{"id":15920,"date":"2021-10-02T02:38:17","date_gmt":"2021-10-02T02:38:17","guid":{"rendered":"https:\/\/manuscriptevidence.org\/wpme\/?p=15920"},"modified":"2022-10-24T01:54:30","modified_gmt":"2022-10-24T01:54:30","slug":"two-vellum-leaves-from-a-large-format-latin-breviary-in-gothic-script","status":"publish","type":"post","link":"https:\/\/manuscriptevidence.org\/wpme\/two-vellum-leaves-from-a-large-format-latin-breviary-in-gothic-script\/","title":{"rendered":"Two Vellum Leaves from a Large-Format Latin Breviary in Gothic Script"},"content":{"rendered":"
\"\"

Private Collection, MS 1, Fol. 1 (‘137’)r, Initial I (for Inclina). Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

A Pair of Non-Consecutive Leaves
\nfrom a Large-Format
\nLatin Breviary
\nin Gothic Script on Vellum<\/h2>\n

Circa 590 mm \u00d7 447 mm
\n< written area circa 397 \u00d7 307 mm>
\nSingle column of 15 lines
\nin Gothic Script
\nwith rubrications, embellished initials,
\nand reiterated medieval and modern ‘folio’ numbers<\/h3>\n

Folio 1 (‘130’)
\nVulgate Psalms (Septuagint Translation) 83:11 \u2013 84:12 (Veri-<\/em>[tas<\/em>])<\/h3>\n

and<\/h3>\n

Folio 2 (‘137’)
\nWithin Friday Matins:
\nHymn Tu Trinitatis Unitas <\/em>([ . . . Ne corpus<\/em> \/] assit sordidum<\/em> . . . Pater piissime<\/em>)
\nAntiphon Inclina Domine, <\/em>and Psalm 86 1:1\u201312 (Con<\/em>-[fitebor<\/em>])<\/h3>\n

14th or 15th Century, perhaps Italian or Spanish<\/h3>\n
\"\"

Private Collection, MS 1, Fol. 130r, initials B and R. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

Continuing to examine manuscripts and fragments in our blog on Manuscript Studies<\/a> (see its Contents List<\/a>), we turn to a pair of large, single leaves which arrived in a Private Collection several years ago, as a gift from another Private Collection.\u00a0 About this pair of leaves, we might exclaim:\u00a0 What beauties!<\/p>\n

For the current owner, with an interest in manuscript studies, especially medieval manuscripts, these leaves comprise the first in the library (mostly printed books about books).\u00a0 Hence the assigned number, “MS 1”, with two detached leaves (Folios ‘1’ and ‘2’ in the set) from the same original manuscript.<\/p>\n

The identity and origin of that manuscript remain, for now, unknown.\u00a0 Perhaps this blogpost, presenting the detached leaves to wider view through their photographs and related information, might bring to light more information about them and their travels across time and place.<\/p>\n

The pair came on their own, safely packaged with mats in a large shipping box, but without any accompanying information.\u00a0 That is, apart from the former owner’s recollection relayed in conversation and email.<\/p>\n

These two large leaves would have come as a purchase some years ago, in the late 1980s or early 1990s, at the New York Antiquarian Book Fair<\/a>, a repeated venue for some other purchases for the same collection.<\/p>\n

“The two large ones are German and quite late, if I remember rightly.\u00a0 I bought them from a German dealer at the NY Antiquarian Book Fair.\u00a0 No, I don\u2019t recall his name.\u00a0 It was a looong [sic] time ago.\u00a0 I suspect the two smaller ones [= MS 2, in another shipping] were purchased at the same venue, though different dealer.”<\/p>\n

On their own, the two leaves must or can speak for itself.\u00a0 We bring to the table the willingness to examine them closely, to admire their resonant beauty, and to see what they can say.\u00a0 Their story resides not only in the text, which can be deciphered, abbreviations and all, but also in the features of layout, script, decoration, rubrications, annotations, the animal skins for the writing surfaces, the traces of a former binding, and other forms of material evidence.<\/p>\n


\n[Update<\/em>:\u00a0 In a Comment below, Joanne Overty (see Joanne Filippone Overty<\/a>) observed that the pair “Looks like two leaves from a Northern Italian choir book<\/a> (probably from the psalter). Mid 15th c[entury].”\u00a0 We thank her for her contribution to knowledge about these materials.]<\/p>\n

Leaves 1 and 2 (or ‘130’ and ‘137’ according to numbers on their pages)<\/h2>\n
\"\"

Private Collection, MS 1, Fol. 137r with guide. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

\"\"

Private Collection, MS 1, Fol. 130r with guide. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

Made on vellum (probably calf- or cow-skin), the leaves originally belonged to a single large-format manuscript bearing liturgical texts in stately, upright Gothic script<\/a>, with rounded features.\u00a0 Enlarged and expertly embellished initials in blue and red pigment open sections (or verses) of the text.\u00a0 Those sections run together, as paragraphs.<\/p>\n

The text is Latin, laid out in single columns of 15 lines on the page.\u00a0 The written area of the column measures circa 397 \u00d7 307 mm, defined by a ladder-like grid of narrow parallel horizontal lines drawn in black ink.<\/p>\n

The main text is written in formal Gothic script<\/a> with rounded features.\u00a0 The bodies of the letters \u2014 the ‘lower-case’ minims (i<\/em>, n<\/em>, m<\/em>, u<\/em>) and such letters as a standard a<\/em>, c<\/em>, e<\/em>, etc. \u2014 stand between those horizontal hair-line rulings, which provide the grid to guide the script within the column and within the lines.\u00a0 This positioning conforms with a known shift in scribal practice which took place principally in the second quarter of the thirteenth century (to judge by surviving manuscripts), from “above top line to below top line” for writing the first line of text on a page within the ruled framework. This shift was memorably observed and described by N. R. Ker (“From ‘Above Top Line’ to ‘Below Top Line’ “<\/a> and ditto<\/a>).<\/p>\n

The openings of individual sections or verses are highlighted by enlarged initials, painted and “built-up” mostly in red or blue pigment in a rhythmically alternating sequence.\u00a0 They are provided with pen-line embellishment in the contrasting color, such that blue initial has red embellishment, and vice versa. One initial (the B<\/em> on Folio 130r) also has elements in green pigment filling parts of the background, within both the initial and the right-hand side of the frame.<\/p>\n

The ornamental scheme is simple, yet effective, without reaching higher realms with costlier pigments.\u00a0 Perhaps such levels were afforded by major openings of the text, or the volume itself.<\/p>\n

Inset within the text, the initials stand embedded in outlined rectangular frames which contain fillings of geometric and foliate ornament rendered expertly in pen-lines.\u00a0 Their effect resembles delicate filigree ornament.\u00a0 The pen-line frames and fillings are made in the contrasting color, to amplify the alternation, applying decoration in blue pen-lines to enclose the red initials, and red pen-lines to enclose the blue initials.<\/p>\n

With their frames, the ‘lesser’ initials, opening sections or verses, usually extend the full height of the ruled line and the interlines above and below it.\u00a0 Some initials encroach upon the lines of text in ink.\u00a0 The overlap of the ink letters over the colored pigments shows that the bichrome embellishment preceded the writing of the lines of text.<\/p>\n

Two major initials open passages of text, in each case individual Psalms.\u00a0 They appear midway down each recto at the right-hand side: B<\/em> (for Benedixisti<\/em>) on Leaf 1, and I<\/em> (for Inclina<\/em>) on Leaf 2.<\/p>\n

The initials stand within the areas inset for them within the lines of text.\u00a0 The B<\/em> stands 2-lines high; the I<\/em> stands 3-lines high.\u00a0 Both are blue, with red ornament.\u00a0 Whereas the bodies of all other painted initials are solid, the B has four inset patterns of diamond-shaped motifs left ‘in reserve’, or unpainted.\u00a0 They stand at top and bottom of the stem of the letter, and at the outer curve of each of its bows.<\/p>\n

One side of each leaf carries a ‘duplicate’ or reiterated set of arabic numbers in the lower outer corner, either 130<\/em> or 137<\/em>.\u00a0 That side is the hair side of the animal skin on one leaf (Folio ‘1’ or 130), whereas the hair side is turned to the verso on the other leaf (Foli0 ‘2’ or 137).<\/p>\n

The side with those numbers must be the recto of the leaf, as confirmed also by the stitching line of the inner margin, which stands at the inside of the leaf \u2014 that is, the left-hand side as we face that side, or page.<\/p>\n

\"\"

Private Collection, MS 1, Fol. 130v. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

\"\"

Private Collection, MS 1, Fol. 137v. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

Turning the leaf over, to view the next page (the verso), we can observe the unbroken continuation of the text from the recto, in the same layout, script, and style of decoration.\u00a0 In addition, there are faint, or discreet, entries in pencil in the lower margin.<\/p>\n

That the recto of each leaf in each case carries a more prominent decorated initial may have directed the decision to place the modern pencil entries on the verso. At the bottom of each verso there appear two entries, spaced at left and right.<\/p>\n

A seller’s code in a long string of letters (upper and lower case) and arabic numerals stands at the left.\u00a0 The price in US dollars stands at the right.\u00a0 For one leaf, the price was “$135.00”, and for the other “$155.00”.<\/p>\n

\u00a0\u00a0\u00a0\u00a0 Folio 130:\u00a0 5896nn4C13h5\/45ST\u00a0\u00a0\u00a0\u00a0\u00a0 $135\u2014
\nFolio 137:\u00a0 5896qq4C13h5\/45ST\u00a0\u00a0 \u00a0 \u00a0 $155\u2014<\/p>\n

Entered by the same hand apparently at a single time, presumably after the leaves had been removed from their book, these entries evidently pertain to a single stage in the history of the manuscript.\u00a0 The style of coding might be familiar to others acquainted with specific sellers of manuscript or other fragments in North American markets in the past half-century or so.\u00a0 If so, the authorship and the meaning of the different elements in the code might be revealed more clearly.\u00a0 Does, for example, the element C13 here designate a 13th-century date or conjecture?<\/p>\n

The seller’s codes might lead to information about when (and whence?) the leaves entered the inventory, and, by extension or inference, when that stock was sold, where, and to whom.\u00a0 As yet, those identities remain unknown.\u00a0 Might you have further information?<\/p>\n

We examine the leaves one by one.<\/p>\n

<\/p>\n

I.\u00a0 Folio 1 (‘130’)<\/h2>\n

The Recto<\/h3>\n
\"\"

Private Collection, MS 1, Fol. 130r with guide. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

We might see at a glance that this side is the recto of the leaf because its column of script stands between the inner margin (edged by the former gutter and its line of stitching) and the broader outer margin, which probably remains untrimmed in its original state.\u00a0 The outer margin carries several marks of orientation regarding both the sequence of the text and the position of the leaf within the sequence of leaves in the former volume.\u00a0 That the volume was bound is established by the stitching marks and stains along the fold of the former gutter.<\/p>\n

On the recto some marks appear in red pigment.\u00a0 In the outer margin opposite line 8 of the text stands the roman numeral cxxx.\u00a0 <\/span><\/strong>Indented at the end of the next line is the abbreviated heading p’s<\/span><\/strong> [for Psalmus<\/em>], which pertains to the text beginning with the initial B<\/em> in the following line.\u00a0 <\/span><\/p>\n

The lower outer corner has the arabic folio number 130<\/span><\/strong> likewise in red.\u00a0 The number is repeated to its lower right in brown ink.\u00a0 <\/span><\/p>\n

The elements in red apparently pertain to the original stage(s) of production and assembly of the manuscript.\u00a0 The ink numbering is presumably modern or early modern.\u00a0 It could pertain to the work of an owner, curator, or seller examining the volume leaf-by-leaf and recording their numbers in sequence, ‘translating’ the form of the medieval number cxxx<\/em> into a more familiar arabic numeral.\u00a0 The pair of numerals at the bottom comprise a form of dittography, offering identical twins:\u00a0 130<\/em> in red<\/span><\/strong> and again in black<\/strong>.\u00a0 <\/span><\/p>\n

The equivalent roman numeral cxxx<\/strong><\/span> in red midway in the outer margin appears to reinforce this numbering scheme.\u00a0 However, its location seems strange for a folio number, and the text does not belong to Psalm 130<\/a>.
\n<\/span><\/p>\n

\"\"

Private Collection, MS 1, Fol. 130r, lower right: Folio number in red. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

The Verso<\/h2>\n
\"\"

Private Collection, MS 1, Fol. 130v cropped. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

The Text:\u00a0 Parts of\u00a0 Psalms 83\u201384<\/h2>\n

The text on the leaf begins with a verse at the top of the recto and ends mid-verse at the bottom of the verso.\u00a0 Between these points, the text moves from the end of one Psalm through most of the next.<\/p>\n

First, we scrutinize the text, line by line.\u00a0 Having identified the text, we compare the reading on the leaf with some available online editions of the Latin versions.<\/p>\n

Let us consider the text, as laid out line-by-line on the two pages.\u00a0 Reading and looking progress hand-in-hand.<\/p>\n

First, how does the consecutive sequence of text take its place upon the leaf, recto and verso?<\/p>\n

1. Transcription<\/h3>\n

A transcription might guide the orientation.<\/p>\n

In the Vulgate Version<\/a> of the Bible, prepared by its translator Jerome<\/a> (who lived circa\u2009342 \u2013 c.\u2009347 until 420), the renditions of Book of Psalms<\/a> take form according to the translation from the Greek Septuagint<\/a> (LXX) and the translation from the Hebrew. Here the text follows the Septuagint Version.<\/p>\n

The text on the leaf starts partway through Psalm 83<\/a>.\u00a0 Side-by-side representations of a Latin edition and an English translation can be consulted in various sources, for example via biblehub.com<\/a> or CatholicBible.online<\/a>.<\/p>\n

Such a standard can provide a convenient base-line, adding the customary verse-numbers, supplying modern punctuation, standardizing the spelling, and expanding the abbreviations in a manuscript.\u00a0 From such editions, it is also possible to discern what span of text should be expected both before and after the isolated leaves in ‘our’ specimen.<\/p>\n

Here we show line-divisions conforming with the manuscript-layout, with its hairline upraised hyphens (–<\/strong>) indicating word-divisions at its line-endings.\u00a0 A forward slash (\/<\/strong>) indicates a division between one page and another, either preceding or following. Textual elements to be expected on adjacent, but now lost or unknown, leaves are indicated within angular brackets ([ ]<\/strong>).<\/p>\n

Psalm 83:11\u201313<\/strong><\/p>\n

\n
[On another leaf:\u00a0 Verse 10<\/span>
\n<\/span><\/strong>Protector noster, aspice, Deus, et respice in faciem christi tui. \/ ]<\/div>\n
<\/div>\n
Folio 130r<\/strong><\/div>\n
\n

11 <\/strong><\/span>Quia melior est dies una in atriis tuis
\nsuper millia;\u00a0 Elegi abiectus
\nesse in domo Dei mei magis quam
\nhabitare in tabernaculis peccatorum. 12<\/strong><\/span> Qui-
\na misericordiam et veritatem diligit Deus: grat-
\niam et gloriam dabit Dominus. 13 <\/strong><\/span>Non pri-
\nvabit bonis eos qui ambulant in in[-]
\nnocentia: Domine virtutum, beatus homo
\nqui sperat in te. p’s<\/strong> [=<\/span> Psalmus<\/strong>]<\/span><\/span><\/p>\n<\/div>\n

\n

Psalm 84<\/strong><\/span><\/span><\/p>\n

[Omitting the title or heading (In finem filius Core Psalmus<\/em>), often counted as verse 1<\/strong>]<\/p>\n

84:2<\/strong> Benedixisti Domine terram tuam
\navertisti captivitatem Iacob
\n2.<\/strong> Remisisti iniquitatem plebis tue.
\noperuisti omnia peccata eorum. 3.<\/strong> Mitiga-
\nsti omnem iram tuam: auertisti ab ira indi-
\nnacionis tue. 4<\/strong>. Conuerte nos deus \/<\/p>\n<\/div>\n

Folio 130v<\/strong><\/p>\n<\/div>\n

\n

salutaris noster: et auerte iram tuam
\na nobis. 5.<\/strong> Numquid in eternum irasceris
\nnobis: aut extendes iram tuam a ge-
\nneracione in generacionem.\u00a0 6.<\/strong> Deus tu conuersus vi-
\nuificabis nos: et plebs tua leta-
\nbitur in te.\u00a0 7.<\/strong> Ostende nobis domine misericordiam tuam:
\n& salutare tuum da nobis.\u00a0 8.<\/strong> Au-
\ndiam quid loquatur in me dominus deus: quo-
\nniam loquetur pacem in plebem suam.\u00a0 9.<\/strong> Et super sanctos suos: et in eos<\/p>\n

qui conuertuntur ad cor. 10.<\/strong> Uerumptamen pro-
\npe timentes eum salutare ipsius: ut
\ninhabitet gloria in terra nostra.\u00a0 11<\/strong>. Misericordi-
\na et ueritas obuiauerunt sibi: iusti-
\ncia & pax osculate sunt.\u00a0 12. Ueri- \/<\/p>\n

[Page break 130v \/ *131r]<\/p>\n<\/div>\n

2. The Sequence of Text on Adjacent Leaves in the Former Volume<\/h3>\n
Let us call those former leaves *129 and *131 \u2014 supposing that they carried numerals in the same sequence.<\/div>\n
<\/div>\n
Folio *129<\/strong><\/div>\n
<\/div>\n
The preceding leaf ended [or, if it survives, ends] Psalm 83:10, with these words:<\/div>\n
<\/div>\n
in faciem christi tui<\/em> \/.<\/div>\n
\n
\n

Folio *131<\/strong><\/p>\n

The following leaf, whether or not it survives, presumably began (or begins) mid-word in this place within Psalm 84:12:<\/p>\n<\/div>\n

\n

[\/-tas de terra orta est: & iusticia de celo prospexit.
\n13<\/strong>. Etenim dominus dabit benignitatem: & terra nostra dabit fructum suum . . . ]<\/p>\n<\/div>\n<\/div>\n

Other Siblings<\/strong><\/div>\n
<\/div>\n
Siblings from the same manuscript might be identified, wherever they might survive, by such identifying features, along with, for example, the reiterated ‘folio’ numbers.<\/div>\n

*****<\/h3>\n

II.\u00a0 Folio 2 (‘137’)<\/h2>\n

This leaf combines readings from more than one source text.\u00a0 Parts of a Psalm occupy some of the recto, fill the verso, and run over onto another (currently unknown) leaf, mid-word, ending with Con<\/em>-.\u00a0 Other texts, or parts of texts, on the recto represent different parts, or moments, of liturgical practice within a given service.<\/p>\n

The Recto<\/h3>\n
\"\"

Private Collection, MS 1, Fol. 137r cropped. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

The Verso<\/h3>\n
\"\"

Private Collection, MS 1, Fol. 137v cropped. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

The seller’s pencil annotations stand discreetly at the bottom, on the ‘lesser’ side of the leaf as might be considered with respect to monetary evaluation or the choice for display.\u00a0 At this scale of photographic viewing, the incompletely-scraped hair follicles of the animal skin are clearly visible.<\/p>\n

\"\"

Private Collection, MS 1, Fol. 137v, bottom left.. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

The Texts<\/h2>\n

1.\u00a0 Transcription<\/h3>\n

[Folio *136v<\/strong>:\u00a0 Opening of the Hymnus Tu Trinitatis Unitatis<\/em> <\/strong>within Friday Matins:<\/p>\n

\n
\n

Tu, Trinitatis Unitas . . .<\/p>\n

. . . Ne corpus \/ ]<\/p>\n<\/div>\n<\/div>\n

Folio 137r<\/strong><\/p>\n

assit sordidum, Nec torpor instet
\ncordium, Ne criminis contagio Tepe-
\nscat ardor spiritus. Ob hoc Redem-
\nptor qu\u00e6sumus, Reple tuo nos lumi-
\nne, Per quod dierum circulis, Nullis
\nruamur actibus.\u00a0 Pr\u00e6sta, Pater piissime,<\/p>\n

In primo noctorno Antiphon <\/span><\/strong>Inclina Domine.<\/span><\/span><\/p>\n

Ps 85 (86) <\/strong>[see the Parallel Latin\/English Psalter via https:\/\/medievalist.net\/psalmstxt\/ps85.htm<\/a>]<\/p>\n

01<\/strong>. Inclina, Domine, aurem tuam
\net exaudi me quoniam in-
\nops et pauper sum ego 02<\/strong>. Custo-
\ndi animam meam quoniam sanctus sum
\nsalvum fac servum tuum Deus meus speran-
\ntem in te 03<\/strong> Miserere mei Domine quo-
\nniam ad te clamabo tota die 04<\/strong> laetif-
\nica animam servi tui quoniam ad te Domine animam<\/p>\n

[r\/v]<\/p>\n

meam levavi 05 <\/strong>Quoniam tu Domine suavis
\net mitis et multae misericordiae ombinus invo-
\ncantibus te 06 <\/strong>Auribus percipe Domine
\norationem meam et intende voci de-
\nprecationis meae 07<\/strong> In die tribulatoris
\nmeae clamavi ad te quia exaudisti me|
\n8 <\/strong>Non est similis tui in diis Domine
\net non est secundum opera tua 09 <\/strong>Omnes gentes
\nquascumque fecisti venient et adora-
\nbunt coram te Domine et glorificabunt no-
\nmen tuum 10 <\/strong>Quoniam magnus es tu
\net faciens mirabilia tu es Deus so-
\nlus 11 <\/strong>Deduc me Domine in via tua et in-
\ngrediar in veritate tua laetetur cor
\nmeum ut timeat nomen tuum 12 <\/strong>Con-<\/p>\n

[v\/r]<\/p>\n

[\/-fitebor tibi Domine Deus meus . . .]<\/p>\n

2.\u00a0 The Texts<\/h3>\n

2.1.\u00a0 Hymn Tu Trinitatas Unitas<\/em> (in part)<\/strong><\/p>\n

The text on the leaf opens partway through the Hymn beginning Tu Trinitas Unitas<\/a> (“O Thou! who dost all nature sway”). This partial copy, or witness, extends from adsit sordidum nec torpor<\/em> to Presta, Pater piissimi<\/em> (Folio 137r, lines 1\u20136).\u00a0 The specific form of the Hymn corresponds to the one cited as “Pope Urban VIII<\/a>‘s 1632 reform of the Breviary<\/a>“, albeit with slight spelling variants.\u00a0 It also occurs in the Sarum<\/a> Breviary.\u00a0 Among “The Hymns of the Psalter” (see also, for example, Hymns for Psalms<\/a>, this one is listed for the canonical Hour<\/a> of “Friday at Matins<\/a>” in “The Hymns of the Breviary<\/a> and Missal<\/a>“.<\/p>\n

For example, as summarized in an examination (Tu Trinitas Unitas<\/a>) of the iterations of this Hymn during the liturgical year<\/a> and according to different Latin rites<\/a> or specifications for public worship:<\/p>\n

This hymn is used for Matins on Fridays throughout the year in the Extraordinary Form in the Roman Breviary<\/a>. In the Ordinary Form, this hymn is used for the hymn for Office of Readings on Fridays of Weeks I & III of Ordinary Time. It is also used for Lauds<\/a> on Trinity Sunday<\/a>. In the Sarum Breviary, it was used for Matins on Fridays throughout the year. In the Mozarabic Breviary<\/a>, it is listed as a hymn for Nocturns (Matins?) on Thursday in the old Hymnarium.<\/p>\n

2.2.\u00a0 Antiphon Inclina Domine<\/em><\/strong><\/p>\n

Line 7, standing offset to the left as part of the 3-line indentation for the initial I<\/em> of the next line, presents the rubricated heading In primo noctorno Antiphon<\/em><\/span> and the opening words in ink, Inclina domine<\/em>, which serve as its cue.<\/p>\n

This antiphon, a short chant sung as a refrain, is recorded, with its musical notation, more fully in many medieval manuscripts and early modern books, as listed, for example, in the Cantus Database for Latin Ecclesiastical Chant<\/a> .\u00a0 The antiphon is Cantus Index 00361<\/a>.\u00a0 For its recorded specimens, see the list for Inclina domine<\/a>.<\/p>\n

The phrase \u2018Presta Pater Piissimie\u2019 is the first line of the verse, which ‘our’ manuscript omits or elides:<\/p>\n

Pr\u00e6sta, Pater piissime,
\nPatrique compar Unice,
\nCum Spiritu Paraclito,
\nRegnans per omne s\u00e6culum. Amen.<\/p>\n

The verse is used as a chant on its own (https:\/\/cantus.uwaterloo.ca\/chant\/637805<\/a>\u00a0).\u00a0 For example, it figures as the last verse of \u2018Te lucis ante terminum\u2019, among others.<\/p>\n

2.3.\u00a0 Psalm 85 (86) (in part)<\/strong><\/p>\n

There follows the first part of Psalm 85 (86)<\/a>, again according to the Septaugint Version.\u00a0 It begins with the same phrase as the preceding Antiphon, Inclina domine aurem tuam <\/em>. . .<\/p>\n

Carrying over from recto to and through the verso, the text of the Psalm extends to verse 12.\u00a0 It breaks off mid-word in its first word at the bottom of the verso:\u00a0 Con<\/em>-[\/fitebor tibi Domine Deus meus<\/em> . . . ].<\/p>\n

The Sequence of Texts<\/strong><\/h2>\n
\"\"

Breviarium Monasticum (Venice, 1690), Title Page, via https:\/\/doi.org\/10.3931\/e-rara-25941 (Public Domain).<\/p><\/div>\n

Some or most of these texts reappear in many versions, or iterations, of Breviaries both in manuscript and printed editions.<\/p>\n

A precise match in terms of the sequence \u2014 albeit without mention of elements for specific occasions, such as the Allel<\/em> Antiphon for Temp. Pasch. <\/em>following the Antiphon Inclina Domine \u2014<\/em> appears, in the earliest attestation which we have found.\u00a0 Moreover, it shows the same (frequently attested) variant reading of deprecationes<\/em> (for orationes<\/em>) in Psalm 85:6.<\/p>\n

This match is the 1690 Monastic Breviary for Benedictine Use, printed in Venice in quarto format (Breviarium monasticum<\/a>) and available in a digital facsimile<\/a> .<\/p>\n

Breviarium monasticum : Pauli V. ac Urbani VIII. auctoritate recognitum pro omnibus sub regula SS. P. Benedicti militantibus … : cum officiis Sanctorum sub SS. D. N. Alexandro […]. Venetiis : sumptibus Pauli Balleonii, 1690<\/p>\n

\u00a0<\/em>(Zentralbibliothek Z\u00fcrich, Ro 133, via https:\/\/doi.org\/10.3931\/e-rara-25941<\/a> \/ Public Domain Mark.)<\/p>\n

The portions of text on the manuscript leaves correspond to pages 63 and 65\u201366 (images 63 and 65\u201366 in the facsimile) within the section for the Psalterium dispositum per hebdomadam secundum regulam sanctissimi P<\/em>[atri<\/em>]. Benedicti Cum Ordinario Officii de Tempore<\/em> (“The Psalter arranged for daily use according to the Rule of the Most Holy Father Benedict<\/a>, with the Ordinary of the Office according to the Season”).\u00a0 In the printed book, that section spans pages 1\u2013113 ( images 42\u2013155<\/a>).<\/p>\n

The frontispiece and opening page for that section set the scene.\u00a0 A framed image of the enthroned and inspired Psalmist, with crown and harp, faces the text in double columns with rubricated headings.<\/p>\n

\"\"

Breviarium Monasticum (Venice, 1690), Psalmist Frontispiece (image 42) facing Page 1, via https:\/\/doi.org\/10.3931\/e-rara-25941 (Public Domain).<\/p><\/div>\n

\"\"

Breviarium Monasticum (Venice, 1690), Page 1 (image 43), via https:\/\/doi.org\/10.3931\/e-rara-25941 (Public Domain).<\/p><\/div>\n

\"\"

Breviarium Monasticum (Venice, 1690), Page 50 (image 92, opening Feria V ad Matutinum, via https:\/\/doi.org\/10.3931\/e-rara-25941 (Public Domain).<\/p><\/div>\n

\"\"

Breviarium Monasticum (Venice, 1690), Page 63 (image 105), via https:\/\/doi.org\/10.3931\/e-rara-25941 (Public Domain).<\/p><\/div>\n

Breviarium Monasticum, Pages 62\u201363<\/strong><\/p>\n

Feria v. ad Matutinum<\/span><\/p>\n

. . . Psalmus 83.<\/span><\/p>\n

Qvam dilecta tabernacula tua . . .
\nqui sperat in te.<\/p>\n

Psalmus 84,<\/span><\/p>\n

Benedixisti Domine terram tuam . . .
\n& ponet in via gressus suos.<\/p>\n

Pages 65\u201366<\/strong><\/p>\n

FERIA SEXTA.
\nAd Matutinum<\/span>\u00a0 . . .<\/p>\n

Hymnus.<\/span> Tv Trinitatis unitas . . .
\n<\/em><\/p>\n

Pr\u00e6sta, Pater piissime . . .<\/p>\n

IN PRIMO NOCTORNO.<\/p>\n

Antiphona.<\/span>\u00a0 Inclina Domine.
\nTemp.Pasch.Antiphona.<\/span> Allel.\u00a0 Psal.85.
\nInclina Domine aurem tuam . . .<\/span> <\/span><\/p>\n

So far, a close look at the texts on the leaves indicates that they belonged almost certainly to a monastic breviary according to Benedictine Use.<\/p>\n

More research might show, for example, which community or location for which the former manuscript was intended, or for which it served.\u00a0 The absence of marks of use on the pair of leaves \u2014 apart from signs of wear and stains and remnants along the gutter from the spine of a former leather-covered binding \u2013 might indicate limited, or careful, use.<\/p>\n

The Place of the Leaves in their Book<\/h2>\n

The number 130 on Folio 1\/’130′ could be feasible as a folio number for a Psalter, if that were the only text in the original manuscript.\u00a0 Had we access only to this leaf, carrying only text from Psalms, we might believe that the manuscript was such a case.<\/p>\n

First, we consider the span of such a text in a volume, or portion, of its own.\u00a0 The Clementine Text Project<\/a> for the Vulgate lists the following 14 lines which \u2014almost \u2014 exactly cover the leaf.<\/p>\n

Disregarding its 84:1 (a form of title or heading for the Psalm), there are 13 lines here.\u00a0 Verse 83:11 is on line 1388 of the text.\u00a0 Assuming the same rate of script throughout, about 1388\/13 leaves would precede this one = 107 leaves.\u00a0 So this would be folio 108.\u00a0 That assumes that the first leaf started with the Beatus Vir<\/em> of Psalm 1:1.\u00a0 A table of contents, or any other prefatory text, might account for the other 22 leaves.<\/p>\n

That evaluation would be consistent with the pair of modern \u2018130\u2019 numbers (red pigment and black ink) at the foot of the recto.<\/p>\n

However, the other known leaf from the same manuscript, preserved in the same Private Collection, carries other liturgical Latin texts as well as portions from the Book of Psalms in the Vulgate Version.\u00a0 The rubrication midway down the outer margin carries a comparably large number, but this time paired with the abbreviation for Psalms:\u00a0 ps. cxxxvii<\/span><\/strong>, or ‘137’.<\/p>\n

The same number, ‘translated’ from those roman numerals afresh into arabic numerals (and absent the label for Psalms<\/em>), appears in the lower outer corner of the page, as 137<\/em> written both in red<\/span> pigment (medieval) and, below, in black ink (modern).<\/p>\n

At first glance (and more than first), they appear as folio numbers \u2014 rather than page numbers, because no comparable numbers appear on the versos. But the mid-page rubrications do not conform with the conventional numbering for Psalms.<\/p>\n

It remains uncertain what force or weight is carried, or intended, by those numbers, both cxxx<\/em> and cxxxvii,<\/em> and 130<\/em> and 137<\/em>.\u00a0 Might you know?<\/p>\n

The Decorated Initials and the Rubrication<\/h2>\n

Largest on the first leaf is the initial B <\/em>of Benedixisti <\/em>(Psalm 84:2).
\n<\/em><\/p>\n

\"\"

Private Collection, MS 1, Fol. 130r, initials B and R. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

This initial, alone among the embellished initials on both leaves, adds elements of green pigment to the ‘standard’ or ‘customary’ alternation of red and blue pigments for enhanced section initials.\u00a0 That standard for the variation is represented, or set, by the initial which stands inset two lines below, for the next verse:\u00a0 R<\/em> for Remisisti.<\/em><\/p>\n

Note that the initials and their decorated elements in pigment were placed upon the page before the writing of the script in black ink.\u00a0 The letters in ink overlie, and partly obscure, the decorated initials and their frame-like settings created by lines of penwork.<\/p>\n

Other initials claim attention similarly for their attention to detail and design.\u00a0 For example, on the verso of the same leaf:<\/p>\n

\"\"

Private Collection, MS 1, Fol. 130v, mid-section. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

On the recto of the same leaf:<\/p>\n

\"\"

Private Collection, MS 1, Fol. 130r top right. Photography Mildred Budny. Reproduced by permission.<\/p><\/div>\n

In each case, the initial itself, and\/or its decoration extends beyond the frame allocated to the initial, somewhat or more.<\/p>\n

*****<\/p>\n

The Original Manuscript and the Possible Date and Place of Origin<\/h2>\n

The elements of script and decoration on this detached leaf suggest an Italian, or Spanish, origin.\u00a0 (According to oral tradition, conveyed by the previous owner, the dealer in the 1980s or 1990s said that it was “German”.)\u00a0 The round, rotund script probably points to the fourteenth or fifteenth century.\u00a0 The highly abbreviated text is laid out in paragraphs rather than verse form, which might allow for a greater rate of text-per-leaf and text-per-page in the stately, upright script in a large-format book evidently designed for public liturgical performance.<\/p>\n

Further research might reveal the survival and distribution of other leaves from the manuscript.\u00a0 Given the size, they might not be hard to spot \u2014 that is, if they survive as full leaves or sets of leaves.\u00a0 The duplicate ‘folio’ numbers in red and black appear to offer instantly recognizable characteristics \u2014 that is, if they occur on other leaves.<\/p>\n

The distinctive penwork and its combination of decorative motifs \u2014 interlace, foliate motifs, and linear ornament \u2014 in the initials set within outlined rectangular frames might appear on other leaves, or some of them, as the work of a given scribal artist.<\/p>\n

*****<\/p>\n

Do you know of other leaves from this manuscript?\u00a0 Other works by the same scribe(s)?\u00a0Do you have suggestions about the probable date and place of origin?<\/p>\n

Please leave your Comments below, Contact Us<\/a>., or visit our Research Group Facebook Page<\/a>.<\/p>\n

Please let us know.<\/p>\n

More discoveries on the way.\u00a0 Please watch this space.<\/p>\n

*****<\/p>\n

 <\/p>\n","protected":false},"excerpt":{"rendered":"

A Pair of Non-Consecutive Leaves from a Large-Format Latin Breviary in Gothic Script on Vellum Circa 590 mm \u00d7 447 mm < written area circa 397 \u00d7 307 mm> Single column of 15 lines in Gothic Script with rubrications, embellished initials, and reiterated medieval and modern ‘folio’ numbers Folio 1 (‘130’) Vulgate Psalms (Septuagint Translation) […]<\/p>\n","protected":false},"author":2,"featured_media":15909,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0},"categories":[678],"tags":[1970,1929,251,6],"_links":{"self":[{"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/posts\/15920"}],"collection":[{"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/comments?post=15920"}],"version-history":[{"count":34,"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/posts\/15920\/revisions"}],"predecessor-version":[{"id":17329,"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/posts\/15920\/revisions\/17329"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/media\/15909"}],"wp:attachment":[{"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/media?parent=15920"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/categories?post=15920"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/manuscriptevidence.org\/wpme\/wp-json\/wp\/v2\/tags?post=15920"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}