Hand-colored print on parchment, 15th century (?), depicting an angel pointing to the Virgin Mary with the infant Saint John the Baptist adoring the infant Jesus, in an oval frame surrounded by scroll ornament and flowers. Below the oval frame a latin inscription reads, in part, "IE S V' BONE ADIVA N[ ]G". The print was owned by P. H. Kazanjian of 1158 West Vernon Avenue, Los Angeles, in 1928.
Parchment, 1 leaf, slightly cropped at the inner margin. 24 long lines (text or music); ruled in ink. Heavy German gothic bookhand in liturgical style; brown ink. 2-line inititals in red on faded green flourishes; initials in the text in red; rubric in red miniscule; the first two lines of text of each hymn have German gothic notes on staves of 4 lines, 3 in red and 1 brown (the line of F, which is marked; C also is marked); on the other lines of text notes without staves.
Written in France, diocese of Besançon, in the second half of the fifteenth century. A date added in a contemporary hand f. 1: “M IIIIC LXXII.” On fol. 1 lower middle, s. XVIII, “J. de Beaujeu” under a motto “Chascung Desire,” and at top right, s. XIX, “S. Remy”. Given to UCLA in 2005.
Written in Campania, probably in Naples to judge from the watermark and later ownership; there were two houses dedicated to St. Gaudiosus in Naples, one of which (a nunnery) also enclosed a church devoted to St. Fortunata (Cottineau 2.2035). Belonged in the 17th century to Aurelia Carrafa (signature vertically in the inner margin of f. 12 and again on f. 13), member of an illustrious Neapolitan family, probably from the branch of the princes of San Lorenzo; the Carafa women had close ties through the generations with the convent of San Gaudioso (see B. Aldimari, Historia genealogica della famiglia Carafa [Naples 1691] 367). Bought from Les Enluminures, Paris (their TM 366), by Richard and Mary Rouse. Given to UCLA in 2005.
Music: Square notation of Paris type written on four-line staves inked in red with a four-nib pen. Using the punctum, pes, clivis, climacus, porrectus, torculus, scandicus, oriscus, plica, and quilisma(?). Pitch given by F and C letter clefs. Oncoming pitches indicated at the end of each stave by a custos. A second hand has added stems to some punctum, creating virga, as well as adding accidentals, including sharps and B-flats. The same hand has added double-bars and marks to puncti at the ends of chants and phrases to create breves. This is perhaps the same editor, working during the s. XVI period of religious upheaval and corresponding changes to liturgy, who has washed away or crossed out sections of chant, particularly longer melismas.
Written in the fifteenth century at Windsheim near Nuremberg, Germany; although the title on the cover says 1414-1462, copying of the book began only in 1421 (cf. Prologue) and continued until at least 1476 (f. 8). Passed at an unknown date to the library of Nuremberg. Acquired from Bennett Gilbert, Inc., Melrose Avenue, Los Angeles, December 1983 by Richard and Mary Rouse. Given to UCLA in 2005.
Manuscript book of hours for the use of Rouen, written and illuminated in Rouen, France sometime during the 15th century. Includes the typical common elements of a book of hours: church year calendar in French; readings from the Gospels; Hours of the Virgin, a set of eight devotional texts in Latin, one to be recited at each of the eight canonical hours of the day; penitential psalms, litany of saints, prayers for the dead, and prayers to the Virgin. Script: Latin text in gothic hand in black, with instructions in red ink, 15 lines per page; months of the calendar illuminated in gold, with saints' days written in red or blue ink. Illustrations: includes 11 large miniatures within arched frames, of scenes from the life of Christ (Annunciation, Nativity, Crucifixion, Pietà), as well as portraits of the four Evangelists, King David with his harp, and St. Michael overcoming the devil; donor portrait on verso of leaf 53; all miniatures vividly colored and illuminated in red, blue, green, rose, black, and white; enclosed by richly painted and illuminated borders of arabesques, leafy branches, flowers and strawberry vines; illuminated floral borders along text margins; large and small illuminated rose and blue capitals. Binding: bound in blind-stamped calf over boards by Cambridge stationer and bookbinder Nicholas Spierinck, with date of 1520 supplied by Ferrari; upper and lower boards decorated with small blind-tooled square stamps containing figures of beasts and birds, and the device of binder with his initials "N" and "S," arranged in intersecting horizontal and vertical rows; vellum endpapers; all edges gilt. In modern beige cloth and brown leather clamshell box having gold-stamped spine title "Book of Hours." Provenance: From the library of Viscount Lee of Fareham, White Lodge, Richmond Park. A gift to Dr. Elmer Belt from Evelyn Cushman, 1954. Dr. Belt's illustrated bookplate on recto of front endleaf, with caption "From the House of Belt."In Latin and French.
Written in Spain in the middle of the thirteenth century. In the possession of a Dominican convent or friar before the end of the century; front pastedown top, half cropped, “. . . -ia ordinis predicatorum.” In England before the fourteenth century; English hands on ff. 1r-v, 387r-v, front pastedown. On f. 386 lower margin, erased note of accounts in fourteenth-century anglicana, “... sol[idos] . . . sol[idos] . . . Ego frater . . . sororem . . . sorores. ...” On f. 1v top, an erased note. Paper label “11” on the spine. Belonged to Isaac Foot; his bookplate, f. 1v. Came to UCLA with the Foot Collection in 1960.
Written in northern Italy in the last quarter of the thirteenth century. The opening words of the sermon on f. 183 — “Sicut dixi vobis hec mane” (As I said to you this morning …) — imply a community; observances for Saint Clare and Saint Antony of Padua, and the translation of Saint Francis with its indication that other feasts of Francis were observed (f. 285v), suggest a Franciscan origin. Purchased from Bernard Rosenthal, San Francisco in November 1985 by Richard and Mary Rouse. Given to UCLA in 2005.
Parchment, 1 leaf. 2 columns of 32 lines; ruled in ink. Calligraphic gothic bookhand in liturgical style (littera textualis formata); dark brown ink. 2-line initials alternately red and blue on penwork of the opposite color; initials in the text slashed with red; initials in the lines of text with music at times with elaborate flourishes in brown; on the outer margin of the verso "LVII" in red belongs to a contemporary foliation; music on staves of 4 brown lines; F and C are marked; German gothic notes. A contemporary correction of the text by a different hand in lighter ink on the lower margin of the recto.
Parchment, top portion of 1 leaf. 6 lines of text with music survive; no ruling except the staves, ruled in ink. German gothic bookhand in liturgical style (littera textualis formata); brown ink. 1-line initials alternately red and blue; German gothic notes on staves of 4 brown lines; C is marked; "LXIX" entered in brown ink on the outer margin of the verso belongs to a contemporary foliation.
Written by Alberico Spinola, a Camaldolese monk and a citizen of Genoa, in 1443, and illuminated by Hugo of Alexandria, noted in the Dictionnaire des Colophons (from the Quaritch catalog cited below). On f. 1 in ink: “Ex libris Dominici Merli Civis Lucensis 1787.” Listed in Bernard Quaritch, A Catalogue of Illuminated and other Manuscripts (London 1931) no. 74; at that time the manuscript was lacking only 2 leaves (first leaf of q. 3 and of q. 16) and contained: “f. 1, Calendar; f. 21, Officium B.M.V. (lacking 1st leaf); f. 141b, Missa B.V.M.; f. 147, Septum Psalmi Penitentiales cum Litania; f. 181, Officium Mortuorum; f. 257, Officium S. Crucis; f. 267, Officium S. Spiritus; f. 290, Memoriae Sanctorum”; at that time it was decorated with 14 illuminated and 3 historiated initials, and with three-quarter borders of “floreated scrolls.” Acquired, still whole except for the two missing leaves, by Nicolas Pavlov, Dobbs Ferry, NY, from Reiss & Auvermann at Glashuetten im Taunus, West Germany (Catalog, lot #15, with plates) in October 1988. Dismembered by Pavlov and portions sold to other dealers. A part, probably the Office of the Dead, was sold to the bookdealer Bruce Guenter of South Egermont, MA. Rouse MS 40 was acquired in its present state from Pavlov in March 1990 by Richard and Mary Rouse. Given to UCLA in 2005.
Written in Paris in the mid-fifteenth century. Two generations of births are recorded in the calendar for the periods 1543-1549 and 1573-1585. There are notes (badly faded) about the intermarried families of Petit and Cheron on virtually every folio of the calendar, mostly in the spacious bottom margin. Verse f. 120v: “L’an mil cinq cent soixante neuf / entre Coignac et Casteauneuf / fut porté mort sur une anesse / le grand ennemy(?) de la messe.” Ex libris f. iv: “Ces presentes heures appartient a Claude Petit femme de Barthelemey Cheron, demourant a Arulommiers en Boys” and another on f. 120 (last flyleaf): “Jadiz fuz a Marguerite Touart en son vivante femme de Jehan[?] Cheron qui estoit [sic] pere & mere de Barthelemy Cheron …” continued with notes in successive hands tracing the descent of the book in the same family until the 18th century, mentioning names of a later Jehan Cheron and of Maître Pierre Cheron. Lot 641 in an unidentified 19th-century American sale (printed paper label on front pastedown). Bought by William Tasker in whose family it remained; for other manuscripts belonging to Tasker see lots 63 (Michael of Belluno, Speculum conscientie, Italy 1404, from the same 19th -century American sale) and 67 (Ps. Albertus Magnus, Liber speculi, De veris virtutibus, Germany 1473) in the same Sotheby’s sale catalog. Acquired from Sotheby’s London, 17 June 1997, lot 75, by Richard and Mary Rouse. Given to UCLA in 2005.
Written in Italy in the second half of the fourteenth century, to judge from paleographical evidence (trailing terminal “s,” vertical terminal “m,” backwards terminal “c” for “-us,” uncrossed tironian “et,” crossed “q” for “qui,” etc.), codicological features (quality of parchment and follicles, faint ruling), and decoration (harping, beading, and gold bezants on initials, hairlines on letter-forms). The original manuscript may have been cut into separate folios for individual sale in the modern era because of its gold-leaf initials. Bought from Bernard Rosenthal, San Francisco, by Richard and Mary Rouse, 28 February 1986. Given to UCLA in 2005.
Fragments of 9 leaves of text (and of 2 blank leaves) containing a list of transliterated Arabic words, alphabetized by first letter only, with Latin synonyms (words or phrases). Frame-ruled with lead point. Written by one scribe in a rapid gothic cursive in medium brown ink, in 39-41 lines in two columns. All folios cropped, all edges (except cut-off edges) in tatters; evidence of having been glued to other folios in places; severely spotted, without loss of text. Pen-trials on blank folio 11v.
Written in England in the first half of the thirteenth century, to judge from paleographic and codicological features. Probably from the Phillipps collection. Bought from H.P. Kraus, New York, in 1983 by Richard and Mary Rouse, along with other fragments including Rouse MS 105 (see for modern provenance). Given to UCLA in 2005.
Antiphonal. Parchment, 1 leaf cropped at margins. 12 lines of text with music; ruling not discernible. Liturgical gothic bookhand (littera textualis formata); dark brown ink. Primary initials alternately red and blue; initials in the text are elaborate brown majuscule slashed with red; music in square notation on staves of 4 red lines. A gothic cursive hand (s. XV) entered several notes on the recto, upside down, when leaf was a pastedown, including "Averrois commentator cum titulos fidei voluit probare rationibus nec potuit quare apostata in fede factus est"; "Sanctus Vincentius ordinis predicatorum habuit illum donum gratie, quod loquebatur suo sermone intelligibatur ab omnibus hominibus diversarum nationum." Used as a pastedown in binding: the verso is badly rubbed.
Parchment, 1 leaf cropped at top, originally the central bifolium of a quire. 10 lines of text with music survive; ruled in ink. German conservative ordinary minuscule verging on gothic; brown ink. On the verso 3- line plain capital initial in red; initials in the text touched with red; rubrics in red minuscule; line-fillers are simple waving lines; music on staves of 4 brown lines, with F and C marked; German notation transitional to gothic, in black ink.
Used in binding, f. 1 as a pastedown, f. 2 as a flyleaf;in the outer margin of f. 2, vertically in black ink in a cursive italic influenced by gothic "Wilhelmus Wismeers (?) est libri possessor; si quis (invenit, cancell) reperit illum. Anno 1572 die XV...."
Parchment, 1 leaf. 21 long lines; ruled in lead. German gothic bookhand in liturgical style (littera textualis formata); brown ink. 2-line initials and initials in the text in red; rubrics in red minuscule; German gothic notation on staves of 4 lines, the line of F red and that of C pale green.
Antiphonal. Parchment, 1 leaf cropped at the inner margin. 14 lines of text with music; text unruled. Spikey German gothic bookhand in liturgical style (littera textualis formata); black ink. Initials of verse alternately plain red, and blue with red flourishes; initials in the text are elaborated brown majuscule touched with red; rubrics in red minuscule; German gothic neumes on staves of 4 red lines, F and C are marked. Used as a pastedown in binding: the verso is almost completely rubbed.