spirit; the Virgin 
 Mary is not in the group as she always is in later manuscripts. 41-42. 
 (F. 21 r.) The Death and Coronation of the Virgin. 43-44. (F. 22 v.) 
 Christ in Glory and the Resurrection of the Dead. 45-46. (F. 23 r.) 
 The Entry of the Blessed into Heaven and the Wicked dragged to Hell 
 by two Devils. 47. (F. 24 v.) God the Father holding the Spirits of the 
 Saved in His bosom; surrounding Him, in small compartments, are 
 crowned heads. The intention was doubtless to represent the Mansions 
 of the Blest. 48. (F. 24 v.) The Lost Souls in the Jaws of Hell, among 
 them Kings, Queens, Bishops, and Priests. 49-50. (F. 25 r.) The Devil 
 weighing souls, the contest with an angel and the departure to Heaven 
 and Hell. 
 
 The 24 small miniatures in the Calendar are circular in form, on the 
 outer margins, and depict scenes appropriate to the months and the 
 zodiacal signs. The 187 historiated initials illustrate either the Psalms 
 in their ordinary meaning or the scribe's interpretation. They measure 
 about 25 X 25, 34 X 12, and 55 X 55 mm. 
 
 All of the paintings are executed with admirable skill, and are re- 
 markable for drawing, physiognomy, and fresh colouring. 
 
 The Calendar records St. Savinianus, first Archbishop of Sens (August 
 25), St. Amatus (September 13), and St. Bertharius (October 16), whose 
 festivals are also kept at St. Peter's Abbey, Sens. 
 
 PSALTERIUM ET HYMNARIUM. SJSG. XV. 
 
 4to, old brown morocco, the arms of Charles Brisard-Tiville 
 (d. 1656), Councillor in the Parliament of Paris, stamped in 
 gold on both covers, the sides and back covered with small 
 tools representing spread eagles, lions, and the ermine marks 
 found in the arms, gilt edges. In a modern case of blue 
 morocco. 
 
 A French Psalter and Hymnary written in large gothic characters 
 upon vellum in the fifteenth century. 208 X 134 mm.
 
 PSALTERIUM 165 
 
 It contains 257 leaves, including 6 for the Calendar and 5 other pre- 
 liminary folios containing directions for using the Calendar. The only 
 illuminations consist of 12 small miniatures (20 X 35 mm.) in the pages 
 containing the Calendar, 8 borders of flowers, foliage, scrolls, and gro- 
 tesques on a dull gold background and several hundred illuminated 
 initials of various sizes. 
 
 PSALTERIUM. SJGC. XV. 
 
 [Folio 17] Incipit liber hymnoru uel foliloquioru. ppheta 
 dauid. de. xpo. [Folios 162-181] Cantica yfaye prophe. . . 
 moyfi . . . Zacharie . . . Ambrofii, Athanafii, etc. [Folios 
 183-218 r.] Paffio domini nri ihu xpi, fcd'm matheum . . . 
 marcum . . . lucam . . . Johem. [Folios 218 v. - 235] 
 Orationes. 4>to, old red velvet, gilt edges. 
 
 A finely executed Spanish Psalter written in gothic characters upon 
 vellum in the fifteenth century. 244 X 168 mm. 
 
 There are 236 leaves, including 12 for the Calendar and 4 for the 
 Tabula, with 19 lines to the page. Folio 182 is blank and the last leaf 
 contains a prayer in different calligraphy from the rest of the manuscript. 
 
 The illuminations consist of 12 large historiated initials (about 147 X 
 147 mm.) painted in colours and burnished gold, and accompanied by 
 beautiful tracery borders in black and burnished gold introducing flowers, 
 birds, angels, and animals. There are also 7 large floriated initials with 
 sprays of flowers in the margin, and numerous smaller letters in blue 
 and burnished gold, with pen tracery along the margins. 
 
 The first miniature (folio 17) is larger than the others (74 X 74 mm.) 
 and the border on this page contains at the foot, within interlacing 
 bands of blue on a gold ground, a coat-of-arms painted in gold and 
 colours and repeated in the border on folio 128 verso. 
 
 Of the 12 miniatures, 5 represent David in different scenes (folios 17 r., 
 38 v., 52 v., 80 r., and 96 v.), 2 are of God the Father (folios 66 r. and 
 128 v.); the painting on 112 r. depicts a mass led by two bishops. The 
 last (folios 183-211) are of the Evangelists, the borders on these pages 
 being lateral instead of full-page. 
 
 The rubric on folios 222-223 is in the Catalan dialect, which indicates 
 the nationality of the scribe; the borders, however, are painted in the 
 Italian manner.
 
 166 PSALTERIUM SAUVAIGE 
 
 PSALTERIUM. SJEC. XVI. 
 
 Large folio, contemporary French binding of red morocco, 
 the arms of Cardinal Geronimo Grimaldi, Archbishop of 
 Aix (1597-1655-85) stamped in gold on both covers within 
 borders composed of flowers and fleurs-de-lys, gilt edges. 
 
 A French Psalter beautifully written in large roman characters of 
 black and red upon vellum, presumably during the first half of the six- 
 teenth century. 398 X 280 mm. 
 
 It contains 56 leaves, with 22 lines to the page, 7 floral culs-de-lampe 
 and a large spray of flowers on the last page, 12 elaborately painted 
 initial letters (about 52 X 52 mm.) in blue on a burnished gold ground 
 of diaper pattern in red, 61 other large initial letters in burnished gold, 
 and numerous smaller ones in red. The headings of each division of the 
 volume are in letters of blue and shaded gold, and the text is enclosed 
 within outline borders of red and gold. 
 
 PSALTERIUM. See BONA VENTURA, ST. 
 
 SAUVAIGE, ALEXANDRE. 
 
 [Letiquette des temps, ou les memorables choses de tous 
 les temps] A lhault et puiffant feigneur monfeigneur meffire 
 francoys de Rochechouart cheualier feigneur de Champ- 
 demer. Confeiller et chambellan ordinaire de trefhault 
 trefpuiffant et trefexcellens prince Loys douziefme de ce 
 nom roy de france [1498-1515] : son lieutenant general et 
 gouuerneur en fa duche et feigneurie de gennes et fenefchal 
 de thouloze. Prologue de alexandre fauuaige. En lethiquette 
 des temps. [XVI Siecle]. Folio, old red straight-grain 
 morocco tooled in floral borders of gold, gilt edges. 
 
 An exquisite French and Italian manuscript written in lettres bafardes 
 upon fine vellum in the beginning of the sixteenth century for Francois 
 de Rochechouart, to whom it is dedicated and whose arms are emblazoned 
 in seven places, three times on folio 2. 331 X 225 mm. 
 
 It contains 121 leaves, with 27 lines to the page. There are 3 large 
 miniatures exquisitely painted in sepia and blue heightened with gold,
 
 SCRIBE'S SAMPLE-BOOK 167 
 
 and 125 small miniatures, 7 of circular form in the border on folio 2 
 verso, 1 on the lower margin of folio 8 recto, and 117 above the initial 
 letters, of which there are 127 (about 35 X 38 mm.) painted in gold on a 
 decorative ground of sepia. The illuminations were evidently painted 
 by a skilled Italian artist, whereas the scribe was French. 
 
 The subjects of the large miniatures are 1. (F. 2 v.) A painting divided 
 by trees into three parts : at the right, the Creation of Eve, at the left, the 
 Serpent tempting Eve, in the centre, God creating the animals. At the 
 foot of the border surrounding this miniature, which measures 85 X 
 138 mm., are the arms of the original owner. 2. (F. 46 v.) A Battle of 
 the Romans under Julius Csesar against the Gauls; a scene of much 
 animation and with a large number of figures. In the border are the 
 arms of the original owner. 3. (F. 99 v.) The Prophecy of the Sibyl 
 Tiburtina to the Emperor Octavius Caesar ; the scene is a dais outside a 
 palace ; the Virgin and Child are painted in gold against a blue sky. 
 
 Surrounding the page containing the first large miniature is a trilateral 
 sepia border containing 8 small medallion paintings; one has the arms 
 of the original owner in red and white, the others are of Biblical scenes, 
 including the Death of Abel, Noah's Ark, the Tower of Babel, the 
 Drowning of Pharaoh's Army in the Red Sea, and Moses' Miracle of the 
 Brazen Serpent. The subjects of the remaining small miniatures are 
 mythological and historical, and include the scribe presenting his work 
 to Fran9ois de Rochechouart, seventeen gods and goddesses, the Towers 
 of Troy, the Twelve Labours of Hercules, scenes from the lives of 
 yEneas and Dido, Romulus and Remus, Julius Csesar, Cicero, and the 
 Roman Emperors. Books II and III concern Julius Caesar. 
 
 This manuscript was formerly in the collections of the Comte de 
 Mac Carthy-Reagh and George Hibbert. 
 
 SCRIBE'S SAMPLE-BOOK. XV CENTURY. 
 
 Folio, contemporary vellum binding, with ties. 
 
 A series of elegant Italian designs painted with great skill and 
 accuracy as models for initial letters and accompanying marginal 
 decorations, executed chiefly in blue and red upon 19 vellum leaves 
 by Guinifortus de Vicomerchato, of Milan, about 1450. 
 
 This manuscript, illustrative of various styles of decoration in the 
 form of a text-book, is almost unique.
 
 168 STATUTES SUETONIUS TRANQUILLUS 
 
 STATUTES. 
 
 [Folio 55] Li Conseglieri siano Venuti ogni prima setti 
 mana di octobre . . . M.D.lxxviii. 4fo, in a Persian bind- 
 ing, probably made in Venice, of old red levant morocco cut out 
 to form compartments and painted in gold and colours, the 
 Lion of St. Mark in the centre of the recto, the arms of Coun- 
 cillor of State Sanudo on the verso, gauffred gilt edges. 
 
 An Italian manuscript of the Statutes of the Councillors of State of 
 Venice written upon vellum as a gift from Marino Grimani, Doge and 
 ( Duke of Venice, to Councillor of State Joseph Andrea Sanudo. 223 X 
 165 mm. 
 
 The first leaf contains the arms of Sanudo within a beautiful and 
 elaborate scroll border painted in gold and colours, containing cupids, 
 gargoyles, and fruit, the Lion of St. Mark being in a cartouche at the 
 top, the date "1598" at the bottom. The second leaf contains the 
 dedication in gold letters surrounded by a rich border of scrolls, flowers, 
 and cupids. 
 
 The text of the manuscript occupies 55 leaves, the Tables 5, following 
 5 blank leaves. 
 
 The binding is in perfect state of preservation. From the collection 
 of Lord Orford. 
 
 SUETONIUS TRANQUILLUS, CAIUS. 
 
 Suetonij Tranquilli Viri Illmi De Duodeci Csefaribus. 
 Anno Dni 1433 [Florentise] Per Milanum Burrum. 4to, 
 old dark brown Italian binding with side panels and orna- 
 ments in gilt, the arms of Gabriel Giolito (ft. about 15401560), 
 the printer of Ferrara, on both covers, gauffred gilt edges. In 
 a modern case of brown morocco. 
 
 An Italian manuscript of Suetonius' Lives of the Twelve Caesars 
 beautifully written in roman characters upon vellum by Milanus Burrus 
 of Florence, in 1433. 254 X 191 mm. 
 
 There are 169 leaves, including the illuminated title, with 30 lines to 
 the page, 12 beautiful large miniatures, and 12 large floriated initials in 
 colours on burnished or dull gold grounds.
 
 SUETONIUS TRANQUILLUS 169 
 
 This beautiful volume is one of the rare examples extant of a classical 
 manuscript decorated with miniatures of the first order, and it is especially 
 remarkable in giving the name of the artist and the date of its execution. 
 The twelve miniatures represent imaginative figures of the Roman em- 
 perors and afford a valuable illustration of early fifteenth century cos- 
 tumes. Their subjects are 1. (F. 3 v.) The frontispiece, representing 
 Caius Julius Csesar in golden armour, except the greaves, which are of 
 silver, now oxydized. In his right hand he holds an uplifted sword, in 
 his left a long spear with a pennon attached ; beneath his feet are sym- 
 bolical representations of the towns and cities he subdued. The back- 
 ground is of burnished gold. Surrounding this figure is a rich ornamental 
 border of scrolls and flowers in colours on a burnished gold ground, with 
 ten compartments, in five of which Julius Csesar is represented as driving 
 a chariot with four horses abreast ; in three he wears a helmet, in two a 
 crown of laurel. The other compartments represent Rome, a pyramidal 
 tent ( ?) surmounted by a golden ball, Caesar enthroned ( ?), and his 
 death. 2. (F. 27 r.) Octavius Augustus at the left, crowned and wearing 
 golden greaves, and a blue robe lined with leopard's skin. In his right 
 hand he holds a sceptre, in his left a curious symbolical representation of 
 the world; an outer circle in blue depicts the sky studded with sun, 
 moon, and stars ; a second circle in green represents the sea, which sur- 
 rounds the earth, painted in brown, from the centre of which springs a 
 tree ; the earth is dotted over with crowns, to symbolize the kingdoms over 
 which the Emperor held sway. Opposite him stands the poet Virgil in a 
 red robe lined with blue over a yellow tunic ; in his left hand he holds a 
 scroll, with his right he points upward to the vision of the Virgin and 
 Child, whose advent he is said to have predicted. The background is of 
 burnished gold. The two figures stand on a beautifully designed pattern 
 of conventional foliage and flowers. 3. (F. 59 v.) Claudius Tiberius 
 crowned with laurel and clad in a rich scarlet robe trimmed with yellow 
 ermine, a dagger in his right hand, a heart in his left. He stands on a 
 floral pattern similar to the one in the preceding miniature. The back- 
 ground is blue finely executed in diaper-work. 4. (F. 80 v.) Caius Cali- 
 gula crowned with laurel, clad in a fur-lined blue garment over red, with 
 green hose and no shoes. In his right hand is a gold sceptre, in his left a 
 cornucopia, from which issues a cockatrice. He stands on a red-tiled 
 pavement, the background being of blue-bordered diaper-work in yel-
 
 170 SEUTONIUS TRANQUILLUS 
 
 low, brown, and gold, in which is a small head in blue. 5. (F. 98 r.) 
 Claudius crowned with laurel and clad in a light-brown robe lined with 
 blue over red, in his right hand a sceptre, in his left a mushroom. In the 
 upper left-hand corner is a phoenix surrounded by flames. The pavement 
 is of green marble, the background of burnished gold surrounded by blue. 
 6. (F. 113 r.) Two compartments, in the upper of which is a Muse (?) 
 seated on a marble slab tuning a lute; beneath her, on the ground, sits 
 Vulcan (Tubal Cain?) striking an anvil with two hammers. In the 
 lower and larger compartment stands Nero, crowned with laurel, clad in 
 a fur-trimmed red and gold robe over red, in his right hand a sceptre, in 
 his left a harp. The ground of both miniatures is of foliage as in Nos. 2 
 and 3, the backgrounds in light brown (upper) and blue (lower) with white 
 ornaments. 7. (F. 131 v.) Sergius Galba crowned with laurel, clad in 
 chased armour of silver, green, and gold, and holding a large sword. 
 The tiling is red, the background blue with white ornaments. 8. (F. 
 139 r.) Otho, crowned with laurel, and clad in a curious full robe of red 
 trimmed with fur over green. In his right hand is a sceptre, his left is 
 raised, as if in speech. The pavement is red marble, the background a 
 diaper pattern in dark brown, silver, and gold. 9. (F. 143 v.) Aulus 
 Vitellius, crowned with laurel, and wearing a blue robe brocaded with 
 gold and trimmed with fur, his arms covered with silver brassarts. In 
 his right hand he holds a long- handled spear ; his left grasps his golden 
 girdle. The floor pattern is the same as in Nos. 2 and 3, the back- 
 ground diapered in red with blue points. 10. (F. 149 v.) Vespasian, 
 conqueror of Judaea, holding in his right hand an uplifted sword, on his 
 left arm a representation of the Temple of Jerusalem. His armour is 
 for the most part hidden by a red toga lined with blue. The background 
 is burnished gold, the lower part of the painting as in the preceding. 
 11. (F. 157 r.) Titus in the rich dress of a Florentine gallant of the fif- 
 teenth century, a blue tunic shot with gold, the sleeves being very long 
 and full over tight-fitting green sleeves. He is crowned with laurel and 
 carries a large sword. The tiling is rose-coloured, the diapered back- 
 ground in red and blue. 12. (F. 160 v.) Domitian in a fur-lined scarlet 
 costume, crowned with laurel and carrying a raised sword in his right 
 hand, with the left grasping his gold girdle. He stands on the same ground 
 as in Nos. 2 and 3, the green of which contrasts admirably with the dark 
 blue in the diapered background.
 
 SUETONIUS TRANQUILLUS TACITUS 171 
 
 At the foot of folio 4 are the arms of the person for whom the manu- 
 script was made, a red cross on a dark brown ground, and on each side 
 the initials "I" and "O" in gold. 
 
 SUETONIUS TRANQUILLUS, CAIUS. 
 
 [Folio 1] Suetonii Tranquilli de Duoecim [sic] Csesaribus : 
 Opus Elegantissimum feliciter incipit. Et primo de lulio 
 Caesare. [Ssec. XV]. Folio, dark brown levant morocco, blind- 
 tooled in an old French design of panels introducing fleurs- 
 de-lys, gilt edges, by Triquillier. 
 
 An Italian manuscript of Suetonius' Lives of the Twelve Ccesars written 
 upon paper during the first part of the fifteenth century. 282 X 207 mm. 
 
 There are 121 leaves, and the text has 37 lines to the page. On the first 
 folio is an elaborate border of scrolls in white, rose, green, and gold on a 
 ground of blue, painted in the Italian manner, introducing animals and 
 three subjects in small medallions. At the foot are the arms of a bishop 
 supported by two cupids. 
 
 Scattered through the volume are 11 large initial letters in burnished 
 gold on a ground of green, rose, and blue or of scrolls similar to those in 
 the border on folio 1 . At the beginning of the volume is a large historiated 
 initial in colours heightened with gold. 
 
 At the foot of folio 1 is written "Caroli Calcagnini," presumably the 
 signature of Carlo Leopoldo Calcagnini (1678-1746), who was created 
 Cardinal in 1743 by Pope Benedict XIV. 
 
 TACITUS, PUBLIUS CORNELIUS. 
 
 Annales, Libri XI-XVI et Historise, Libri I-V. [Ssec. 
 XV]. Large 4ito, dark brown levant morocco covered with a 
 Medicean design in blind-tooled compartments, ornamented 
 with gold and red dots, doubled with vellum, gilt edges, by 
 Gruel. 
 
 An Italian manuscript of the last six books of Tacitus' Annals and the 
 five books of his Plistories, written upon fine vellum in the fifteenth cen- 
 tury. 265 X 190 mm.
 
 172 TERENTIUS AFER 
 
 Two scribes appear to have worked upon the volume, as the first part is 
 in gothic characters and the second in roman. The break occurs on the 
 recto of folio 126, in the second book of the Histories. In the fourth book 
 two lacunae are indicated on folios 176 recto and 203 verso by the words 
 "Hie est fragmentatus." Folio 1 begins, in letters of gold, " Fragmentum 
 Libri undecimi Cornelii Taciti feliciter incipit." The last leaf ends, 
 "Finis eius quod Cornelii Taciti reperitur." 
 
 There are 218 leaves, with 26 lines to the page. Folio 83, between the 
 two works, is blank. 
 
 The illuminations in the volume consist of a rich border on the recto of 
 folio 1, and 10 initial letters in blue and red, gold and black, etc., be- 
 ginning each book after the first. The border is of intricate design com- 
 posed of white scrolls on a blue ground flecked with white, red and green 
 being added, the lower and outer sides broken by an ornamental band in 
 red, silver, brown, and gold outlined with gilt fillets. Birds, insects, 
 cupids, and fruit occur as ornaments ; on the outer margin is a medallion 
 portrait of Tacitus in ivory on a blue ground ; at the bottom of the page 
 are the quartered arms of the original owner painted in gold and colours. 
 
 The initial letter on folio 137 recto is more elaborate than the others, 
 gold outlined with red on a blue ground, intricate white scrolls being 
 added as ornaments. 
 
 TERENTIUS AFER, PUBLIUS. 
 
 Terentii Comoediae cum Notis. Accedurrt Epitaphia tres 
 Ulysis de Lambertinis composita a Bartholomeo Cantello 
 et Johanne Batista de Auro. [Ssec. XVJ. Folio, citron 
 levant morocco. 
 
 An Italian manuscript of Terence's Comedies written in roman char- 
 acters upon vellum in the fifteenth century. 263 X 189 mm. 
 
 There are 108 leaves with 30 lines to the page, divided as follows: 1. 
 "Andria," folios 1-18 verso. 2. "Eunuohus," 18 v.-37 r. 3. "Heauton- 
 timoroumenos," 37 V.-55 r. 4. "Adelphi," 55 r.-72 v. 5. "Hechyra," 
 73-88 r. 6. "Phormio," 88 r.-106 r. Folio 107 contains notes on five 
 of the Comedies written in uncial characters in red ink. Folio 108 con- 
 tains two epitaphs by Cantellus and de Aurus, and two lines of a third 
 by the former.
 
 TRAICTfi 173 
 
 There are 8 large initial letters painted in yellow on a blue ground with 
 white ornaments, and on the verso of folio 1 is a larger initial painted in 
 dull gold on blue with scrolls of white, rose, and green in the Italian 
 manner forming a lateral border. 
 
 At the head of folio 36 verso is written in a cursive hand, "Dominus 
 Annibal Luccius fecit;" on folio 59 recto, in the same hand, "Josef 
 Granata fecit." 
 
 From the collections of Michael Wodhull and J. E. Severne. 
 
 TRAICTE de Peyne Poeme allegorique dedie a Monseign- 
 eur et a Madame de Lorraynne. [XVI Siecle]. l%mo, 
 brown levant morocco, Janseniste, vellum linings, gilt edges, 
 by Trautz-Bauzonnet. 
 
 A French allegorical poem written in gothic characters upon vellum 
 during the first part of the sixteenth century. 162 X 111 mm. 
 
 It consists of 20 leaves, and the text has 18 lines to the page. There are 
 16 miniatures painted in camaieu d'or and gris, of which the first is of full- 
 page size and the others half-page, all surrounded by gold borders. The 
 initial letters and finials are in gold on a ground of black. 
 
 The subjects of the miniatures, which depict the architecture and cos- 
 tumes of the period of Fran9ois I, are the three authors of the poem, poet, 
 artist, and scribe (who are also the heroes), seated at a writing-table com- 
 posing the poem; the three on horseback; the Seigneur and Dame de 
 Lorraine (Goodwill and Charity) receiving the three pilgrims, in the back- 
 ground two towers with a draw-bridge ; the interior of the chateau, 
 the Seigneur inviting the pilgrims to remain with him ; the pilgrims taking 
 leave of their host and hostess, under the guidance of Understanding; 
 crossing the torrent of Penalty ; the Captain, Pity, receiving them at the 
 entrance of the Castle of Servitude ; the pilgrims prostrating themselves 
 in the court of a ruined castle before Understanding and Pity ; Pity com- 
 forting them and presenting to them Length of-Time, Sadness, Grief, 
 Regret, Ennui, Distaste, and Disdain ; their visit to the Castle of Sorrow ; 
 their arrival at the Place of Distress, on the portals of which is written 
 "Seigneurs, ostez joye de vostre esprit;" a bed-chamber in the Castle of 
 Sorrow; in the canopied bed, "of little repose," is an invalid; in a tub 
 near by a man bathing; the three penitents, enfeebled and depressed, 
 beside a tub filled with sulphur water; with their guide in the Gallery of
 
 174 XENOPHON 
 
 Alleviation, the arches of which resemble a gothic cloister; Understand- 
 ing conducting them to the Steps of Healing, at the top of which stands the 
 porter, Good Regime ; their departure from the Place of Distress through 
 the Tower of Health. 
 
 The "Monseigneur de Lorraynne" to whom the poem is dedicated was 
 presumably Fra^ois, due de Lorraine, who died in 1544. The Chateau 
 d'Arches, where the action takes place, is situated near Epinal, in the 
 Vosges. The manuscript was discovered in the Chateau de Guise, in 
 1793. 
 
 The poem was published in Paris, in 1867, with a Preface by Eugene 
 Paillet. The only copy printed upon vellum is in this library. 
 
 XENOPHON. 
 
 [Folio 1] Poggij florentini prefatio in librof xenofontis 
 defuperiorif Cyrri uita ad Sereniffimum Principem Alfonfum 
 Aragonte Regem [Alfonso V, King of Aragon, Naples, and 
 Sicily, 1385-1458]. 
 
 [Colophon] Explicit Sextuf et ultimuf liber Zenophontif 
 defuperiorif Cyri uita Tranflatuf per poggium florentinum 
 Oratorem pleclariffimum feliciter Amen. [Ssec. XV]. Small 
 folio, original Italian calf binding blind-tooled in panels with 
 leather and brass clasps, doubled with vellum, gilt edges. 
 
 An Italian manuscript of the translation of Xenophon's Life of Cyrus 
 by Giovanni Francesco Poggio Bracciolini, beautifully written in cursive 
 characters upon vellum in the latter part of the fifteenth century. 265 X 
 155 mm. 
 
 It contains 121 leaves, with 27 lines to the page. On folio 1 is a border 
 painted in white, green, and rose scrolls on a blue ground heightened with 
 burnished gold. At the foot of the page is a blank medallion intended 
 for a coat-of-arms. The preface and the six chapters have large initial 
 letters similar in design to the border.
 
 II 
 
 EUROPEAN AND AMERICAN MANUSCRIPTS 
 
 AFTER 1600
 
 ALFIERI, VITTORIO, COUNT. 
 
 Cleopatra ed Antonio, Tragedia. 4>to, brown morocco, 
 tooled in a scroll and floral design, gilt edges, by Zaehnsdorf. 
 
 The inedited Italian manuscript of the second of three tragedies 
 written by Alfieri (1749-1803) on the subject of Antony and Cleopatra, 
 the third of which only has been printed. It is entirely in the handwrit- 
 ing of the poet and written upon Holland paper. 228 X 175 mm. 
 
 Inserted is an autograph letter dated May 20, 1824, from Francesco 
 Parigi, relating to the play. 
 
 ANTONIO I, KING OF PORTUGAL. See VERTRON. 
 
 ARISTOTLE. XVI CENTURY. 
 
 12rao, in a sixteenth century French (?} binding of brown 
 morocco delicately tooled in panels of leaf-sprays and other 
 small ornaments, gilt edges. 
 
 A sixteenth century French (?) manuscript written in Latin upon 473 
 leaves of paper. 143 X 97 mm. 
 
 It is divided into three parts : a History of Rome from the time of Christ, 
 Transcriptions from Aristotle, and a Treatise on Mythology, and is 
 chiefly interesting on account of its fine contemporary binding. 
 
 AVRIL, PAUL. 
 
 Histoire d'une Epingle. [XIX Siecle]. Svo, blue levant 
 morocco, mosaic side borders of maroon and brown morocco 
 tooled in fillets, small floral ornaments and scrolls, arms in 
 
 12 177
 
 178 BALLADES BEDFORD MISSAL 
 
 the centre, gilt and mosaic back, doubled in rose morocco with 
 wide mosaic borders of maroon, blue, citron, red, and mauve 
 morocco, rich scroll tooling, mauve silk guards, gilt edges, 
 with the original covers, by Mercier. 
 
 A modern French manuscript beautifully written upon the rectos of 
 27 leaves of paper, and illustrated by 66 large and small original water- 
 colour drawings by Paul Avril. 
 
 BALLADES Frar^aises des Rois Princes & Seigneurs du 
 Moyen Age Par H? Midolle Fils Peintre Rubricateur 1840. 
 [1846]. Large folio, light brown calf, gilt-tooled borders, the 
 title painted upon the front cover in gold and colours upon 
 vellum in the form of a banner in the centre of sunken panels, 
 gilt edges. 
 
 A modern French manuscript executed by Henry Midolle in gothic 
 letters of black, red, and blue upon 18 leaves of vellum paper. 450 X 
 300 mm. 
 
 The title and four other folios have very elaborate full-page borders 
 illuminated in brilliant colours heightened with gold, and every page 
 contains large and small illuminated initials. 
 
 BEDFORD MISSAL. 
 
 An account of a rich illuminated Missal executed for 
 John, Duke of Bedford, Regent of France under Henry VI, 
 and afterwards in the Possession of the late Duchess of 
 Portland [by Richard Gough]. London, Printed by J. 
 Nichols, for T. Payne, ... MDCCXCIV. 4to, crimson 
 velvet, white moire silk linings, gilt edges. In a crimson silk 
 case. 
 
 A unique copy, containing a facsimile of the text of a page of the 
 Missal and 3 outline plates accompanied by copies upon vellum in fac- 
 simile of three of the original miniatures, cleverly painted in gold, silver, 
 and colours.
 
 BIBLIA PAUPERUM BOUTON 179 
 
 The subjects of the miniatures are 1. The Duke of Bedford kneeling 
 to St. George, surrounded by a border of tree-roots in gold with 5 small 
 miniatures containing martyrdoms of saints, and, at the foot, the Bed- 
 ford arms. 2. The Duchess of Bedford kneeling to her patron saint, 
 Anne, beside whom stand the Virgin Mary as a young girl and the In- 
 fant Christ; 5 miniatures and arms in the border. 3. An illustration of 
 the changing of the arms of France from three toads to three fleurs-de- 
 lys in the reign of Clovis, 500 A. D. By an anachronism the central figure 
 of the Queen is Clotildis. 
 
 BIBLIA PAUPERUM. Sjsc. XVIII. 
 
 Figurse XL. veteris et noui Teflamenti fe mutuo inter- 
 pretantes. Editio primse vetuflatis. Tentamen artis impref- 
 loriae. Abfque loco et anno. Sed circum M.CCCC.XXXX 
 Impreffa. Folio, old red morocco, rich gilt back and side 
 borders, gilt edges, by Derome. In a brown silk case. 
 
 An extraordinary manuscript facsimile copy of the BibUa Pauperum, 
 a collection of 41 woodcut designs (including the title-page) of the 
 principal historical subjects in the Bible, interspersed with text and 
 inscriptions upon scrolls, executed with the greatest exactness by Jacques 
 Fucien Leclabart, hi the latter part of the eighteenth century, from the 
 first edition printed by Laurence Coster at Haarlem, about 1440. 
 
 Inserted are five folios of manuscript describing the woodcuts and 
 giving illustrations of the text. 
 
 From the Paris collection. 
 
 BOUTON, V. 
 
 La Gvirlande de Ivlie escripte par V. Bouton [Paris, 
 Jilin, 1873]. [Second title] La Gvirlande de Ivlie pour 
 Mademoiselle deRambovillet Ivlie-Lvcined'Ancennes escript 
 par N. larry 1641. Svo, blue levant morocco beautifully 
 tooled in panels of garlands, roses, and emblematic ornaments, 
 vellum linings, gilt edges, by Motte. In a pigskin case lined 
 with chamois-skin. 
 
 A French manuscript facsimile of the second and smaller of Jarry's 
 celebrated manuscripts containing the poems addressed to Mile, de
 
 180 CHAMP DE DRAP D'OR 
 
 Rambouillet. It is beautifully written in italic characters by V. Bouton 
 upon the finest vellum, within borders of shaded gold. 188 X 127 mm. 
 
 The two title-pages and the initials throughout the volume are in 
 shaded gold, red, and blue letters. The first title is within an exquisitely 
 delicate pen-and-ink border of emblematic design, and on the last leaf 
 is a pen-and-ink ornament bearing the date, 1873. 
 
 CHAMP DE DRAP D'OR. 
 
 Le Champ de drap d'or. The account of the Interview 
 between Henry 8*? 1 & Francis I 8 .* near Guisnes in Picardy 
 in the year MDXX. With a Particular Detail of all the 
 Magnificent Ceremonies there observed from the Con- 
 temporary Chronicles. [XIX Century]. 4>to, blue straight- 
 grain morocco tooled on the sides and back with fillets and 
 arabesques, the vellum linings covered with elaborate designs 
 in compartments worked with small tools, gilt and gauffred 
 edges, by Charles Lewis, of whose bindings it is one of the 
 finest. 
 
 An English manuscript exquisitely written upon 138 leaves of vellum 
 paper within gold lines and upon one side only of the leaf, in the early 
 part of the nineteenth century. 316 X 244 mm. 
 
 It is illustrated by 20 large and 23 small drawings beautifully painted 
 in oil and watercolours by R. T. Bone (23), Stephanoff (3), Kenny 
 Meadows (3), and Cooper (2), a crayon portrait on blue paper of Fra^ois 
 I by Harlowe (folio 100), 39 heraldic compositions and figures in mas- 
 querade, and an elaborate title border by Willement, all painted with the 
 most precise care, several being on India paper. 
 
 The large paintings include the Field of the Cloth of Gold (folio 2), 
 Henry VIII and Queen Catherine setting sail from Dover (folio 9), the 
 populace drinking wine at the Fountain of Bacchus in the palace-yard at 
 Guisnes (folio 10), the Procession of Cardinal Wolsey to the Court of 
 Fra^ois I (folio 20), King Henry VIII and his Queen receiving the 
 French ambassador (folio 21), Fra^ois I receiving Cardinal Wolsey 
 (folio 23), Henry VIII and his Retinue riding to meet Fra^ois I (folio 
 26), the Meeting of the two Kings (folio 30), the Conference of the two 
 Kings in a tent (folio 31), the Banquet (folio 32), the Meeting on the
 
 CICERO CLAUDE 181 
 
 Field of the Cloth of Gold (folio 36), the preliminary Joust (folio 42), 
 the Encounter between the two Kings (folio 48), the Visit of Franois 
 I to Henry VIII at the Castle of Guisnes (folio 54), the Meeting of the 
 two Queens (folio 66), Cardinal Wolsey celebrating mass before the 
 Royal Couples (folio 70), the Royal Banquet (folio 71), portrait of 
 Franois I by Bone after Titian (folio 80), portrait of Henry VIII by 
 Willement after Holbein (folio 83). 
 
 At folio 110 is "A Description of the Basso Relievos at Rouen which 
 represent the Interview," taken from Montfaucon, and at folio 121 is 
 "The Appointment for the King and Queen to Canterbury," etc. 
 
 The illuminated arms of John Tobin are prefixed to the manuscript. 
 
 CICERO, MARCUS TULLIUS. 
 
 Discours de Ciceron. [Vers 1750]. 4>to, in a beautiful 
 binding of red morocco richly tooled "a I'oiseau" in broad 
 gold borders, the arms of Louis Philibert Joseph Joly de 
 Bevy (1736-1822), President of the Chamber of Deputies of 
 Dijon, on both covers, floral back, blue moire silk linings, 
 gilt edges, by Derome the younger. In a modern case of red 
 morocco. 
 
 A French manuscript written in a neat cursive hand upon Holland 
 paper about 1750. 224 X 178 mm. 
 87 leaves, numbered v-x and 1-168. 
 
 CLAUDE, ISAAC. 
 
 Le comte de Soissons Nouuelle galante Imprime a Cologne 
 Chez Pierre Marteau [Hollande] 1687. 8vo, old French red 
 morocco, richly tooled in borders and corner ornaments of 
 scrolls and dots, doubled with red morocco similarly tooled 
 in broad borders of gold, gilt edges. 
 
 An eighteenth century French manuscript written in a cursive hand 
 upon 135 leaves of Holland paper. 185 X 120 mm. 
 
 Although this is a neatly written manuscript, the volume is mainly 
 interesting because of the binding, which is original in design, well exe- 
 cuted, and in fine -condition.
 
 182 COMfiDIE CONTRATS DE MARIAGE 
 
 COMfeDIE Admirable Intitvlee La Merveille, Ou Ton volt 
 comme vn Capitaine Frai^ois, efclaue du Soldam d'Egypte, 
 tranfporte de fon bon fens, ce donne au Diable poT s af- 
 francnir de feruitude, lequel 11 trompe mefme fubtillem* 
 tant 11 fut contrainct luy rendre fon obligation, [vignette] 
 A Roven, Chez Abraham Coufturier, au bas de la rue 
 Efcuyere, [avant 1628]. l%mo, blue straight-grain morocco, 
 rose moire silk linings, gilt edges. 
 
 A modern French manuscript in exact facsimile of the printed work, 
 written upon 24 leaves of vellum, with a pen-and ink drawing on the 
 title and several typographical ornaments. 171 X 103 mm. 
 
 CONTRATS DE MARIAGE. 
 
 Contract de Manage, de Henry iiij e Roy de France et 
 de Nauarre auec Marie de Medicis Princesse de Florence 
 en suitte celuy de Louis xiij e Roy de France et de Nauarre 
 auec Anne d' Austriche Infante d'Espagne. 1643. 12mo, 
 original brown morocco, the arms of Henri IV, the crowned 
 " H" and fleurs-de-lys on the recto, the arms of Louis XIII, 
 the crowned "L" and fleurs-de-lys on the verso, the two 
 crowned initials and fleurs-de-lys on the back, gilt edges, by 
 Antoine Ruette, the royal binder. In a modern green morocco 
 case. 
 
 A neatly written French manuscript of the Contracts of Marriage of 
 Henri IV and Louis XIII executed upon 54 leaves of fine Holland paper 
 in the seventeenth century, probably for Anne of Austria, for court use. 
 154 X 111 mm. 
 
 The title is written within an engraved border of architectural design, 
 the centre and bottom cartouche of which have been cut out to admit 
 the writing. At the top are the arms of Henri IV and Marie de Medicis. 
 Inserted are portraits of the two kings and queens, the first two engraved 
 in 1610 by L. Gaultier after N. de Mathoniere, the last two by Balthasar 
 Moncornet.
 
 CONTRATS DE MARIAGE DENON 183 
 
 CONTRATS DE MARIAGE. 
 
 Deux contracts de mariage le premier de Henry iiij 
 dheureuse memoire Roy de France et de Nauarre auec La 
 Princesse de florence [Marie de Medicis], du 25 e auril 1600. 
 Le dernier de Louis xiij son filz aussi Roy de France et de 
 Nauarre auec 1'Infante d'Espagne [Anne d'Autriche] du 
 22 aoust mil six cens et douze. 12rao, original brown mo- 
 rocco, the arms of Louis XIII stamped in gold on both sides, 
 which are covered with the crowned "H" of Henri IV and 
 fleurs-de-lys, gilt edges. 
 
 One of the attested copies of the Contracts of Marriage between 
 Henri IV and Marie de Medici and Louis XIII and Anne of Austria, 
 written in italic characters upon 62 leaves of Holland paper in the 
 seventeenth century. 163 X 113 mm. 
 
 The title is written within a proof impression before letters of an en- 
 graved title-page of architectural and emblematic design, containing the 
 arms of Henri IV and Marie de Medicis at the top. Portraits of Henri IV 
 engraved by Thomas de Leu and of Anne of Austria by Balthasar Mon- 
 cornet have been added. 
 
 The manuscript was presumably made for a royal gift. 
 
 DENON, VIVANT. 
 
 [Point de Lendemain] La Nuit merveilleuse ou le nee plus 
 ultra du plaisir. Cytheropolis En tout temps. [Last page] 
 Les dessins sont originaux. Ecrit et Dessine Par J. A. 
 Chauvet 1871. 8vo, citron levant morocco, delicately tooled 
 back and side ornaments within panels of fillets, doubled with 
 red morocco having wide emblematic borders, blue moire silk 
 linings, gilt edges, by Lortic. 
 
 A transcript by Chauvet of Denon's "Point de Lendemain" with an 
 inserted episode of seven pages not in the original. It is beautifully 
 written upon 99 leaves of vellum paper in italic characters of black and 
 red with blue initials. The page is 233 mm. in height, the text, which is 
 surrounded by a double ruled border, is 95 mm., giving the appearance 
 of a large paper copy.
 
 1 84 DONATION DUMOURIEZ 
 
 The 15 delicately executed water-colour drawings comprise a frontis- 
 piece containing 3 medallion portraits, the title-page, 11 free full-page 
 drawings, a head-piece, and a cul-de-lampe. 
 
 DONATION Et Substitution Faites par tres haut et tres 
 Puissant seigneur Monseigneur Franois Vicomte d' Aubusson 
 de la Feiiillade, Due, Pair et Marechal de france, Colonel 
 des gardes francoises, gouuerneur de Dauphine. Le ving 
 neuf Juin 1687. Confirmee par Lettres patentes en forme 
 d'Edit du mois de Juillet 1687. Enregistrees au Parlement 
 le 4. dudit mois de Juillet 1687. [Engraved coat-of-arms 
 of the Vicomte d'Aubusson de la Feiiillade]. 4>to, con- 
 temporary French binding of red morocco, the arms of Louis 
 Boucherat, chevalier, comte 4 Compans (1616-1699), stamped 
 in gold on both covers, finely tooled borders on the sides intro- 
 ducing fleurs-de-lys and the cock, the central symbol in his 
 arms, gilt edges. 
 
 A French manuscript beautifully written in italic characters upon 
 vellum about 1687. 288 X 220 mm. 
 
 It consists of 16 leaves, including the title, with 23 lines to the page. 
 There are two engravings other than the vignette on the title, one heraldic 
 and dedicatory at the top of folio 2 recto, and one on folio 8 recto, the 
 medallion portrait of Louis XIV with the reverse side of the coin on which 
 it appears, engraved by Landry. 
 
 DUMOURIEZ, CHARLES FRANCOIS, translator. 
 
 Histoire de la Guerre d'Amerique. [Vers 1782]. 12mo, 
 
 red levant morocco, side borders tooled in interlacing fillets 
 and dots, scroll back, by Niedree. 
 
 An autograph translation by Dumouriez of an abridged account in 
 English of the Revolutionary War in America, written in a neat hand 
 upon 56 leaves of Holland paper. 157 X 91 mm. 
 
 Prefixed is a letter from Dumouriez to Beaumarchais dated Cherbourg, 
 May 4, 1782, in which he says that he wishes to exchange the manuscript
 
 EVANGELIA GRING ORE 1 85 
 
 for the well known Beaumarchais edition in octavo of the works of 
 Voltaire. 
 
 EVANGELIA IN FESTIBUS SANCTORUM. 
 
 [Folio 1] Proprium de tempore die xxv. decembris in 
 Nativitate Domine. Annuale. Ad missam in galli cantu. 
 [Ssec. XVII]. Folio, crimson velvet, silk ties, gilt edges. 
 
 An exquisite French manuscript of the Gospels for the principal 
 Saints' and Feast Days of the year written in the seventeenth century 
 in roman characters upon vellum by Nicolas Jarry or an artist of his 
 school. 376 X 251 mm. 
 
 It contains 51 leaves, with 23 lines to each page of text, which is within 
 borders of gold edged with maroon. The titles to each of the 50 divisions 
 are written in red, blue, and gold, and preceded by beautiful vignette 
 miniatures appropriate in subject to the accompanying text. There 
 are also 50 large initial letters in gold within square gold borders contain- 
 ing flowers, foliage scrolls, etc., in brilliant colours, and 45 culs-de-lampe, 
 some of them of full-page size, in designs of flowers, fruit, birds, and 
 figures. The subjects include the Virgin and Child (f. 21), St. Dionysius 
 (f. 22), the Child Christ (f. 27 v.), Christ with the Beloved Disciple 
 lying on his bosom ("In Coena Domini," f. 34 v.), St. John the Bap- 
 tist (f. 43), the heads of St. Dionysius and two other similarly martyred 
 saints upheld by three angels (f. 47), the Virgin Mary (f. 48 v.). 
 
 The subjects of the vignettes include the Nativity, the Adoration of 
 the Shepherds, the Flight into Egypt, the Martyrdom of St. Stephen, 
 St. John the Evangelist, the Circumcision, the Adoration of the Magi, 
 Christ washing the Disciples' feet, the Resurrection, the Ascension, 
 the Day of Pentecost, etc. On folio 7 is musical notation. 
 
 All of the illuminations are painted with great delicacy, and the vel- 
 lum is of the whitest. 
 
 GRINGORE, PIERRE. 
 
 Le ieu du prince des fots. Et mere fotte. [illustration] 
 Joue aux halles de paris le mardy gras Lan mil cinq cens 
 et onze. [1511]. Small 8vo, old French green morocco, floral 
 gilt back and side borders, gilt edges, by Boyet.
 
 186 GUIRLANDE DE JULIE IRVING 
 
 A French manuscript of 88 pages in facsimile of the first edition 
 (of which only two copies are known), executed in black letter on 
 paper by Jacques Fucien Leclabart, in the latter part of the eighteenth 
 century. 
 
 On the title-page is the illustration reproduced by Brunet. A printed 
 description or advertisement precedes the title. 
 
 From the collection of E. V. Utterson. 
 
 GUIRLANDE DE JULIE. 
 
 La guirlande de Julie Contenant plusieurs madrigaux et 
 epigrammes. [XVII Siecle]. Folio, contemporary red mo- 
 rocco delicately tooled in borders, corner and centre ornaments 
 of scrolls, dots, stars, etc., doubled with red morocco having 
 similarly executed borders, gilt edges, by Du Seuil. 
 
 A seventeenth century French manuscript neatly written upon 187 
 leaves of fine Holland paper. 302 X 219 mm. 
 
 GUIRLANDE DE JULIE. See JARRY, NICOLAS. 
 
 HISTOIRE du Lord Stenay et du Lady Clety. Com- 
 mencee en 1761. Small 4to, contemporary French red mo- 
 rocco, the sides tooled in a rich border, floral back, gilt edges, 
 by Padeloup. 
 
 An original unpublished French manuscript written in a neat cursive 
 hand upon Holland paper during the latter part of the eighteenth century. 
 178 X 129 mm. 
 
 It consists of 176 leaves, including the title, with 19 lines to the page. 
 All of the pages are enclosed within line borders. 
 
 IRVING, WASHINGTON. 
 
 Notes of a Tour in Europe in 1804-1805. 4to, vellum 
 wrappers with flap and cord. 
 
 Fifty pages of memoranda in the handwriting of Irving, who, in de- 
 scribing this as Volume 4, indicates that it contains the "Route from
 
 IRVING 187 
 
 Zurich to Paris and from Paris to London, from May 17th to Oct. 8th 
 1805." Another note states that he purchased this book in Zurich for 
 1| livres. His autograph is on the inside of the front cover. 
 
 IRVING, WASHINGTON. 
 
 Journal of a Tour through France, Italy, Sicily. 1804- 
 1805. 4fo, old vellum., with ties. 
 
 A manuscript of 115 closely written leaves of blue paper dated Bor- 
 deaux, July 1, 1804, to January 23, 1805. The first entry begins "My 
 dear Brother." On the back of the front cover and on the first fly- 
 leaf are pencil drawings; on the inside of the back cover is written 
 "Ship Matilda, 27 Dec. opposite Corsica," and "Achete en Bordeaux 
 Juillet 1804. Prix 3 liv." 
 
 IRVING, WASHINGTON. 
 
 Note Books. Before 1837. 16mo, jour volumes, paper 
 wrappers. 
 
 Four memorandum books, each with 8 pages in Irving's handwriting, 
 containing notes relative to the ethnology, zoology, botany, and geography 
 of the Far West, for use in his book "The Rocky Mountains; or, 
 Scenes, Incidents and Adventures in the Far West," 1837. 
 
 IRVING, WASHINGTON. 
 
 Note Books. Before 1849. 16mo, three volumes, red 
 morocco. 
 
 Three memorandum books of 40 leaves each containing notes in 
 Irving's handwriting chiefly concerning the Arabs, and gathered while 
 he was engaged in writing the "Life and Successors of Mahomet." 
 
 IRVING, WASHINGTON. 
 
 The Life of Oliver Goldsmith. 1849. 4fo, two volumes, 
 brown levant morocco, gilt back and sides, vellum guards, 
 gilt top, uncut edges, by William Matthews. 
 
 The original manuscript of the enlarged and completed work pub- 
 lished by G. P. Putnam and Company in 1849, with corrected pages of
 
 188 IRVING 
 
 the first edition (1840), carefully inlaid upon Whatman paper by 
 Trent. 
 
 Inserted are a portrait of Irving by Sartain after G. S. Newton, and 
 one of Goldsmith by Wivell after Sir Joshua Reynolds, an India proof. 
 
 IRVING, WASHINGTON. 
 
 Oliver Goldsmith. 1853. 4<to, green morocco tooled in 
 fillets, gilt top, uncut edges, by William Matthews. 
 
 Irving's original manuscript corrections and revisions for the edition 
 printed by G. P. Putnam and Company in 1853, bound in with the 
 printed volume. 
 
 IRVING, WASHINGTON. 
 
 A History of New York. 1854. 4>to, one volume divided 
 into two, green morocco tooled in fillets, gilt top, uncut edges, 
 by William Matthews. 
 
 The original manuscript of the rewritten work published by G. P. 
 Putnam and Company, 1854, with the text of the first edition altered 
 and corrected, and all the additional matter, written upon sheets of 
 small note-paper and bound in with the printed volume. 
 
 IRVING, WASHINGTON. 
 
 The Sketch Book. 1854. 4>to, green morocco tooled in 
 fillets, gilt top, uncut edges, by William Matthews. 
 
 Irving's manuscript revisions for the edition printed by G. P. Putnam 
 and Company in 1854, written upon 42 pages of note-paper and bound 
 in with the printed volume. 
 
 IRVING, WASHINGTON. 
 
 Notes for the Life of Washington. Before 1855. 12mo, 
 sheepskin. 
 
 A memorandum book containing 50 leaves in the handwriting of 
 Irving, for the most part copies of letters written by Washington and 
 extracts from his diary.
 
 IRVING JARR Y 1 89 
 
 IRVING, WASHINGTON. 
 
 Life of Washington. 1855. 4o, half green morocco. 
 
 Irving's original manuscript of that portion of the "Life of Wash- 
 ington" (93 pages) covering the incidents relative to the Treason of 
 Benedict Arnold. 
 
 Inserted are India proof portraits of Arnold and Andre. 
 
 JARRY, NICOLAS. 
 
 Prieres devotes. [Paris] 1649. Small 8vo, contemporary 
 French olive morocco covered with a richly tooled scroll design 
 in compartments formed of fillets and arabesques, doubled 
 with vellum similarly tooled and having in the centre the 
 date "luin 1695," gilt clasps, gilt edges. In a blue morocco 
 case. 
 
 An exquisite French Prayer-book written in roman and italic char- 
 acters in black, red, blue, and shaded gold upon vellum by Nicolas 
 Jarry, in 1649, according to the signature at the foot of folio 79 (page 
 149)", "N. Jarry Parif. fcribebat 1649." 123 X 78 mm. 
 
 The manuscript was executed for the Due de Berry, grandson of 
 Louis XIV, whose name, in letters of shaded gold, "B. E. R. R. Y.," 
 surrounded by a wreath of green foliage, occurs on the recto of the last 
 folio. 
 
 The volume contains 87 leaves, numbered 1-162, with 16 lines of 
 text to the page. There are 4 exquisite full-page and 5 half-page minia- 
 tures by Du Guernier (?) [Brunet attributes them to Petitot] also 5 floral 
 head-bands beginning the different divisions, and 9 large initial letters in 
 gold on a ground of flowers and foliage. The title is written in letters of 
 gold shaded with red within a broad gold border. All of the pages are 
 surrounded by shaded gold fillets, the smaller initial letters are in gold 
 and red, and the running head-lines in red. 
 
 The subjects of the large miniatures are 1. (F. 2 v.) The Nativity. 
 2. (F. 13 v.) King David praying. 3. (F. 42 v.) Pilate showing Christ 
 to the populace. 4. (F. 80 v.) John the Baptist preaching in the wil- 
 derness. The small miniatures depict 1. (F. 62 v.) The Crucifixion. 
 2. (F. 63 v.) Christ descending into Hell. 3. (F. 64 v.) The Resur-
 
 190 JARRY 
 
 rection. 4. (F. 64 v.) Christ as the good Pastor with his sheep. 5. (F. 
 65 r.) The Entombment. 
 
 This manuscript, from the de Lignerolles collection, is an example 
 of the highest art of the calligrapher and illuminator in the seventeenth 
 century. 
 
 JARRY, NICOLAS. 
 
 Airs Novveavx de la Covr. Efcripts par N. Jarry. [Paris. 
 XVII Siecle]. Svo, red levant morocco tooled in a beautiful 
 mosaic design of compartments in citron, blue, green, and 
 red morocco, delicately tooled in pointille scrolls and the 
 croivned monogram of the Comte de Lurde several times re- 
 peated, doubled with red morocco tooled in panels of fillets 
 with corner ornaments (reproducing the design by Le Gascon 
 which was on the binding in 1853 when the manuscript was 
 owned by J. J. de Sure), vellum guards, gilt edaes, by Trautz. 
 In a case of blue levant morocco Janseniste, in imitation of 
 a book. 
 
 This binding is No. 7 of the 22 mosaic bindings executed 
 by Trautz, whose manuscript note in regard to it is pasted 
 on one of the preliminary leaves: " Les airs de la cour manu- 
 scrit Jarry appartenant a Monsieur le Comte de Lurde est 
 la reliure qui m'a donne le plus de satisfaction etje la regarde 
 comme une de mes meilleures productions. G. Trautz.'" 
 
 A beautifully written French manuscript of twenty-three Songs, the 
 words and music of which were composed by Nicolas Jarry, who also 
 executed the manuscript. 184 X 123 mm. 
 
 It consists of 25 vellum leaves, with every page surrounded by a fillet 
 of gold and red, and with large initial letters in blue and shaded gold. 
 
 The recto of the first folio contains the arms of a woman member of 
 the Painel-Marcy family, enclosed within two palms of shaded gold 
 and surmounted by the crown of a comte. On the recto of the second 
 folio is the title, in letters of shaded gold and red ; on the verso the music 
 begins with the upper part, "Dessus." The following pages are num- 
 bered from 2 to 24, the rectos containing the "Basse," the versos the 
 "Dessus."
 
 JARRY LEONICENO 191 
 
 This manuscript was formerly in the collections of the Baron d'Heiss 
 (1785) and J. J. de Bure Paine, whose signature, dated January 15, 1826, 
 is on one of the fly-leaves. 
 
 JARRY, NICOLAS. 
 
 Prieres saintes et chrestiennes tirees de 1'escriture et des 
 peres de 1'eglise. [1662]. Small 8vo, dark brown shagreen 
 or sealskin, with satin linings, carved gold clasps, gilt edges. 
 In a contemporary green silk case embroidered in silver borders 
 and the crown of a Marquis with the monogram " M. E. C." 
 
 An exquisite French Prayer-book written upon the finest of vellum 
 in roman characters by Nicolas Jarry. 127 X 80 mm. 
 
 It contains 82 folios, numbered 1-162, with running head-line and 
 16 lines of text to the page. The title is in gold letters within a heavy, 
 frame-like border, and the pages of text are surrounded by gilt fillets. 
 
 The six divisions have on the first page beautiful floral bands and 
 initial letters painted in gold and colours ; the title of each prayer is in 
 letters of blue, red, and burnished gold. On pages 100 and 162 are floral 
 culs-de-lampe, the former a wreath surrounding a candle with the 
 legend, "Love [sic] soit a jamais le tres-saint sacrement de 1'autel." On 
 page 20 is a full-page painting of a rose-garland tied with ribbons en- 
 closing burnished gold scrolls attached to a cross surmounted by a branch 
 of twisted thorns. There are numerous initial letters in blue and red. 
 
 This manuscript is a beautiful example of Jarry's skill. His signa- 
 ture, "N. larry Parisinus scribebat, anno 1662," is at the foot of the last 
 page. 
 
 JARRY, NICOLAS. See BOUTON, V. 
 
 LEONICENO, NICOLAO. 
 
 Libellus de Epidemia, quam uulgo morbum Gallicum 
 uocant [Colophon] Venetiis, In domo Aldi Manutii, Mense 
 lunio M.III.D. [1497]. 4to, red straight-grain morocco, side 
 borders and back delicately gilt and blind tooled, the anchor 
 of Sir John Hayford-Thorold on both covers, mauve moire 
 silk linings, gilt edges, by Bozerian jeune.
 
 192 LE VAILLANT MINIATURE PAINTINGS 
 
 A modern facsimile manuscript copy of the rare Aldine edition of the 
 earliest published work on the disease syphilis (which is also in this 
 library), beautifully written upon 28 leaves of vellum. 211 X 141 mm. 
 
 From the Syston Park collection. 
 
 LE VAILLANT DE LA BASSARDRIES, LE R. P. 
 
 L'accord de la Grace et de la Liberte Poeme accompagne 
 de Remarques Par le R. P. Le Vaillant de la Bassardnes de 
 la Compagnie de Jesus. Theologien de son Ex. ce - le comte 
 de Salm Eveque de Tournay, et Examinateur Synodal du 
 Diocese. [XVII Siecle]. 4tto, olive morocco, tooled on the 
 sides in rich broad floral and emblematical borders, rose satin 
 linings, gilt edges, by Padeloup. 
 
 A French manuscript neatly written at the end of the seventeenth 
 century upon Holland paper in small roman characters, with notes in 
 a cursive hand. 261 X 202 mm. 
 
 There are 100 leaves, and 21 lines to the page. The title is written in 
 several different styles of cursive characters. Every page is surrounded 
 by a border and there are numerous pen-and-ink nourishes at the ends 
 of the twelve Cantos and their Summaries. The poem is dedicated to 
 Marie Elisabeth, Archduchess of Austria. 
 
 MEUNIER, PRETRE, AND VAILLANT. 
 
 Iliftoire naturelle, choix de deffins par Meunier. J. G. 
 Pretre, et Vaillant. 1820. 4>to, red levant morocco, Janseniste, 
 gilt edges, by Hardy. 
 
 Title upon vellum in red and blue letters within a brilliantly painted 
 border of butterflies on a gold ground, and 203 other vellum leaves 
 containing 1078 exquisite drawings in colour of butterflies, beetles, 
 spiders, crabs, fish, turtles, lizards, worms, snakes, etc., within gold 
 borders, all painted in 1820. 
 
 MINIATURE PAINTINGS. XIX CENTURY. 
 
 4>to, brown levant morocco, blind-tooled panels, fleur-de-lys 
 ornaments in gold in the corners, gilt edges, by The Club 
 Bindery.
 
 MINIATURE PAINTINGS MOORE 193 
 
 A volume containing 11 well executed modern miniature paintings 
 upon vellum copied from fifteenth and sixteenth century originals. The 
 subjects include three compositions of the Descent of the Holy Spirit; 
 a Burial Service ; the Virgin and Child, below whom kneel the probable 
 owners of the manuscript from which the painting was copied, with their 
 coats-of-arms on the prie-dieu; the Last Supper; the Announcement to 
 the Shepherds, with 7 initial letters at the side; the Presentation in 
 the Temple, with 16 initials at the side ; and the Annunciation. The 
 last painting is a large floral initial. 
 
 MINIATURE PAINTINGS. XIX CENTURY. 
 
 Small 4<to, crimson velvet, light brown moire silk linings, 
 gold clasps, gilt edges. 
 
 A volume containing 9 very finely executed French copies of seven- 
 teenth century miniatures, borders, and historiated initials from Horae 
 by Giulio Clovio, painted upon vellum in colours and camaieu d'or. 
 155 X 123 mm. 
 
 The subjects are 1. An historiated initial containing the figure of 
 David playing his harp, surrounded by an elaborate border in compart- 
 ments including a battle scene, angels, and other figures. 2. Mary 
 Magdalene kneeling at Christ's feet; below, a small miniature of "Les 
 trois vifs et les trois morts " ; in the border the figure of Bacchus, ara- 
 besque ornaments, etc. 3. An Angel leading a child along a country 
 road ; below, the Virgin worshipping the Infant Christ. 4. The head of 
 Christ crowned with thorns. 5. A scene illustrating the Office of the 
 Dead. 6. The Crucifixion; below, in the border, Christ bearing the 
 Cross, painted in camaieu d'or. 7. The Virgin and Child, an initial; 
 in the border below are the arms of a Cardinal. 8. The Annunciation; 
 below, in a circular border, the Nativity. 9. King David praying. 
 
 All of the miniatures are painted with precision, delicacy, and ex- 
 quisite colouring. 
 
 MINIATURES. See RIVE, JEAN JOSEPH. 
 
 MOORE, THOMAS. 
 Songs. 1828. Oblong 8vo, red morocco, gilt edges. 
 
 13
 
 194 PARELON 
 
 Fifteen sheets of music-score containing Moore's "Legendary Bal- 
 lads," in part, set to music by Bishop, May 10, 15, and 22, 1828, with 
 the text in Moore's handwriting. 
 
 The poems are "The Voice," called in manuscript "The Legend of 
 the Voice," 3 out of 7 stanzas; "Cupid and Psyche," without title, 
 8 stanzas; "Hero and Leander," called the "Legend of Hero and 
 Leander," 2 out of 3 stanzas; "The Leaf and the Fountain," 5 stanzas; 
 "Cephalus and Procris," called "The Hunter," 3 stanzas; "The In- 
 dian Boat," 2 out of 3 stanzas; "Youth and Age," without title, 3 out 
 of 4 stanzas; "The Dying Warrior," without title, 5 stanzas; "The 
 Magic Mirror," called "The Legend of the Mirror," 6 out of 8 stanzas; 
 "The Pilgrim," without title, 4 stanzas; "The High born Ladye," 
 8 stanzas without music-score on a separate sheet, with a note by Moore ; 
 and "The Stranger," called "The heart- wounded Stranger," 5 stanzas 
 of score and 3 on a separate paper. 
 
 The variations between the manuscript and printed text are numerous. 
 
 PARELON, PAUL. 
 
 Episode du Siege de Paris en 1870 Chansons Orle'anistes 
 Chantees aux Grand' Gardes devant le Fort de Nogent-s.-M. 
 par Paul Parelon Soldat a la 3? C 1 . 6 de Guerre du 153? B. n de 
 Marche de 1'Armee de Paris [Garde Nationale mobilisee]. 
 Fusille le 24 Mai 1871 Paris M.DCCC.LXXXVI. 4fo, blue 
 levant morocco, fleurs-de-lys in the corners of the sides and 
 on the back, gilt edges, by Chambolle-Duru. 
 
 A French manuscript beautifully written in italic characters by V. 
 Bouton upon the finest vellum within borders of red with gold stars at 
 the corners. 186 X 125 mm. 
 
 The four title-pages are written in red, gold, and blue letters and the 
 initial letters throughout the volume are in shaded gold and blue. 
 
 There are 4 delicately executed pen-and-ink ornaments and two leaves 
 of facsimile handwriting. Bouton's monogram is on the last page. 
 
 This manuscript is a fine example of late nineteenth century 
 calligraphy.
 
 PATENT OF NOBILITY PRAYER-BOOK 195 
 
 PATENT OF NOBILITY. 
 
 [Folio 83 verso] Executoria de hidalguia & pedimieto de 
 Hernando de porras vezino dela ciudad de feuilla. [XVII 
 Century]. Folio, old crimson velvet, gilt edges. 
 
 A fine Spanish manuscript of a Patent of Nobility conferred upon 
 Hernando de Porras of Seville, written in the seventeenth century in 
 large roman characters upon 83 leaves of fine vellum within shaded 
 gold borders. 310 X 210 mm. 
 
 The first page is unusually well painted, having in the centre the 
 arms of de Porras surrounded by a border containing flowers, birds, 
 insects, grotesques, and scrolls in which are introduced an armorial 
 shield and 4 small miniatures. Throughout the volume are 39 headings 
 in the form of bands and 89 initial letters in azured gold on blue and red 
 grounds. On folios 77 and 82 verso are full-page borders. 
 
 At the end of the volume are five leaves in contemporary handwriting, 
 one of vellum and four of paper, containing affidavits, etc. 
 
 This manuscript is a very good example of this class of Spanish cal- 
 ligraphy and decoration. 
 
 PORTO, LUIGI. DA. 
 
 Storia di due nobili amanti (Romeo e Giuletta) colla loro 
 pietosa morte avvenuta gia in Verona nel tempo del Signer 
 Bartolommeo dalla Scala e scritta da Luigi da Porto. Milano 
 dall' imp. Regia Stamperia 1819. 8vo, red velvet with gold 
 corner-pieces and clasps in the form of roses and butterflies 
 (the device of the Archinto family of Milan), gilt top, uncut 
 edges. 
 
 One of six copies printed upon vellum, and illustrated by a frontis- 
 piece, 11 full-page miniatures surrounded by borders, 5 vignettes, and 
 the Archinto arms on the title-page, all executed in gold and colours in 
 the finest style of modern Italian art by Giovanni Battista Gigola. 
 
 PRAYER-BOOK. 
 
 Katholifches Gebetbuch um Gott im Geifte und in der 
 Wahrheit anzubethen. Gefchrieben. Anno 1715. l%mo,
 
 196 PRETRE PRfcVOST 
 
 in a seventeenth century German binding of silver in high 
 relief; both covers have centre medallions within a frame- 
 work of garlands and angels, the recto containing an emblem- 
 atic representation of Prayer, the verso, of Religious Zeal. 
 The back has a figure of Hope, the end-pieces and clasps are 
 in the form of angels* heads, the edges are gilt and gauflred. 
 This binding was probably made in Augsburg about 1670 
 and the manuscript added later. 
 
 A German Prayer-book neatly written in black and red ink within 
 red lines upon 164 leaves of blue tinted Holland paper. 119 X 57 mm. 
 
 PRETRE, J. G. See MEUNIER, PRETRE, AND VAILLANT. 
 
 PREVOST. 
 
 Les Prieres du Salut pour la chapelle du Roy. [avant 
 1768]. Small 8vo, dark blue morocco, the arms of Marie 
 Lcczinska, wife of Louis XV, in gold on the sides, which are 
 surrounded by tooled gold borders, crowned monograms and 
 fleurs-de-lys in the corners and on the back, old rose satin 
 linings, gilt edges, by Padeloup. In a modern case of blue 
 morocco. 
 
 An exquisite French manuscript of Latin prayers written in italic 
 characters upon vellum by Prevost, in the latter part of the eighteenth 
 century, for Queen Marie Leczinska. 160 X 104 mm. 
 
 There are 16 leaves (folio 3 being blank), with 15 lines to the page, 
 each surrounded by a narrow gilt border. The title, written in blue and 
 gold letters, is within a border composed of garlands, a cupid's head, 
 birds, flowers, etc. The second leaf, containing the dedication to the 
 Queen, bears her illuminated arms and an initial letter (227 X 227 mm.) 
 with a tiny landscape painted with exquisite delicacy. There are 4 other 
 similar initials, a floriated initial letter, an ornament on folio 4, and 3 
 graceful culs-de-lampe. 
 
 In beauty and refinement of calligraphy this little l*rayer-book rivals 
 the work of Rousselet, Gilbert, Damoiseau, or Nicolas Jarry. 
 
 From the collection of the Comte de Mosbourg.
 
 RAMSAY REMBERT 197 
 
 RAMSAY, ALLAN. 
 
 Original manuscripts of Poems, Verses, Letters, Poetical 
 Epistles, etc., by Allan Ramsay. XVIII Century. 4>to, light 
 green levant morocco, side borders and back richly tooled in 
 the manner of Derome, doubled with maroon morocco covered 
 with a design of scrolls and azured arabesques, centre mosaic 
 ornament in green and red morocco surrounded by azured 
 tools, maroon moire silk guards tooled in gilt, gilt edges; in 
 a rose silk chemise and maroon levant morocco case, by 
 Zaehnsdorf. 
 
 An English manuscript consisting of a title in red and black upon 
 vellum, a leaf of Contents specifying fourteen poems, and 28 leaves 
 (49 full pages) of manuscript on Holland paper, dating from 1738 to 
 1746. 188 X 149 mm. 
 
 A mezzotint portrait of Ramsay by White forms the frontispiece, 
 and preceding the first poem, " On George Whitefield," is a portrait of 
 that preacher, on India paper. 
 
 REMBERT, FERDINAND. 
 
 Les Fleurs, Dessins de F<? Rembert. L. Curmer. [Paris] 
 1861, Square Wmo, four volumes, red levant morocco, Jan- 
 seniste, doubled with green morocco richly tooled in compart- 
 ments of roses, foliage, scrolls, etc., Leon Curmer' s arms in 
 the centre, his monogram above and below, green moire silk 
 guards, in red levant morocco cases, by Hardy-Mennil; 
 Marius Michel, gilder. 
 
 The titles and headings are illuminated in gold and colours, there 
 are 2 frontispieces after Van Spaendonck, 1 after Remielius, and 1 after 
 Madame Valleyer-Coster, and 125 other exquisite paintings by Rem- 
 bert, 2 upon vellum. 138 X 110 mm. 
 
 A page in the autograph of Rembert states that this book was begun 
 February, 1858, and finished April, 1862. The text was written by 
 Mm. Baudet and Delvoye.
 
 198 REMBERT RIVE 
 
 REMBERT, FERDINAND. 
 
 Les Roses. Dessins de F4 Rembert. [Paris] L. Curmer. 
 1861. Square 16mo, four volumes, red levant morocco, Jan- 
 seniste, doubled with green morocco covered with a rich design 
 in compartments of flowers, leaf -sprays, etc., Leon Curmer' s 
 arms in the centre, his monogram above and below, green 
 moire silk guards, in red levant morocco cases, by Hardy- 
 Mennil; Marius Michel, gilder. 
 
 The text, which consists of "Histoire de la Rose," 1859, by Edouard 
 Cadol and Delongchamps, and appropriate quotations from French 
 poets, is neatly written within blue and gold borders. The titles and 
 half-titles are illuminated in gold and colours and there are 152 exquisite 
 miniature paintings of roses with butterflies, insects, etc., by Rembert. 
 140 X 109 mm. 
 
 Inserted are three engravings, an original pen sketch, and two photo- 
 graphic portraits. 
 
 RIVE, JEAN JOSEPH, editor. 
 
 Miniatures peintes dans les manuscrits depuis le XIV e 
 siecle jusqu 'au XVII e , 26 tableaux peints et rehausses d'or. 
 [Vers 1782]. Folio, half blue morocco. 
 
 The rare series of eighteenth century French copies of 26 of the minia- 
 tures in the most beautiful fourteenth to seventeenth century manu- 
 scripts in the collection of the Due de La Valliere, intended by the Abbe 
 Rive to accompany his "Essai sur 1'art de verifier 1'age des miniatures 
 peintes dans les manuscrits depuis le XIV e siecle," etc. All that was 
 printed on the subject, however, was a twelvemo pamphlet of 70 pages, 
 "Prospectus de 1'ouvrage propose par souscription par 1'abbe Rive," 
 Paris, Didot 1'aine, 1782. 
 
 The present series is painted upon paper and mounted, varying in 
 size from 285 X 195 mm. to 150 X 135 mm. The volume includes 1 
 painting from the fourteenth century, 20 from the fifteenth, 4 from the 
 sixteenth, and 1 from the seventeenth century. The subjects represented 
 include St. John the Evangelist (XIV); the Taking of Jerusalem by 
 King Antiochus, the Adoration of the Magi, five paintings of the "For-
 
 ROUSSELET SCOTT 199 
 
 tresse de la Foy," the Entombment, Christ teaching his Apostles, a 
 Burial Service (XV) ; the Crowning of a Pope, Death riding in a Chariot, 
 the Death of the Virgin (XVI), and St. Nicholas (XVII). 
 
 ROUSSELET. 
 
 Prieres de la Messe Ecrites par Rouffelet a Paris 
 M.DCC.XXV. Svo, light brown morocco, the crowned 
 monogram of Queen Marie Leczinska in gold on dark brown 
 morocco in the centre of both covers, side borders and back 
 panels in mosaic of dark brown and red morocco tooled in 
 fteurs-de-lys, dots, and other small ornaments, doubled with 
 dark brown morocco tooled in wide borders, gilt paper guards, 
 gilt edges, by Padeloup. In a modern chemise of light brown 
 levant morocco. 
 
 A beautiful French Prayer-book written by Rousselet in large roman 
 characters of black and red upon paper for King Louis XV, by whom it 
 was presented to Queen Marie Leczinska on the day of their marriage, 
 September 4, 1725. 166 X 105 mm. 
 
 It consists of 45 leaves, with 12 lines to the page, besides the running 
 head-line, each page being surrounded by a fillet of black and gold. The 
 title-page is written in letters of black, red, blue, and burnished gold 
 within a rich border of flowers and garlands in colours on a ground of 
 burnished gold. There are 2 full-page paintings within borders (folio 
 2 v.) the Agony in the Garden, an angel with Cross and Holy Grail in the 
 sky, Judas and the soldiers entering through a gate in the background; 
 and (folio 21 v.) the Raising of the Cross; also 2 vignettes and 4 culs- 
 de-lampe delicately painted in colours and burnished gold, and numer- 
 ous initial letters in blue on a gold ground. 
 
 This manuscript passed from the hands of the royal family to the 
 library of the Duchesse de Berry, whose name is written on a fly-leaf, 
 thence into the collections of the Baron de La Roche Lacarelle and 
 Henri Bordes. 
 
 SCOTT, SIR WALTER. 
 
 Life of Jonathan Swift. 1814. 4>to, russia. 
 
 The original manuscript entirely in Scott's handwriting, with page 
 proofs corrected and various annotations.
 
 200 SEYMOUR TRAGEDIE 
 
 SEYMOUR, EDWARD. 
 
 An Abftract of the Accompt of Paym* 8 made by the Right 
 Honourable Edward Seymour Efquire Trearf of his Ma 1 . 8 
 Navy Betweene the 12? of July 1673 & y e 31 th [sic] of 
 Decemb? 1674. Folio, contemporary dark blue morocco, cov- 
 ered with a rich mosaic design of compartments and flowers 
 in light brown and red morocco richly tooled in gold, gilt 
 edges, by Mearne, the royal binder. 
 
 An English manuscript beautifully written in columns on 35 leaves 
 of Holland paper. 439 X 288 mm. 
 
 SHAW, GEORGE BERNARD. 
 
 Passion, Poison & Petrifaction A new and original 
 Tragedy in One Act by The Chelsea Shakespear. [London, 
 1905]. 4fo, red morocco. 
 
 The original manuscript of this play, written in pencil on the rectos 
 of 41 leaves, and attested to by Shaw, "This is the true and original copy 
 written by me, mostly in Great Northern Express trains: hence the 
 joggly handwriting in many places. G. Bernard Shaw. June, 1905." 
 
 Inserted are the play-bill of the first performance, given July 14, 1905, 
 at the Theatre Royal, in aid of the Actors' Orphanage Fund, and two 
 autograph letters from Shaw, dated August, 1907, relative to the acqui- 
 sition of the manuscript. 
 
 TRAGEDIE Francoise d'vn more crvel envers son seignevr 
 nomine Riuiery, Gentil-homme Efpagnol, sa Damoifelle, & 
 fes Enfans [vignette] A Roven, Chez Abraham Coufturier, 
 Libraire tenant fa bouticque au bout debas de la rue 
 Efcuyere. [vers 1610]. 12mo, blue straight-grain morocco, 
 rose moire silk linings, gilt edges. 
 
 A modern French manuscript in exact facsimile of the printed work, 
 written upon 24 vellum leaves, with five pen-and-ink illustrations, in- 
 cluding the one on the title, and ten ornaments. 170 X 102 mm.
 
 TRAGI-COMEDIE VERTRON 201 
 
 TRAGI-COMEDIE de la Rebellion, ov Mescontentement 
 des Grenovilles centre lupiter. [vignette]. A Roven, Chez 
 Abraham Covstvrier, rue de 1'Orloge, deuant les deux 
 Cygoignes. [avant 1628]. 12wo, blue straight-grain morocco, 
 rose moire silk linings, gilt edges. 
 
 A modern French manuscript written in exact facsimile of the printed 
 work, upon 12 vellum leaves, with a pen-and-ink illustration on the title 
 and various typographical ornaments. 171 X 103 mm. 
 
 TRESOR Spirituel Tire De la pure parole de Dieu, Et de 
 quelques endroits du livre De limitation de Jesus Christ. 
 [XVII Siecle]. 12rao, old red morocco, Janseniste, doubled 
 with red morocco, dentelle borders, gilt edges, by Boyet. 
 
 A French manuscript neatly written in italic characters within red 
 lines upon 196 leaves of paper, probably for a present or gage d'amitie. 
 149 X 95 mm. 
 
 VEGA, LOPE DE. 
 
 Carlos 5 en francia [1604]. 4/o, brown morocco, gilt 
 and blind-tooled on the back and sides, uncut edges. 
 
 A manuscript comedy written on 49 leaves of paper in the auto- 
 graph of Lope de Vega, and signed by him November 20, 1604. 
 
 Five leaves at the end contain the authorisation to present this 
 comedy, signed by twelve officials. 
 
 Presented to Lord Howden at Madrid, 1858, by M. de Oloraza, and 
 so inscribed on the covers. 
 
 VERTRON. 
 
 Le David moderne ou la Traduction en vers Des Sept 
 Pfeaumes de Dom Antoine Roy de Portugal [1531-1595] 
 Dediee au Roy [Louis XIV] Par M r de Vertron Historio- 
 graphe de Sa Majeste Academicien de son Academic Royale 
 a Aries, et de celle des Ricovrati de Padoue. Chevalier des 
 Ordres Royaux de Notre Dame de Mont Carmel et de Saint
 
 202 VIE DE SAINT ANDRY VCEUX DU HERON 
 
 Lazare. 1703. 4fo, contemporary French red morocco, the 
 arms of Louis XIV stamped in gold on the sides, fleurs-de- 
 lys in the back panels, gilt edges. 
 
 A well written French manuscript in italic characters upon vellum 
 within borders of gilt fillets. It was executed for Louis XIV, to whom 
 the translation is dedicated. 262 X 188 mm. 
 
 41 leaves, numbered 1-79, with 22 lines to the page. The title is in 
 roman and italic characters in colours and gold within a beautiful ara- 
 besque border, and throughout the volume are 18 floral head-pieces and 
 culs-de-lampe. The headings and initial letters of the Psalms are in 
 burnished gold. 
 
 On page 73 is an " Abrege de la Vie de Dom Antoine Roy de Portugal," 
 on page 75 "Epitaphe Latine de Dom Antoine I." 
 
 VIE DE SAINT ANDRY. 
 
 SEnfuyt la vie Et miftere de Saint Andry Nouuellement 
 copofee & Imprimee A Paris Dont les noms fenfuyuent. 
 Et premierement, XVI. C. [printer's device] 
 
 On les vend a Paris en la Rue Neufue Noftre dame a 
 lenfeigne Sainct Nicolas. [Colophon] . . . Nouuellemet 
 Imprimee a Paris pour Pierre Sergent . . . [vers 1535]. 
 4tto, blue straight-grain morocco, side borders of foliage sprays, 
 gilt back, doubled with rose silk, gilt edges, by Bozerian 
 jeune. 
 
 A modern French manuscript beautifully written in gothic characters 
 by Fyot jeune upon 62 leaves of vellum in exact facsimile of the printed 
 work, which Brunet describes as " excessivement rare." Sergent's device 
 is on the title and last page, after the colophon. 215 X 170 mm. 
 
 From the Utterson collection. 
 
 VCEUX DU HERON. 
 
 Deus Veus du Hairon Poeme du xiiii Siecle Traduit & 
 Enlumine par Dudley Coftello. [XIX Siecle]. Folio, green 
 velvet, corner ornaments and clasps of chased gold, red moire 
 silk linings, gilt edges. In a case of maroon morocco.
 
 VCEUX DU HERON 203 
 
 An English manuscript written in gothic characters (text) and cursive 
 script (notes) upon vellum by Dudley Costello (1803-1865). 
 
 There are 47 leaves, of which 9 contain text in French, written on 
 one side only of the folio, and 25 contain notes, on both sides of the 
 leaf. 
 
 The illuminations consist of a title, 5 half-titles, 6 miniatures, 9 coats- 
 of-arms, and 40 large initial letters, all painted in gold and colours, 
 producing a brilliant effect. 
 
 The subjects of the miniatures are 1. (F. 10 r.) A heron of vignette 
 size. 2. (F. 11 r.) A court scene representing Robert d'Artois inciting 
 King Edward III and Queen Philippa to take the Vow of the Heron; 
 a half-page painting containing many figures. 3. (F. 18 r.) A heron 
 against a ground of brilliant blue within a double border. 4. (F. 24 r.) 
 "The Earle of Salisbury" in armour, on horseback. 5. (F. 31 r.) A 
 full-page painting in two compartments; on the left, "King Edward 
 sends challenges to Philip of Valois," on the right, "The Vows of the 
 Bishop of Lincoln and others." 6. (F. 42 v.) The Knight of the Swan. 
 
 Folios 38 verso to 40 recto contain a facsimile in gothic letters of the 
 "Gabs of Charlemagne and his Peers," from the original in the British 
 Museum. 
 
 The manuscript is a very interesting example of modern calligraphy 
 and illumination.
 
 ABD-TJI^RAHMAN, SHAIKH. 
 
 Tuhfet-ul-Ebrad. 1582. Folio, old Persian circuit 
 binding of maroon morocco, cut out in compartments and 
 painted in gold, doubled with brown morocco covered with 
 compartments of gilt tracery cut out and pasted over green, 
 blue, red, ivory, and black, guards of oriental brown figured 
 paper, gilt edges. 
 
 A Persian manuscript of a collection of metrical Admonitions by 
 Shaikh Abd-ul-Rahman written upon 77 leaves of bombycine paper 
 by a well-known scribe named Shah Hussain Shahabi at Herat in the 
 year 992 of the Hejira, or 1582 A. D. 293 X 182 mm. 
 
 The text, which is inlaid, is written in two columns within fillets of 
 gold and colours and broad, curiously decorated borders in subdued 
 colours and gold, all of the pages being different. There are 2 large 
 miniatures (folios 9 r. and 44 v.), and the title (folios 76 v. and 77 r.) 
 is brilliantly illuminated in gold and colours, blue predominating. 
 
 This manuscript is an excellent example of the best style of Persian 
 binding, illumination, and calligraphy. 
 
 AKBAR NAMAH. XVII CENTURY. 
 
 Folio, in an elaborate Persian lacquered binding with paint- 
 ings of girls dancing before the court on the outside and 
 flowers on the inside. 
 
 A seventeenth century Persian manuscript of the History of the 
 Mogul Emperor, Akbar the Great of India, written upon 275 leaves of 
 bombycine paper. 365 X 214 mm. 
 
 It is illuminated with 52 brilliant and delicately painted miniatures, 
 varying in size from about 115 X 130 mm. to full-page, and 40 chapter- 
 
 207
 
 208 BHAGAVAD-G1TA 
 
 headings of flowers in colours on a gold ground. The subjects include 
 a harvest scene beside a river in which fish are seen swimming (folio 43) ; 
 a curious painting of a garden with rocks, flowers in compartments, 
 and fountains one above another (folio 84) ; a hunting scene, full- 
 page (folio 110); the meeting of two rulers and their retinues on ele- 
 phants, horses, etc. (folio 127); a procession on camels (folio 156); 
 trumpeters, wrestlers, dancing-girls, etc., performing before the Shah 
 (folios 177-178); an elephant-fight (folio 181); an army besieging a 
 fortified castle (folio 186); a royal procession on elephants and horses, 
 full-page (folio 189) ; equestrian sports (folio 198) ; a hunting scene 
 (folio 200) ; a full-page painting divided into three horizontal compart- 
 ments depicting processions on horseback and by boat (folio 258); a 
 battle scene, full-page (folio 260). The colophon is missing. 
 
 The paintings are in the best style of the art of the period. The por- 
 trait of the Shah, which appears to be authentic, is often repeated. 
 
 BHAGAVAD-GITA. XVIII CENTURY. 
 12mo, old crimson satin, with painted edges. 
 
 A Sanskrit manuscript of the Divine Song written within borders of 
 gold and red upon 381 leaves of bombycine paper. 125 X 82 mm. 
 
 It contains 23 brilliantly and delicately executed full-page miniatures 
 surrounded by floral borders of colours on a gold ground and 76 small 
 paintings (18 X 18 mm.) scattered throughout the text. 
 
 The subjects of the large miniatures include Gane9a, the Elephant- 
 faced (folio 7) ; the divine incarnation of Vishnu in the form of Krishna, 
 as the charioteer of Arjuna, who carries a banner containing the figure 
 of Hanuman, the Monkey-god (folio 8) ; Vishnu as a fish holding the 
 lotus-flower (folio 29) ; the Creation, Vishnu in the centre on a turtle, 
 Brahma (with four heads) and five others holding esha, the snake (folio 
 51); Vishnu as a boar, with conch-shell and lotus (folio 63); Vishnu 
 as Nara-Sinha, the Man-lion (folio 76) ; Vishnu as Rama, the Hero in- 
 carnation (folio 98) ; Vishnu as Kalki, the white Horse, the tenth Avatar, 
 which is not yet (folio 140); Vishnu with attributes of lotus, boar, blue- 
 face, man-lion, and the trident of iva (folio 159) ; Lakshmi (Venus), 
 with the lotus (folios 165, 183, 197) ; the Creation, Vishnu lying on 
 esha (the snake) accompanied by Lakshmi, Brahma springing from a 
 lotus issuing from the navel of Vishnu (folio 230); Vishnu adored by
 
 CHANDI COPTIC PRAYER-BOOK 209 
 
 the Elephant, which is carrying the lotus to the banks of the Ganges 
 (folio 335). 
 
 CHANDI OR SAPTA-CATI. XVIII CENTURY. 
 
 12mo, blue levant morocco, filleted mosaic borders of green 
 and red morocco tooled in gold, gilt edges, by The Club Bindery. 
 
 A beautiful Sanskrit manuscript of the Chandi, an extract from the 
 Markandeyapurana, written upon 161 leaves of bombycine paper, 6 
 lines to the page, in the eighteenth century. 162 X 98 mm. 
 
 The text is enclosed within a filleted border of red, green, blue, and gold. 
 
 The illuminations consist of 20 delicately and brilliantly executed 
 full-page miniatures, and 21 somewhat smaller (50 X 60 mm.). Most 
 of the large paintings contain representations of Chandi, the Indian 
 goddess of Nature, corresponding to the Egyptian Isis. She is depicted 
 as seated in state upon a lotus-flower resting on two leopards, a third 
 beside her (folio 20 v.), as accompanied by Hansa, her goose (folio 25 
 v.), as at war upon her leopard (folio 50 v.), and on foot (folios 58 v. and 
 110 v.), receiving two rajahs (folio 67 v.). The first large miniature 
 depicts Gane9a, the god of wisdom and remover of obstacles. 
 
 The 21 small miniatures (folios 70-80) are allegorical representations 
 of Maya (Illusion), Imagination, Reason, Sleep, Hunger, Shade, Power, 
 Fatigue, Forgiveness, Birth, Bashfulness, Composure, Faith, Splendour, 
 Plenty, Sustenance, Memory, Affection, Content, Maternity, and 
 Error, all in the form of men and women seated in the open air. 
 
 The paintings in this manuscript are interesting and finely executed, 
 and the calligraphy is remarkable for its intense blackness and precision. 
 
 COPTIC PRAYER-BOOK. XVII CENTURY. 
 
 Small 4tto, old oriental circuit binding of brown morocco, 
 cut out in compartments and painted maroon and gold; in 
 an old red morocco case. 
 
 A Prayer-book written in Coptic and Arabic upon 256 leaves of 
 bombycine paper in the seventeenth century. 108 X 77 mm. 
 
 There are 3 full-page rudely executed miniatures of God the Father ( ?), 
 the Virgin and Child, and King David (folios 1, 41, and 233), 8 full- 
 page ornaments and 8 chapter-headings painted in colours and gold. 
 
 From the Bateman collection.
 
 210 DAI A'lL-UL-KHAIRAT GOSPELS IN ARMENIAN 
 
 DALA'IL-UL-KHAIRAT. XVIII CENTURY. 
 
 8vo, in an elaborate Persian lacquered circuit binding 
 painted outside and inside with flowers in gold and colours. 
 in a modern maroon morocco case. 
 
 A Litany for Mohammed beautifully written in Arabic with inter- 
 linear Persian translation within gold lines on a delicate green ground 
 upon 134 leaves of bombycine paper, probably in the eighteenth century. 
 195 X 124 mm. 
 
 There are 18 pages brilliantly illuminated in gold and colours, folios 
 115 v. and 116 r. apparently containing representations of the Kaabah 
 at Mecca and the Mosque of Medina. 
 
 From two seals stamped on the pages, the volume appears to have 
 belonged in the year of the Hejira 1217 (1802 A. D.) to Hussain, and 
 in A. H. 1226 (1811 A. D.) to Murad Khan, who presented it to Nasr- 
 ullah Khan. 
 
 FIRDUSI (AB-UL-KASIM MANSUR). 
 
 Shah-Namah, or Book of Kings. XVII Century. Folio, 
 in a rich Persian lacquered binding painted outside and 
 inside with flowers and foliage in gold and colours, painted 
 edges. 
 
 A very fine seventeenth century Persian manuscript of Firdusi's 
 poetical History of Persia from the mythical ruler Gayumart (about 
 3600 B. C.) to the Mohammedan Conquest (641 A. D.), written upon 
 652 leaves of bombycine paper, four columns to the page, within lines 
 of gold and colours. 306 X 190 mm. 
 
 There are 70 beautiful full-page paintings in brilliant colours height- 
 ened with gold, several being in two compartments, and 4 chapter-head- 
 ings in blue and gold heightened with rose. 
 
 The subjects of the miniatures are chiefly battle scenes, and include 
 a boar-hunt (folio 424), a king carried captive on an elephant (folio 
 438), and a dragon-fight (folio 573). 
 
 GOSPELS IN ARMENIAN. XVI CENTURY. 
 
 Folio, in a contemporary Armenian leather binding, the 
 sides covered with borders and central panels of old repousse
 
 GOSPELS IN ARMENIAN 211 
 
 silver, the back laced with silk cords passing through small 
 silver eyelets. The panel on the front cover contains repre- 
 sentations of the Annunciation and the Presentation in the 
 Temple, above three lines of text in Russian characters. The 
 back panel contains the Last Judgment; oriental silk linings, 
 painted edges. In a case of brown morocco lined with crimson 
 velvet. 
 
 A very interesting Armenian manuscript of the Four Gospels, two 
 columns to the page of 23 lines each, written upon thick paper in the 
 sixteenth century for a monastery in Csesarea, Cappadocia. 302 X 
 202 mm. 
 
 262 leaves, including 8 for the Calendar and other preliminary matter. 
 There are 4 full-page and 14 small miniatures in the margins, 4 elaborate 
 borders at the beginning of the Gospels, 10 borders containing minia- 
 tures in the Calendar, and 189 arabesque ornaments in the margins. 
 The border on folio 12 recto has on the outer margin the genealogical 
 tree of the Virgin Mary and Christ painted in colours on a gold ground. 
 
 The subjects of the large miniatures (folios 11, 81, 126, and 202) are 
 the Four Evangelists. Among the subjects of the small paintings are 
 St. George and the Dragon (folio 35 r.), Christ casting out a devil (folio 
 36 v.), the Entombment (folio 123 v.), the Annunciation (folio 128 v.), 
 the Presentation in the Temple (folio 133 r.), Christ's Entry into Jeru- 
 salem (folio 184 r.), the Crucifixion (folio 194 v.), the Baptism of Christ 
 by John the Baptist (folio 204 v.), and Mary Magdalene kneeling at 
 the feet of Christ (folio 256 r.). 
 
 This manuscript is especially interesting because of its unique and 
 exquisitely wrought repousse binding, which is contemporary with the 
 book. 
 
 GOSPELS IN ARMENIAN. XVI CENTURY. 
 
 Small 4>to, original blind-tooled calf, doubled with yellow 
 and rose silk, three silver clasps. 
 
 An Armenian manuscript of the Four Gospels beautifully written 
 in minute characters in two columns upon vellum in the sixteenth cen- 
 tury. 113 X 80 mm.
 
 212 GOSPELS IN ARMENIAN 
 
 It contains 298 leaves, including 13 for the Calendar and other pre- 
 liminary matter, and 23 lines of text to the page. There are 4 large 
 miniatures. 
 
 The first ten leaves contain elaborate borders of foliage, scrolls, ani- 
 mals, birds, and figures, in brilliant colours heightened with burnished 
 gold. Folios 15, 99, 153, and 240, opposite the miniatures, are also 
 elaborately painted, the first having at the left the full-length figure of 
 a saint, and at the right, small heads of the Virgin and ten Disciples. 
 Almost every page contains an illuminated initial with an accompanying 
 oriental ornament in the margin, all in brilliant colours. 
 
 The subjects of the miniatures are the four Evangelists, on folios 14, 
 98, 152, and 239. The last one, of St. John, is a curious representation 
 of that disciple on the Island of Patmos. 
 
 GOSPELS IN ARMENIAN. ABOUT 1640. 
 4to, original stamped morocco over boards, silk ties. 
 
 An Armenian manuscript of the Four Gospels written in old Arme- 
 nian and Armenian-Turkish, both in Armenian characters, in double 
 columns upon bombycine paper about 1640, probably in Constanti- 
 nople. 213 X 157 mm. 
 
 It consists of 412 leaves, including 10 for the Calendar, 17 verso 26 
 recto. There are 20 full-page miniatures on a ground of burnished gold, 
 
 14 beautiful and highly decorative borders (10 in the Calendar and 4 be- 
 ginning the Gospels), 76 small miniatures and 145 arabesque ornaments, 
 all in the margins, besides numerous grotesque initials and gold letters, 
 in the later Byzantine style, with chromatic Perso-Egyptian decoration. 
 
 The subjects of the large miniatures are 1. (F. 1 v.) The Annuncia- 
 tion. 2. (F. 2 r.) The Adoration of the Magi. 3. (F. 3 v.) The Presenta- 
 tion in the Temple. 4. (F. 4 r.) The Baptism of Christ by John the 
 Baptist. 5. (F. 5 v.) Christ surrounded by adoring Saints. 6. (F. 6 r.) 
 The Raising of Lazarus. 7. (F. 7 v.) Christ's Triumphal Entry into 
 Jerusalem. 8. (F. 8 r.) The Last Supper. 9. (F. 9 v.) Christ wash- 
 ing the Disciples' Feet. 10. (F. 10 r.) The Betrayal. 11. (F. 11 v.) 
 Christ bearing the Cross. 12. (F. 12 r.j The Crucifixion. 13. (F. 13 v.) 
 The Resurrection. 14. (F. 14 r.) Christ blessing the Virgin. 15. (F. 
 
 15 v.) The Descent of the Holy Spirit. 16. (F. 16 r.) The Last Judg- 
 ment. 17. (F. 30 v.) St. Matthew. 18. (F. 136 v.) St. Mark. 19. 
 (F. 206 v.) St. Luke. 20. (F. 324 v.) St. John.
 
 HAFIZ 213 
 
 Among the subjects of the small, marginal miniatures are (folio 31 r.) 
 the Virgin and the Twelve Apostles; (folios 67 r., 139 r., and 225 v.) 
 Christ casting out a devil; (folio 126 r.) Judas hanging himself; (folio 
 209 v.) the Annunciation; (folio 214 v.) The Announcement to the 
 Shepherds; (folio 327 v.) St. John the Baptist; (folio 330 r.) the Mira- 
 cle at the Marriage of Cana; (folio 402 v.) Christ bearing the Cross. 
 
 This manuscript is a fine example of seventeenth century oriental 
 art, combining the characteristics of the old Byzantine miniature paint- 
 ing with the gayer chromatic brilliancy of Perso-Egyptian decoration. 
 
 HAFIZ (SHEMS-UD-DIN MOHAMMED). 
 
 Divan. XVIII (?) Century. Svo, in a Persian lacquered 
 binding painted outside and inside in a floral design of colours 
 and gold. In a brown morocco case. 
 
 An eighteenth (?) century Persian manuscript written upon 218 leaves 
 of bombycine paper, with two columns to the page. 189 X 114 mm. 
 
 The first two pages (folios 218 and 217) are surrounded with borders 
 brilliantly painted in blue, red, and gold, and on folio 207 is a full-page 
 miniature representing a centaur attended by three angels, two of whom 
 carry flaming hearts painted in gold. Every page is illuminated with 
 floral fillets and compartments in colours on a gold ground. 
 
 HAFIZ (SHEMS-UD-DIN MOHAMMED). 
 
 Divan. XVIII Century. Large 8vo, in the original 
 Persian circuit binding of dark brown morocco stamped and 
 painted in gold, doubled with maroon morocco, borders and 
 centre ornaments in a delicate outline design of black upon 
 blue. 
 
 An eighteenth century Persian manuscript written in two columns 
 upon 166 leaves of bluish bombycine paper powdered with gold within 
 gold lines. The first two pages (folios 166 and 165) and the beginning 
 and ending of the volume are brilliantly illuminated in gold and colours, 
 blue predominating. 245 X 158 mm.
 
 214 HAFIZ INDIAN MINIATURES 
 
 HAFIZ (SnEMS-UD-DiN MOHAMMED). 
 
 Divan. XVIII Century. 12mo, in a Persian lacquered 
 binding painted on the outside and inside with flowers and 
 foliage in red, green, and gold. In a modern case of red 
 levant morocco. 
 
 A Persian manuscript of Hafiz's Poems written in the eighteenth cen- 
 tury in double columns within floral borders of red and green on a gold 
 ground, upon 225 leaves of bombycine paper. 141 X 188 mm. 
 
 The two preliminary pages have beautiful borders painted in blue 
 and gold, and on folio 218 verso is a full-page miniature representing the 
 Creation. 
 
 INDIAN MINIATURES. XVIII (?) CENTURY. 
 
 Folio, in a beautiful old Persian lacquered binding painted 
 in colours heightened with gold, and divided into compart- 
 ments containing representations of the deities, e. g., the gods 
 of war and peace. On the inside of the front cover is a panel 
 of similar nature; the edges are gilded. 
 
 A volume of 27 Indian paintings of various religious sects, tribes* 
 and occupations executed upon paper within borders, and accompanied 
 by guards of bombycine paper containing descriptions in Persian. 
 310 X 225 mm. 
 
 Each painting has two figures, usually a man and his wife. Among 
 the subjects represented are a torch-bearer, a grocer, a soldier, a coolie, 
 musicians and a nautch-girl, a silk-weaver, a leech, a goldsmith, a 
 snake-charmer, and costumes worn in the Mohammedan Passion Play. 
 
 INDIAN MINIATURES. XVIII (?) CENTURY. 
 
 Folio, dark green morocco covered with a design of filets in 
 scrolls, doubled with olive morocco tooled in a similar but 
 more elaborate design, gilt edges, by J. Mackenzie. 
 
 A volume of 76 Indian miniatures beautifully executed upon bomby- 
 cine paper. About 260 X 190 mm.
 
 INDIAN MINIATURES KORAN 215 
 
 The subjects include domestic, court, battle, amorous and religious 
 customs and ceremonies, acrobats, snake-charmers, musicians, etc. 
 From the collection of Sir William Jones. 
 
 INDIAN MINIATURES. XVIII (?) CENTURY. 
 
 Large folio, in an Indian lacquered binding painted in 
 Indian subjects. 
 
 A volume of 27 Indian miniatures representing types of India, dancers, 
 various trades, etc., each painting containing a man and a woman. 
 
 JANAM PATRI. XIX CENTURY. 
 
 The Sanskrit horoscope of Raja Jadurath Sing, one of the rebels in 
 Oudh, which was found in his camp when captured in 1858, at the time 
 of the Indian Mutiny. It is written on bombycine paper 10^ inches 
 wide, within borders of silver and colours, and forms a roll almost 120 
 feet long. 
 
 It is painted in brilliant colours, with 28 miniatures, including a 
 representation of Gane9a (18 X 6^ inches) at the beginning, and the 
 Signs of the Zodiac (about 8^ X 6 inches), beginning with Aquarius; 
 also 95 tables of calculation, 23 astrological diagrams within floral 
 borders, and 2 remarkable diagrams of the solar and lunar cycles, in 
 which the idea of termination is expressed by the trident of Qiva. 
 
 JAPANESE DRAWINGS. XVIII CENTURY. 
 
 Folio, old panelled calf. 
 
 A series of 48 Japanese water-colour drawings upon paper depicting 
 national costumes, with household implements, swords, etc., painted 
 below them. Among the subjects, of which 15 are women, are court 
 officers and their wives, princes, generals, common soldiers, elephant- 
 drivers, king's merchants, boatmen, Brahmans, and a dancing-girl. 
 
 KORAN (PART XXX). XV CENTURY. 
 
 Folio, in a Persian paper binding. 
 
 An Arabic manuscript of the Thirtieth Part of the Koran, written in 
 the fifteenth century, in large gold characters, 5 lines to the page, upon 
 44 leaves of bombycine paper. 287 X 210 mm.
 
 216 KORAN 
 
 On folios 43 verso and 44 recto are two beautifully painted borders 
 in blue and gold; on the margins throughout the volume are 32 large 
 circular blue and gold ornaments, and in the text, 128 of smaller size. 
 
 KORAN (PART XXX) XV (?) CENTURY. 
 
 Folio, in an old Persian binding painted in dark brown 
 and gold, and rubbed. 
 
 An Arabic manuscript of the Thirtieth Part of the Koran written upon 
 68 leaves of bombycine paper, with 8 beautifully illuminated pages in 
 blue and burnished gold, and 3 similar ornamental head-bands. 355 X 
 218 mm. 
 
 KORAN. XVIII CENTURY. 
 
 8vo, in an exquisite Persian lacquered binding painted 
 outside and inside with flowers in gold and colours, and with 
 painted edges. In a cashmere wrapper. 
 
 An exquisite Arabic manuscript written upon 324 leaves of bomby- 
 cine paper on a gold ground within borders of gold and blue, with 
 Persian interlinear translation written in red. 215X1 25 mm. 
 
 There are 10 elaborately illuminated pages, 111 ornamental bands 
 in blue and gold in the text, 102 large marginal ornaments in the same 
 colours, and numerous other designs in red, blue, and gold upon every 
 page. 
 
 This manuscript is one of the finest possible examples of its class. 
 
 KORAN. XVIII CENTURY. 
 
 Folio, in an elaborate Persian lacquered binding painted 
 outside and inside with flowers in gold and colours, and 
 covered by an Oriental silk wrapper. 
 
 A superb Arabic manuscript of the Koran beautifully written between 
 ornamental gold lines upon bombycine paper in the eighteenth century. 
 306 X 190 mm. 
 
 All of the 390 leaves have beautiful wide borders of flowers and 
 foliage in gold, and on folios 386-390 are six extremely fine illuminated
 
 KORAN 217 
 
 pages with rich borders in gold and colours. The ornaments and head- 
 ings of chapters are also exquisitely illuminated. 
 
 This manuscript is a magnificent specimen of oriental calligraphy 
 and illumination. 
 
 KORAN. XVIII (?) CENTURY. 
 
 Folio, in an old Persian circuit binding of brown and red 
 morocco with borders and panels of stamped gold, doubled 
 with red morocco having ornaments stamped in gold. In an 
 oriental red cloth wrapper. 
 
 A superb Arabic manuscript of the Koran written upon 577 leaves of 
 bombycine paper between gold lines and within borders of gold, blue, 
 and red, about the eighteenth century. 290 X 186 mm. 
 
 It contains 17 exquisitely painted borders and numerous marginal 
 ornaments in blue and gold. 
 
 KORAN. XVIII CENTURY. 
 
 Svo, in an old Persian circuit binding of brown morocco 
 with sunken panels ornamented with raised flowers and 
 foliage in dull gold, doubled with crimson morocco having 
 corner and centre ornaments in a scroll pattern cut out and 
 attached to a blue ground. 
 
 An Arabic manuscript of the Koran written in small characters of 
 black and red within gold fillets upon 366 leaves of bombycine paper 
 in the eighteenth century. 185 X 120 mm. 
 
 The four preliminary pages have borders exquisitely painted in blue and 
 gold, and there are numerous marginal ornaments in the same colours. 
 
 KORAN. XVIII (?) CENTURY. 
 
 8vo, in a Persian lacquered binding painted on the outside 
 and inside in borders and panels of flowers. 
 
 A beautiful Arabic manuscript of the Koran written upon bombycine 
 paper within ornamental gold lines and double gold borders, between 
 which are ornaments in blue and gold. 233 X 144 mm.
 
 218 KORAN PERSIAN MINIATURES 
 
 It consists of 222 leaves, with 17 lines to the page. Six pages have 
 rich borders of Persian design painted in blue and gold outlined in rose 
 with narrow floral borders immediately surrounding the text. 
 
 KORAN. 1817. 
 
 Small 4>to, old Persian circuit binding of red morocco with 
 sunken ornaments in gold in the centre and corners. 
 
 An Arabic manuscript of the Koran written in small characters upon 
 304 leaves of bombycine paper in the year of the Hejira 1233 (1817 
 A. D.). 176X116 mm. 
 
 It is written within borders of shaded gold with numerous marginal 
 ornaments, and the two preliminary pages are painted in gold and 
 colours. 
 
 NUSHIRVAN. 
 
 8vo, in a Persian lacquered binding, painted outside and 
 inside with orchids, roses, and nightingales. In a red mo- 
 rocco case. 
 
 A beautiful Persian manuscript of Nushlrvan's " Rissalah," a treatise 
 upon mysticism and poetry, written upon bombycine paper on an or- 
 namental gold ground within lines of gold and colours by Mohammed 
 Isma'el al Shirazi, in the year 1234 of the Hejira (1818-1819 A. D.). 
 196 X 127 mm. 
 
 It contains 13 miniatures carefully painted in delicate colours and 8 
 pages with elaborate borders in blue, red, and gold. 
 
 PERSIAN MINIATURES. XVIII CENTURY. 
 
 Small folio, old oriental binding of red morocco with gilt 
 ornaments stamped in the centre and on the sides, doubled 
 with red morocco, gilt edges. 
 
 A volume containing 54 Persian miniatures of rulers, women, eques- 
 trians, court and domestic scenes, alternating with 25 pages of ex- 
 planatory text and 33 paintings of flowers in brilliant colours and gold. 
 188 X 203 mm. All of the miniatures are remarkable for their beauty 
 and elaborate design.
 
 PERSIAN AND PERSO-INDIAN MINIATURES 219 
 
 PERSIAN MINIATURES. XVIII (?) CENTURY. 
 
 Large 4fo, old English red straight-grain morocco tooled 
 in panels and corner ornaments, gilt edges, by Hering. 
 
 A volume of 28 finely executed Persian miniatures representing do- 
 mestic, religious, amorous, battle, and musical scenes, including rajahs, 
 holy men, dancers, etc. The average size of each painting is about 
 230 X 170 mm. 
 
 PERSIAN MINIATURES. XVIII CENTURY. 
 
 Large 42o, in an elaborate Persian lacquered binding painted 
 on the outside with flowers in maroon and green outlined with 
 gold on an ivory ground, on the inside in citron borders and 
 centre ornaments in gold. In a red Persian silk wrapper. 
 
 A series of 12 exquisitely painted Persian miniatures backed with 
 green silk. 335 X 250 mm. 
 
 They represent women, court scenes, landscapes, etc. Four are 
 within borders of gold and colours. 
 
 PERSIAN MINIATURES. ABOUT 1820. 
 
 Folio, in a Persian lacquered binding painted on the out- 
 side with court scenes and on the inside with flowers in bril- 
 liant colours and gold. In a red silk wrapper. 
 
 A series of 24 large brilliantly executed Persian miniatures (180 X 100 
 mm.) apparently representing Fath AH Shah at various ages and the 
 members of his family and court, painted in Isfahan ( ? ) , Persia, by a 
 native artist on a series of attached leaves. 
 
 This is a fine example of modern Persian art. 
 
 PERSO-INDIAN MINIATURES. XVIII CENTURY. 
 
 Folio, in a rich Persian lacquered binding painted outside 
 and inside with conventional flowers and foliage, gilt edges. 
 
 A volume of 60 brilliantly painted Indian and Persian portraits 
 largely of the Mogul dynasty, women, and dervishes, executed upon
 
 220 PERSO-INDO-MONGOL MINIATURES 
 
 bombycine paper with perfection and elaboration. Each miniature is 
 surrounded with a border in gold and colours, and upon the backs of 
 all of them are elaborately written poems. 303 X 226 mm. 
 
 In addition to the portraits are paintings illustrating various subjects, 
 e. g. t the releasing of Joseph from the pit, a hunting scene (nos. 43 and 
 44), etc. At the end of the volume is a list of the paintings, elaborately 
 written upon vellum. 
 
 PERSO-INDO-MONGOL MINIATURES. ABOUT 1810. 
 
 8vo, mounted in folio form, in three cases of blue levant 
 morocco. 
 
 One hundred and seven miniatures of Persian, Indian, and Mongo- 
 lian subjects beautifully painted within borders in the Mohammedan 
 year 1225 (about 1810) and mounted upon cardboard. 
 
 Accompanying them are six pages of description in Persian, dividing 
 them into six groups : " Therefore his Majesty Shahinshah, whose 
 court is like the sky, his highness as the heavens, and his manzil like the 
 sun, who is the sum total of justice and conquest, the band of the book 
 of benignity and the world-adorner, the irrigator of the evergreen rose- 
 garden of Mohammedan religion, the gardener of the meadow of the 
 everlasting nation and the ray of divine grace, Tipu Sultan, the warrior 
 Padishah may God make perpetual his country and kingdom ! - 
 collected the pictures of various women [the scattered pictures of his 
 predecessor Sultans, the pictures of the Amirs that were scattered be- 
 fore, the scattered pictures of famous individuals, empresses, and the 
 Amirs of the cities and country] and he ordered that they should be bound 
 and banded." -Translated by Dr. Abraham Yohannan. 
 
 Most of the miniatures contain at the top descriptions in Persian. 
 They include four portraits of Chand Bibi, princess of Ahmadnagar, 
 hawking, Amir Taimur Shah (Tamerlane), the Persian hero Rustan 
 hunting, "Her Excellency the Lady Mary and Jesus," "His Holiness 
 Abraham," jugglers, athletes and Persian women acrobats forming 
 a horse. 
 
 On one of the paintings of Shirin, wife of Khosrov, appears the name 
 of the artist, Mirza Burhan Beg.
 
 PORTRAITS ROMANTIC TALES 
 
 PORTRAITS OF PERSIAN KINGS. EARLY XIX 
 
 CENTURY. 
 
 Small folio, in a beautiful Persian binding of bronzed gilt 
 painted outside and inside with flowers, and with figures of 
 the Virgin and Child in the centre of both covers. In a blue 
 morocco case. 
 
 A nineteenth century Persian manuscript of portraits of Persian kings, 
 of various dynasties of Iran, legendary and historic, with extracts from 
 Shah Mohammed-al-Mashhedi and other sixteenth century poets 
 delicately executed upon 30 folding leaves within illuminated borders 
 on grounds of different colours, upon 14 of which are exquisitely painted 
 miniature portraits of Persian heroes and princes. 
 
 This interesting manuscript was in the Bindings Exhibition of the 
 Burlington Fine Arts Club. 
 
 ROMANTIC TALES. ABOUT 1800. (HEJIRA 1214). 
 
 Folio, in the original Persian circuit binding of dark brown 
 morocco with border and central panels stamped in gold, 
 doubled with light brown morocco with gold ornament in the 
 centre. In an oriental silk wrapper. 
 
 A magnificent Persian manuscript of tales of adventure (325 X 215 
 mm.) written upon 188 leaves of bombycine paper within borders of gold 
 and colours and illuminated with 60 large paintings, some of full-page 
 size and some in two compartments. The text of the first two pages 
 (folios 188 and 187) is written within ornamental gold lines. The first 
 leaf (folio 188) is richly painted in colours. The subjects of the paintings 
 include battle scenes (folios 5, 67, 88, and 160), court scenes (folios 6, 10), 
 boating parties (folios 45 and 157), a sea fight (folio 48), garden scenes 
 (folios 52, 98, 113, 135, 138, 148, 151, 175), a royal procession (folio 57), 
 bathing scenes (folios 82 and 183), hunting-scenes (folios 127 and 179), 
 and the killing of a giant (folio 131). 
 
 This manuscript formerly belonged to the King of Delhi.
 
 222 SHAHA LI TASHRIH-UL-AKWAM 
 
 SHAHALI, SAHIB OF DELHI. 
 
 Bostan-ul-Mohaddithin. [About 1770]. 8vo, in a superb 
 mosaic binding of Persian design in dark and lighter blue, 
 green, citron, red, and ivory morocco delicately tooled in small 
 ornaments, doubled with a mosaic pattern in panels of ivory, 
 citron, and blue morocco with floral tools in gold and small 
 red flowers, oriental red silk guards, gilt edges, by The Club 
 Bindery; Leon Maillard, finisher. 
 
 A beautiful Persian manuscript of Shahali's " Garden of Tradi- 
 tionaries" written within gold and coloured borders upon 131 leaves 
 of bombycine paper. 221 X 147 mm. 
 
 The first two and the last two pages have rich borders of gold and 
 colours and interlineations in gold. 
 
 Inserted are two modern water-colour drawings of flowers. 
 
 TASHRIH-UI^-AKWAM. 1825. 
 
 Folio, blue morocco, the arms of John, Earl of Clare, on 
 both sides, gilt edges, by Charles Lewis. In a blue morocco 
 case. 
 
 A Persian manuscript of an historical account of the different castes 
 and occupations of Hindustan, beginning with Vishnu, written upon 
 418 leaves of fine bombycine paper within borders of gold and colours 
 and illustrated by 122 delicately and beautifully painted full-page minia- 
 tures representing the castes and their occupations. 318 X 213 mm. 
 
 The subjects include musicians, archers, camel and elephant drivers, 
 weapon-makers, goldsmiths, wine and fruit merchants, rug, pottery, 
 garment, and toy makers, snake-charmers, trench-diggers, physicians, 
 weavers, gardeners, tight- rope walkers, dancers, carpenters, brick- 
 layers, wrestlers, fishers, hunters, brush and slipper makers, sailors, 
 scribes, goat herds, bear-tamers, etc. Plate CXVIII is a brilliantly 
 painted portrait of the King of Oude; CXVII is of Akbar the Great, 
 and is surrounded by a rich border in gold and colours. 
 
 Executed in 1825 and presented to Sir John Malcolm (d. 1833), the 
 historian of Persia and India. From the collection of Lord Clare.
 
 YUSSUF AND ZULAIKHA 223 
 
 YUSSUF AND ZULAIKHA. XVIII-XIX CENTURY. 
 
 Small folio, in a Persian binding of red morocco stamped 
 in ornaments forming panels and painted in gold and colours. 
 
 A beautiful Persian manuscript of the romance of Yussuf (Joseph) 
 and Zulaikha written upon 176 leaves of bombycine paper, two columns 
 to the page, within borders of gold and blue, at the end of the eighteenth 
 or the beginning of the nineteenth century. 268 X 146 mm. 
 
 The preliminary pages are elaborately decorated and there are 43 
 brilliantly coloured miniatures.
 
 ADDENDUM TO PART II 
 
 COLERIDGE, SAMUEL TAYLOR. 
 
 Osorio, a Tragedy. 1797. 4/o, half green levant morocco, 
 gilt top, uncut edges, by Pratt. 
 
 The original manuscript of " Remorse," written by Coleridge at 
 Sheridan's request. It was sent to Drury Lane Theatre in October, 
 1797, but was not accepted, and remained there until the fire of 1809, 
 when it was one of the few objects saved. Rewritten under the title 
 " Remorse," the play ran for twenty nights. 
 
 The manuscript, which is not in Coleridge's handwriting, covers 
 the rectos of 104 leaves of Holland paper (9j 3 g X 7| inches), between 
 each two of which are one or more blank leaves for annotations and 
 portions of the printed drama. There appears to be but one trace 
 of the poet's revising pen, on folio 51, where the word superstitious 
 is marked through with ink, and serious substituted in an entirely 
 different hand. 
 
 Probably no complete autograph manuscript of " Osorio " exists.
 
 INDEX OF THE NAMES OF MINIATURISTS, 
 ILLUMINATORS AND SCRIBES
 
 ATTAVANTE. 
 
 See Petrarca, page 160. 
 
 AVRIL, PAUL. 
 See page 177. 
 
 BAROCCI, FEDERIGO. 
 
 See Bonaventura, St., page 10. 
 
 BEDFORD MISSAL (SCHOOL OF). 
 See Hone, pages 33, 178. 
 
 BOUTON, V. 
 
 See pages 179, 194. 
 
 BRUOLIO, JOHANNES DE. 
 See Horse, page 100. 
 
 BURHAN, MIRZA. 
 See page 220. 
 
 BURRUS, MILANUS. 
 See Suetonius, page 168. 
 
 CHAUVET, J. A. 
 
 See Denon, page 183. 
 
 CLOVIO, GITJLIO. 
 See pages 14, 193. 
 
 COSTELLO, DUDLEY. 
 
 See Voeux du Heron, page 203. 
 
 FOUCQUET, JEHAN. 
 See Horse, page 89. 
 
 Missale Ecclesise Turonensis, 
 page 140. 
 
 GHIRLANDAJO. 
 
 See Officium, page 150. 
 
 GIGOLA, GIOVANNI BATTISTA. 
 See da Porto, page 195. 
 
 GRAN ATA, JOSEF. 
 
 See Terentius, page 173. 
 
 HOREBOUT, GERARD. 
 See Horse, page 108. 
 
 JARRY, NICOLAS. 
 
 See pages 185, 189-191, 196. 
 
 LECLABART, JACQUES FUCIEN. 
 See pages 179, 186. 
 
 LUCCIUS, ANNIBAL. 
 See Terentius, page 173. 
 
 MANTEGNA, ANDREA (SCHOOL OF). 
 See Petrarca, page 159. 
 
 MEMLING, HANS. 
 
 See Horse, pages 68, 104. 
 
 MEMLING, HANS (SCHOOL OF). 
 See Horse, pages 104, 115. 
 
 MIDOLLE, HENRY. 
 
 See Ballades Fra^aises, page 178. 
 
 REMBERT, FERDINAND. 
 See pages 197, 198. 
 
 ROUSSELET. 
 
 See pages 196, 199. 
 
 229
 
 230 
 
 INDEX OF NAMES 
 
 SANI, VIVIANI. 
 
 See Biblia Sacra Latina, page 7. 
 
 SHAHABI, SHAH HUSSAIN. 
 See Abd-ul-Rahman, page 207. 
 
 SHIRAZI, MOHAMMED ISMA'EL AL. 
 See Nushlrvan, page 218. 
 
 SISMONDI, SIGISMUND DE. 
 See Officium, page 147. 
 
 TARRANUS, JACOPO. 
 See Officium, page 145. 
 
 TORY, GEOFROY. 
 See Horse, page 115. 
 
 TOURAINE (SCHOOL OF). 
 
 See Horse, pages 42, 57, 82, 84, 89, 
 
 94. 
 Missale Ecclesise Turonensis, 
 
 page 140. 
 Missel de Charles VI, page 137. 
 
 VAN EYCK (SCHOOL OF). 
 See Horse, page 65. 
 
 VICOMERCHATO, GUINIFORTUS 
 
 DE. 
 
 See Scribe's Sample-Book, page 167. 
 
 WYDON, FRANCIS. 
 See Horse, page 118.
 
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