Bryn Mawr College Library Special Collections


Suffrage of St. Barbara, Castle Hours #3

Medieval & Renaissance Manuscripts



MS 21 France, s. XV3

Castle hours #3, use uncertain

1. ff. 1r-12v

Calendar of Bruges pointing to the Diocese of Tournai, written in black and red. Saints include: Vincenti (22 Jan.), Amandi (6 Feb.), Adriani (4 Mar. and 9 Sept.), Bernardini (19 May), Ludovici regis francie (25 Aug.), Egidie (1 Sept.), Bertini (5 Sept.), Remigii (1 Oct.). f. 13r blank.

2. ff. 13v-17r Gospel Pericopes:

John 1.1-14, Luke 1.26-38, Matthew 2.1-12, Mark 16.4-20. f. 17v ruled, with border, but blank. f. 18r ruled, with a note in English in a much later hand.

3. ff. 18v-45r Office of the Virgin, use uncertain.

One Nocturn, three lessons. Prime: ant. Maria virgo, cap. Per te dei; None: ant. Germinavit radix, cap. Et radicavi.

4. ff. 46v-54r Penitential Psalms and Litany followed by prayers.

Among martyrs: Gervasi, Remigi; Confessors: Silvester, Yvo, Gregorii, Martine Augustine, Maure, Ieronime, Ambrosi, Hilarii, Arnulphe, Nicholae, Maxime, Germane, Firmine, Basili, Stephane, Lamberti, Adriane, Anthonii. Followed by three prayers: Deus cui proprium est misereris [Lyell Cat., p. 372, no. 85], Deus a quo sancta desideria, Fidelium deus omnium conditor [HE 101].

5. ff. 55v-57r Prayers to the Virgin and Suffrages.

Salve regina misericordie vita dulcedo [RH 18150]; O dulcis Maria; Interveniat pro nobis [Wilmart 530]; Ave regina celorum ave domina angelorum [RH 2070]; Omnipotens sempiterne Deus qui; Ave Maria gratia plena dominus tecum ita tu mecum sis virgo sacrata; Deus qui beatissimam Mariam. Suffrages to Mary Magdalen, Appolonia, Katherine.

6. ff. 57v-67r Suffrages to saints:

Andrew, Peter, Fiacre, Laurence, Nicholas, Quentin, James, Martin, John the Baptist, John the Hermit, Anthony, Sebastian, Adrian, Christopher, Maure, Lambert, Francis, Barbara, Margaret, Michael, Clement, Eligius, Gregory, and Anne.

7. f. 67v-69r Short Office of the Cross.

8. f. 69v-85r Office of the Dead, use uncertain.

Responses to the lessons at Matins: 1. Qui lazarum, 2. Credo quod, 3. Heu michi, 4. Ne recorderis, 5. Domine quando, 6. Peccantem me, 7. Requiem eternam, 8. Ne tradas, 9. Libera me.

9. ff. 85v-89r Six Prayers:

Avete omnes animae fideles [Leroquais, LH 2.341]; Domine Iesu christe salus et liberacio [Leroquais, LH 2.341]; Tuam crucem adoramus; Deus qui voluisti pro redemptione; O bone et dulcissime Ihesu per tuam misericordiam esto michi; Ihesu redemptor per gloriosam.

10. ff. 89r-90v Prayer added in a later hand:

Seigneur Jesus Christ filz Unique de dieu meetz ta passion, ta croix, et ta mort entre ton jugement et mon ame...

Parchment. f. i + 90 + ii, 140 x 104 (76 x 55) mm., modern foliation in lead. Written in 21 lines, ruled in red ink, single vertical and double horizontal bounding lines full across. Calendar, three columns, ruled for four columns with the first initial of each saint placed in the fourth column, with single horizontal and vertical bounding lines, except for a double vertical bounding line between the second and third column.

I-II6, III8 (-6 ,7), IV 8 (+ f. 24), V-VII 8, VIII 8 (+ f. 68), IX-X 8, XI 8 (-6, 7).

Written by a single scribe in lettre bâtarde.

The text is decorated with seventeen large miniatures each set inside a double frame, gold outside and red, white and black within, surrounded by a border of fruit, flowers and acanthus leaves in bright blue, red, green and a lighter pink connected by a few penwork vine stems in black and brown; the border background is filled with a thick scattering of small gold dots. (1) On f. 13v: the 4 evangelists, compartmentalized (John is on Patmos), illustrate the Gospels. (2) On f. 18v Matins of the Office of the Virgin begins with the Annunciation: inside the church Gabriel holds a scroll on which "ave gracia plena dominus tecum" is legible, the Virgin looks over her shoulder from her prayer book, God is inset in upper left corner. (3) On f. 24v the Visitation illustrates Lauds: Mary and Elizabeth meet on a road, a cityscape in the background behind a river, hills, and trees, all highly stylized. (4) Prime begins with the Nativity on f. 30v, Mary and Joseph worship on either side of the swaddled baby, the stable to the left, the city in the background. (5) Terce begins on f. 33v: The Annunciation to the shepherds depicts two standing men over whom an angel flies with a scroll reading "Gloria in excelsis deo. . ."; no animals are visible in this landscape. (6) On f. 35v Sext is illustrated by the Adoration of the wise men: Mary seated by the stable holds the baby while the wise men surround her. (7) The illustration for None, on f. 37v, depicts the Presentation in the temple: this crowded interior shows Mary and another woman holding a basket of doves beside an altar; the priest holds Jesus aloft. Several other men surround the women and the priest. (8) Vespers is illustrated with the Slaughter of the innocents on f. 39v, in this interior scene a mother sits on the floor at the lower left of the picture, she is clutching her bleeding child by one arm as a sword-wielding man pulls him by the other, her other child lies bleeding between them and two men at the far right of the picture. (9) The Flight into Egypt serves as the illustration for Compline on f. 42v, Mary's back is to us as she sits on the donkey which Joseph leads, his staff over his shoulder, Jesus peeks over Mary's shoulder. (10) David stands in the temple, his harp at his feet, for the Penitential Psalms on f. 45v. (11) The prayers to the Virgin are illustrated on f. 54v by a full-length radiant Madonna standing on a crescent moon holding a naked child; Suffrage of St. Christopher, Castle Hours #3an angel kneels in the lower left corner holding a red oval, perhaps an apple. The suffrages are accompaniedby four illuminations: (12) f. 57v, a full-length St. Andrew holds a book and a cross, (13) f. 60v, St. Anthony full-length with book and pig, (14) f. 62v St. Christopher fords the river with the Christ child on his shoulders, Christ holds out a cross; (15) f. 64v shows St. Barbara standing beside her tower. (16) The Office of the Cross begins with a crucifixion on f. 67v, Christ is flanked on the left by the Virgin, Mary Magdalen and Longinus who is wounding Christ with his spear while pointing to his eyes with his other hand; three men stand on the right. (17) The last full-size illustration, for the Office of the Dead on f. 69v, depicts the raising of Lazarus; Mary Magdalen and Christ stand to the left with two men behind them as Lazarus , wrapped in his sheet gets up from his pallet on the floor.

Three other, smaller illustrations are found at the end of the book accompanied by prayers. These illustrations are in the same frame and border, but they share the space inside the border with text. (1) The first, placed above the text on f. 85v, depicts a funeral service: a blue covered coffin is flanked by the clergy on the left and two black clad mourners on the right; nine lines of text fill out the space. (2) On f. 86v a resurrection scene shows a 3/4 Christ rising from his sarcophagus, the implements of his passion, including tongs, whips, the rooster, and a ladder, scattered around him; this illustration is between five lines of text above and four below. (3) Below eight lines of text on f. 87v the naked Christ child floats on a red pillow above the floor. The illustrations are noted for their limited palette of browns, greys, blacks, gold, red, blue and green, little shading, flat, stylized landscapes, or equally flat and stylized interiors.

On the pages opposite the large illuminations the text is placed inside a matching border and a 3/4 gold frame, open at the top. On f. 14r a six-line gold initial on a pink and blue rectangular ground embellished with white penwork stands outside the frame in the border; 6-line initials of similar design, placed inside the frame, begin the Office of the Virgin, the Penitential Psalms, the Office of the Cross, and the Office of the Dead. The Litany of the Saints begins with a 5-line initial across from the Madonna on f. 55r and a 3-line initial on f. 58r. The final smaller illumination on f. 87v also has the full border on the facing page. All the remaining leaves, including the calendar, are embellished with an outer margin border the length of the text only half the width of the margin depicting a single line of flowers and fruit connected by a single black penwork vine stem surrounded by the scattered small gold dots. Each gospel reading and the prayer on f. 88v are accompanied by a 6-line margin initial resembling the initial on f. 14r. Other 2-line initials of the same are used for the KL monogram and for the first initial of prayers, psalms, etc.; verses begin with alternating 1-line initials either blue with red penwork flourishes or gold with black flourishes. Rubrication throughout in pink.

Binding: eighteenth-century leather, gold-tooled with a frame of flowers around a scattering of fleur de lys, in the center a garland of vines The name BERTHELEMY appears in gold on the upper front cover and DU MONTYER on the back. This binding was conserved in 2004 through the kind gift of the Samuel N. & Mary Castle Foundation.

Written and illustrated in Northern France in the third quarter of the fifteenth century. Colophon at end of the Office of the Dead on f. 85r, in the same hand as the text: "Pertinet Guilberto Broulin qui les a faictes" suggests that the owner and the scribe were the same person. On f.18r a note written in English in a much later (and badly faded) hand: "This forgoing report of/ Duke of Lennox--Lord/ Chancellor [ ]/ is what was shewed to/ me as part of the/ of the [ ] of J. Borthwick/ of Crookston for the/ [ ] of one old/[ ] [ ] in/ England and after an/ inspection of it by the/ Guard officers no objection/ was moved agt the/ authenticity of it." Bookplate of John Borthwick of Crookston (1824-1907) inside front cover; written on bookplate in ink: "Number in Catalogue XXVIII". On f. ir in ink: "Ex Libris/ Jo. Borthwick de Crookstown". The name Berthelemy Du Montyer on the cover suggests ownership. Owned by Ethelinda Schaefer Castle of Hawaii, and given by bequest to Bryn Mawr College in 1971.


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Last Update: January 23, 2018