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.
Decoration:Major initials in alternating red and blue with pen infilling and flourishing. Large initials alternating in red and blue and pen-flourished, occasionally with faces (ff. 114v, 124, 125v). Mid-sized initials in black on green, occasionally with pen faces colored tan (ff. 119r-v, 124v, 125, unnumbered fragment verso). An erroneous large red initial A[lorificamus] on f. 187 has a discreet contemporary mauve G with harping inserted beside it.
Catholic Church. Liturgy and ritual. Breviary. Written in semi-gothic script. Includes circular diagram for finding the Golden numbers starting with the year 1501, with instructions in French. Cf. Ferrari.
Six loose leaves from a commital register (registre d’écrous) of the Châtelet, the central Paris jail, containing 71 entries regarding the commital of people between 24 April and 24 May 1412. These are the earliest surviving portions of the medieval registers of the Paris jail.
Manuscript document on vellum, written in several Romanesque bookhands in 3 columns on both sides of single leaf. Notary signs. 590x 422 mm.An official record of land donations left in wills to the church of San Juan Batista de Calavario near Montenegro in the province of La Coruña, Spain. By far the greatest proposition of gifts come from the Froilaz family and were left between the years 1076 and 1153. Includes are seventeen separate donations.Neither the church, nor the town exit today and the only means of localizing the donations are the mention of the rivers Eume and Lara (i.e. Ladra), both in northeastern La Coruña. Froilaz (Froilan or Froila) was the name of 3 kings of Asturia and a bishop of Leon, and so must have ben closely related to this region.
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.
Vol. 1 Italy (s. IX-XI) Vol. 2 Italy (s. XII)Vol. 3 Italy (s. XIII) Vol. 4 Italy (s. XIV) Vol. 5 Italy (s. XV)Vol. 6 France (s. XI-XIII)Vol. 7 France (s. XIV-XV) Vol. 8 England & Spain Vol. 9 GermanyVol. 10 Greek & Hebrew
Leaf  of the 1476 Italian translation of Pliny the Elder's Naturalis historia, the greatest encyclopedia of knowledge of the natural world in the classical era. An illustrated border (30-70 mm wide) has been added to the text on the recto of the leaf, painted in colors and gold for the original owner of the book, whose portrait medallion appears in center of upper panel. A large vignette of Pliny the geographer at his desk, holding a compass within the capital "E" at beginning of text. Panels on left and right contain a winter scene, with caption "Renovera," and a mandrake and crown, respectively. The lower panels feature drawings of putti, animals, and garlands of leaves, and flowers. Medallion in the center of lower panel contains arms of Arcangelo Spigliati of the Spigliati family of Florence, featuring a tower surmounted by two lions rampant (see A. Marquand, Giovanni della Robbia. Princeton: Princeton Univ., 1920, page 162). Capitals on verso of leaf have in alternating red and blue ink.
2 columns of 38 lines. Written by 1 person in a rounded Italian gothic bookhand in olive-brown ink; rubrics in red minuscule. On folio 1r, 9-line initial parted red and blue on blue and red penwork; the remainder of the quotation from Inferno in a display script; on f. 2v, 3-line initials alternately in red and blue, on penwork of the opposite color; initials in the text slashed with red. f. 1r badly worn.
Written in France in the fifteenth century. Bought by Patrick Bruno, Altadena, CA, from Nicolas Pavlov, who had dismembered the original manuscript; leaves 1-6 each bears a small pencil notation lower left recto, “VA/85.” Bought from Bruno in February 1990 by Richard and Mary Rouse. Given to UCLA in 2005.
Written in Italy in the late fifteenth century, to judge from paleographical features and watermark. A tiny book meant for personal use, this text may once have belonged to a longer breviary but the prayers and readings represent a consciously selected self-contained unit. Bought from Bernard Rosenthal (his MS 75, penciled on front pastedown) in August 1988 by Richard and Mary Rouse. Given to UCLA in 2005.
Written in the Netherlands in the mid-15th century; Bodleian Library MS Marshall 109 (SC 5309) is similar in dimensions, content, and layout, although the script is not the same. Belonged to the Dutch bibliophile J. A. Dortmond (bookplate), his no. Hd 427. Purchased from Sam Fogg, Rare Books Ltd., London, in January 1993, by Richard and Mary Rouse. Given to UCLA in 2005.
Written in Italy in the second half of the thirteenth century, a fragment from a pocket-size sermon book produced by its user, judging by its inexpert script, simplicity of design and execution, and the poor quality of the parchment. Bought from Bernard Rosenthal (his MS 62, in pencil on inside of front cover) in August 1988 by Richard and Mary Rouse. Given to UCLA in 2005.
Francesco Melzi (1493-1570), 2 pen drawings. paper. 1.] Two grotesques, man with pointed chin and old woman, in profile facing each other. 2.] Two grotesques, old woman and smiling old man, in profile facing each other. Attributed by Carlo Pedretti to Francesco Melzi, a pupil of Leonardo da Vinci, they are copies of Leonardo sketches, some of which are in the collections of the duke of Devonshire at Chatsworth. Formerly attributed to Leonardo himself. From a set of twelve drawings of similar size in the collection of the earls of Pembroke at Wilton House, one of which is now at the Detroit Institute of Art (Gift of Edward Fowles). Given to the Elmer Belt Library by Mr. and Mrs. Edward Fowls in honor of Dr. Franklin D. Murphy in 1968.
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.
Possible range of dates based on textual reference to date of 1741 and handwriting style.Manuscript copy of notes in English on proportion and the art of drawing the human body, excerpted from English translations of Charles-Alphonse Dufresnoy's De arte graphica (The art of painting) and Giovanni Paolo Lomazzo's Trattato dell'arte della pittura (Treatise on the art of painting), and from William Cowper's The anatomy of humane bodies. Long before they were actually published, Leonardo's notebooks were freely loaned by his heir Francesco Melzi, and studied by numerous artists who used them to complete their own works. Giovanni Paolo Lomazzo's Trattato dell'arte de la pittura, which was published in 1584, contains many passages borrowed from Leonardo whose own treatise, Trattato della pittura, was not published until 1651, 67 years later. Dufresnoy came in contact with Leonardo's ideas by reading Lomazzo, and published many of them in his treatise, De arte graphica, which first appeared in 1668; see K.T. Steinitz, Leonardo da Vinci's Trattato della pittura. Copenhagen: Munksgaard, 1958, pages 10-12, 16-17. The present Belt manuscript, possibly compiled in England, also contains references to William Cowper's anatomical treatise on the human body on leaves r and , illustrated with a detailed and finely executed drawing of a human skeleton; leaf v contains notes on Cowper's proportions of the fetus, infant, child, and young adult. Other drawings illustrate the proper proportions of the human head, face, and hand. As a point of reference, the measurements are given on leaf v of a plaster model of a statue of Venus de' Medici, which was commissioned "by a grand duke's order in 1741 and lent to Lord Hobart in Brickling." The final page of notes refers to Leonardo da Vinci's studies on the proportions of a horse, accompanied by a full-page illustration of a horse with body parts and measurements labeled.
Script is in a single 17th-century hand, possibly that of a French scribe, suggested by pen scribblings in French in Chapter 263. Many of the spaces for illustrations have been left blank; in most cases, the location of these spaces conforms with the illustration spaces in the Du Fresne edition of 1651. Eighteen of the spaces contain very informal drawings and scribblings in pen and pencil which have no relation to Leonardo's Trattato. They were added later by artists at the end of the 17th century, which, as Steinitz indicates, suggests that perhaps the present copy "was in use in an artist's workshop in the high baroque period, close to the schools of Bernini and Borromini." These drawings include sketches of figures, as well as ornaments and architectural decoration in pencil, some of them redrawn or partially redrawn in pen and ink. Fabriano paper, with watermark of a saint carrying a cross, similar to Briquet 7628. Binding is old [17th- or 18th-century?] tree-calf paper over paper boards; brown leather spine and corners; gilt spine title "Manoscritto." Pencilled notes on front and back pastedowns indicate former ownership of Sir Thomas Phillipps, and Los Angeles bookdealers Zeitlin & VerBrugge, respectively, the latter dated March 9, 1946. Provenance: From the library of Sir Thomas Phillipps; "Phillipps MS 21154" above text on recto of first leaf.Manuscript copy of selected chapters from Leonardo's Trattato della pittura, probably from the first printed edition in Italian of 1651, edited by Raphael Du Fresne. Text of the manuscript begins and ends as the first edition of 1651, with 365 chapters, captions, and numbers. The unique element of this copy is the addition of three sections which do not appear in any of the other handwritten copies or in the printed editions. For a complete transcription of these three added chapters of Belt MS 34, see Steinitz, Appendix 7, page 232.
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 Italy in the second half of the thirteenth century, to judge from the ink, abbreviations, script, and decoration. The 12 leaves of Rouse MS 9 came from the same Bible as two leaves cataloged by Maggs in June 1984 (Bulletin 12, nos. 28 and 29). Acquired from Dawson’s Book Shop, Los Angeles, by Richard and Mary Rouse, April 1987. Given to UCLA in 2005.
Contents:1. ff. 1-3v, [Dowry and wives’ rights, ff. 1-2:] //[I]sta securitas potest continuari ad superiora ista forma(?). De quibusdam renuntiationibus ab uxore factis in precedentibus ... et non valent si ex intervallo apponentur etc. Presens securitas potest continuari ad superiora ista forma(?). De personis presentibus qui habent ... non tam competit actio mandata sed actio magna gesta. [Emphiteusis, ff. 2-3v:] [I]n isto instrumento auctor facit de concessione facta in emphiteosim a monasterio ... renovationes tamen fiunt sine predictis solennitatibus etc. [f. 3v:] [Q]uia quam fiunt renovationes ceteris temporibus ... et sic nota quod non dominus vincit dominum. [D]e concessione in emphyteosim facta ab ecclesia in precedentibus est ... consensus capituli interveniat si solvatur pensio per multis annis.//2. f. 4r-v, [Perhaps part of the introduction to this commentary:] Questiones et ad istas lites deducendas et resecandas ... et de ista loquamur. Am[illeg., 1or 2 words covered with offset from another text]. [E]xpositis generalibus documentis que in principio aliorum librorum solent dici ... quod ipse facere dignetur qui vivit per infinita secula seculorum Amen. Amemus. [U]sis generalibus documentis et exposita nostri libri ... quia scio quod meo erunt//3. ff. 5-6v, [Alienation, ff. 5-6v:] [P]resens instrumentum potest continuari ad superiora ista forma. De vendicionibus factis a privatis personis ... nichil ad presens. [I]stud instrumentum potest continuari ad superiora ista forma. De vendicione facta ab ecclesia in precedentibus est dictum ... et hic facias idem quo in precedenti dixi. [H]ic incipit secunda pars et ultima istius capituli in qua auctor ponit de alienationibus rerum mobilium ... in quibus habeo usufructum, incendio combuste sunt vel(?) earum vicio cerverunt tunc usufructus perit. [Serfdom, f. 6v:] [I]n isto presenti instrumento et sequenti auctor tractat de servitutibus et hoc dupliciter. Primo tractat de servitute rustica ... sed nostro modo accepta sic diff//4. ff. 7-8v, [Commercial law; text on 7r-v and 8r-v badly rubbed, making it impossible even to distinguish recto from verso. Two headings are legible; f. 7;] Pro certo pretio debet esse triplex ... [f. 8:] Questiones fidejussoris prestationes ...5. f. 9-12v, [Contracts:] //aliqua non bene dicta nam impossibile est ... suscepi vehementi affectione ut accedat demum(?) institutis ruina itaque ope(?) etc. [V]isis que in nostro prohemio restat nunc ut veniamus ad instrumenta ... et nota cum dicit arrarum conventione verborum [1 word illeg.] inter partes. [f. 9v:] [H]ic auctor noster voluit(?) tractare de prima parte note scilicet de contractibus et pactis ... [f. 11v:] si vere sunt date nomine arrarum// [lacuna of one or more folios; f. 12r:] Quia facit venditio in scriptis alias [hole] et hoc de secundo. Venio ad tercium ... quod quedam sunt voluntates(?) et// [catchword: quedam necessaria]Unbound.
Parchment (thick and stiff), in two pieces 217 x 170-175 mm (If the modern reconstruction is accurate, the calendar had a diameter of 606 mm.). Written on one side (the obverse is blank) by one scribe in a small rounded textualis with a few cursive tendencies in light-to-medium brown ink. Some saints’ names in red, names of months in red, dominical letter “A” in red and other dominical letters slashed with red. The two circles separating the saints’ names from the numbered grid is outlined in red; the third circle alternates in black, red, and uncolored square-shaped segments (from the intersection of lines on which saints’ names are written), two outer circles at the edges of the sheets in red. Red dots along grid axials.
Written in Germany in the middle of the fifteenth century, to judge from script, decoration, and the latest watermark; the copying, and perhaps the composition, are the owner’s. Acquired by Bernard Rosenthal, San Francisco, in or before 1983 (his no. 53, folio 1); bought from Rosenthal in March 1988 by Richard and Mary Rouse. Given to UCLA in 2005.
Written in Italy probably in the early sixteenth century, to judge from script and watermark. This codex dates from the time when scholars were arguing the authenticity of the Areopagite attribution. Ex libris effaced, f. l bottom margin. English typed label, s.XIXex, on front pastedown, on which is the number 75. Acquired from Krown & Spellman, 20 August 1988, by Richard and Mary Rouse. Given to UCLA in 2005.
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.