Several changes to the same prayer testify to this book’s adaptation, perhaps for continued use after the Council of Trent (1545-1563). Feminine forms in one of its prayers, the Obsecro te, indicate that it was very likely made for a female patron.Ģ. This book was certainly a deluxe production, made for a person of means. Script and decoration corroborate this dating, pointing to the manuscript’s creation in the second quarter of the sixteenth century, c. It may have been copied from a Book of Hours first printed in 1516, and was certainly copied before the reforms of the Council of Trent, which convened from 1545 to 1563 (see below).
The absence of a calendar and Litany make it difficult to localize it any further. Script and decoration point to this manuscript’s origin in Spain, as does the language of its rubrics. The likelihood that this continued to be used even after sweeping reforms of the Council of Trent warrants further research. The wording of the Spanish rubrics accompanying the Latin contents of this book suggests that it was probably copied from a Book of Hours printed by Jorge Coci. Sixteenth-century Spanish manuscript Books of Hours are rare intriguingly this book lacks miniatures or other figurative decoration. Skillful, calligraphic script and vivid, delicately decorated initials adorn this deluxe Book of Hours, produced in Golden Age Spain. EARLY BINDING of sixteenth-century(?) calf over wooden boards (rebacked), gilt-tooled and -stamped on front and back with simple double fillet rectangles, stamped at every corner by fleurons and enclosing two fleurons, spine with four raised bands, traces along the edges of both boards of two fore-edge clasps, now lost, minor worming and wear, edges gilt on all sides.
1v-2, 3v-4), but with no loss of legibility, some minor smudging, otherwise in excellent condition. 89, ink has faded on some leaves (see ff.
1 neatly cut away, with no loss of text, traces where paper(?) stuck to the top of f. 117, possibly by the scribe, four lines of text scraped away on ff. 1), some words blotted out in black ink on f. I (parchment) + 167 + i (parchment) folios on parchment, modern foliation in pencil, upper outer rectos, 1-167, incomplete with loss of leaf, at least one quire lacking at the end, and possibly lacking an opening quire and tipped-in miniatures (collation i-x 8 xi 4 xii-xiii 8 xiv 8 xv 8 xvi 6 xvii 6 xviii 6 xix 6 xx 6 xxi 6 ), ruled in light brown ink with full-length horizontal and vertical bounding lines, some prickings visible in the upper margin (justification 112-116 x 76-83 mm.), written in black ink in a very fine Iberian gothic rotunda bookhand on thirteen long lines, red rubrics, one-line paraphs painted in gold on green, red, or blue grounds, line fillers in green, red, or blue with gold tracery, one-line versal initials painted in gold on green, red, or blue grounds with gold tracery (perhaps without guide letters, as many of the initials are incorrect), two-line initials in the same style, but with more elaborate gold tracery often taking the form of floral infill, marking the beginnings of texts, eleven three- to four-line initials in the same style, some filled with delicate designs of flowers, even a bird and a snail, painted in gold, marking many major textual divisions, one five-line initial formed of acanthus, painted in gold and delicately shaded, on a blue ground (f.
0 kommentar(er)
