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View PDF of Manuscript MS0030 Horae Beatae Mariae Virginis The total number of illustrations, large and small, is 35. The miniatures are set in architectural frames and typical is the division of the picture-space into two sections by a descriptive scroll. This Book of Hours is illustrated in a style which is a successful blending of Italian and Northern influences. 16 lines of text per page with an area (justification) of 11.8 x 7.4 cm. View PDF of Manuscript MS0029 Horae Beatae Mariae Virginis Leaf 101, which is conjugate with leaf 97, is incorrectly numbered and should be leaf 100. Consequently, the text block is in the order received and the original location of leaves 53, 60, 61, 89, 94, and 95 is unknown. It was decided to replace the existing vellum guards, most of which had come loose, with goldbeater’s skin, but to leave the order of the leaves as they were. He guarded pairs of leaves to make folios and commenced to sew the book back together.

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Some of the leaves were probably broken free when the book was taken to the 19th century binder, and he apparently could not read Latin. hair or grain sides and flesh sides, it became clear that the previous restoration lost the original order. When a map was made of the vellum leaves, i.e.

However, neither collation is an accurate reflection of how the book was originally constructed. When the book was disbound it was clear that the actual collation was: A8, B6, C-F8, G2, H4, I8, J-K6, L-M8, N8(-1), O6, P6(-1). The cataloguer’s collation or description of the organization of the text block was: A6, B-D12, E6, F-H12, I-K8, L8(-1). Velvet black binding, sewn over 4 raised bands.ĭocumentation of this manuscript book exemplifies the difficulties encountered by a cataloguer in attempting to accurately describe a bound text. View PDF of Manuscript MS0028 Horae Beatae Mariae Virginis

A close association between the Pastons and Bromholm priory, Norfolk, suggests this as an early and possibly original provenance for the manuscript. Hence the manuscript was likely in use by the last two decades of the century. Margaret’s husband John Paston was legal counsel to Henry VII. Furthermore, the calendar includes notations of deaths in the Paston, Berney, and Mumford families - one referring to the death of Margaret Paston whose will, according to an enclosed letter form the British Records Office, was written in 1482. The first leaf done in a contemporary, though different, hand refers to King Henry VI (†1463), Henry VII (reigned 1485-1509), and the English “sweating sickness” that struck in the 1480’s. The potential subtlety of this otherwise forceful style is apparent in the delicate rendering of a cleric’s head emerging from the soft leaf patterns of an initial painted in monochromatic tones of rose (45v). The broad tones of pastel, the softly modeled, voluminous foliage, the spherical, lobed forms and golden discs are typical of English work from the 1440’s onward. The surging, rhythmic leaf patterns, sharply pointed initials, and explosive vine ornament are as aggressive as the Gothic book hand of the text. The standard English style of illumination practiced during the fifteenth century is readily distinguishable from its counterparts on the continent. Several decorated borders and initials, one historiated. Text in Latin: Prayer for Henry VI, Calendar, Psalms, Litany, Hours of the Virgin, Office of the Dead, Hours of the Cross, Prayers.

Abbey Foundation of Oregon Annual Reportsīook of Hours MS0027 Horae Beatae Mariae Virginisġ19 leaves (14.7 x 10.5 cm).

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