Collection ID: 0031 | Metadata type: TEI | TEI XML | Data

Title

Book of Hours for Sarum Use (Mostyn Hours)

Other related names

• Illustrator B of Fitzwilliam Museum 56, artist
• Hobart, Thomas, former owner (http://viaf.org/viaf/21494985)
• Mostyn, Thomas, Sir, -1758, former owner (http://viaf.org/viaf/68769160)
• Beatty, Alfred Chester, Sir, 1875-1968, former owner (http://viaf.org/viaf/54949096)
• Collins, Philip S., former owner
• Mary Schell Collins, former owner

Funders

• Council on Library and Information Resources

Call number

1945‑65‑6
(Philadelphia, United States, Philadelphia Museum of Art, Department of Prints, Drawings, and Photographs, Philip S. Collins Collection)

Alternate identifiers

• Leaves-of-Gold: 22
• deRicci: 17

Publisher

Department of Prints, Drawings, and Photographs

Language

Latin

Origin

Place

England

Summary

This Book of Hours was made in England (probably London) circa 1470. It is known as the "Mostyn Hours" after an eighteenth-century owner, and contains a calendar (fols. 1r-6v), the Hours of the Virgin (fols. 9r-116v), the Seven Penitential Psalms (fols. 118r-143v), the Gradual Psalms (fols. 145r-158r), the Office of the Dead (fols. 159r-205v), the Commendation of Souls (fols. 207r-227r), the Passion Psalms (fols. 228r-243r), and the Hours of the Passion (fols. 244r-276v) as well as various prayers and accessory texts. Unusually, the artist has painted miniatures showing scenes from the Passion of Christ at the opening of each of the Hours of the Virgin, as opposed to the more common infancy scenes. These full-page miniatures and their facing pages are framed by dense foliate borders inhabited by animals and birds. The artist has been linked with a number of other late fifteenth-century English manuscripts (and is known as "Illustrator B of Fitzwilliam Museum 56" after his work on a book now in Cambridge) but is thought on stylistic grounds to have trained in Rouen. Remarkably, this lavish manuscript also retains its original leather binding stamped with images of saints.

Notes

• Erasures of some text on fols. 40r-v and 135r-v
   
• Added prayers in a later hand, fols. 277r-278v and back flyleaf
   

Extent

I+278+i; 145 x 100 mm bound to 154 x 110 mm

Foliation

Modern foliation in pencil, upper right recto

Collation

1 (6), 2-35 (8)

Support

Parchment

Catchwords

Original catchwords, some trimmed away, on fols. 14v, 22v, 30v, 38v, 46v, 54v, 62v, 70v, 78v, 86v, 94v, 110v, 118v, 126v, 134v, 166v, 174v, 182v, 190v, 198v, 214v, 222v, 230v, 238v, 246v, 254v, 262v, and 270v

Binding

Original fifteenth-century brown calf; blind-stamped with decorated panels showing Saint John the Evangelist, Saint Barbara, Saint Catherine, and Saint Nicholas, repeated on upper and lower covers; leather and gilt brass clasp; edges gilded and gauffered with lozenges and circles

Layout

One column of fifteen lines; ruled in red ink; pricking visible; written area: 76 x 48 mm

Decoration

Fourteen full-page miniatures and fourteen illuminated initials, both with full foliate borders; some inhabited with animals, birds, and other figures; seven inhabited initials; numerous smaller illuminated and colored initials throughout, some with marginal sprays

Script

Gothic--textualis quadrata

Provenance

• Dr. Thomas Hobart; Thomas Mostyn MP, no. 91 in his collection (eighteenth century); sold by Sotheby's in London July 13, 1920 (lot 63); A. Chester Beatty; sold by Sotheby's May 9, 1933 (lot 56); Philip S. Collins, no. 9 in his collection (twentieth century); given by his wife, Mary Schell Collins, to the Philadelphia Museum of Art in memory of her husband (1945); various unidentified shelfmarks inside front cover and on flyleaf 1, including "MS No. 90," "W MS 100, III," and "(23)" as well as an unidentified "IM" monogram
   

Related resources

• Historical Manuscripts Commission, Report of the Royal Commission on Historical Manuscripts (London, 1874), no. 4, pt. 1, p. 356
• Eric G. Millar, English Illuminated Manuscripts of the XIVth and XVth Centuries (Paris and Brussels: Les Éditions G. van Oest, 1928), pp. 35, 40-41, 92, no. 309
• Roger S. Wieck, Time Sanctified: The Book of Hours in Medieval Art and Life, exh. cat. (New York: George Braziller in association with The Walters Art Gallery, 1988), pp. 131, 223, no. 113, fig. 122
• Kathleen L. Scott, Later Gothic Manuscripts, 1390-1490, A Survey of Manuscripts Illuminated in the British Isles, vol. 6 (London: Harvey Miller, 1996), vol. 2, pp. 329-330, 335, 339-340
• Jérôme Baschet, "Medieval Abraham: Between Fleshly Patriarch and Divine Father," MLN, vol. 108, no. 4, French Issue (1993), pp. 756 (n. 50)-757, fig. 8 (article: pp. 738-758).
• James R. Tanis (ed.), Leaves of Gold: Manuscript Illumination from Philadelphia Collections, exh. cat. (Philadelphia: Philadelphia Museum of Art, 2001), pp. 85-86, 118 n. 4, no. 22
• Laura Cleaver, "The Western Manuscript Collection of Alfred Chester Beatty (ca. 1915–1930)," Manuscript studies: a journal of the Schoenberg Institute for Manuscript Studies vo. 2.2 (2017), p. 480 (article pp. 445-482).

Keywords

• Book of Hours
• 15th century
• English
• Illumination
• Original binding
• England
• Devotion
• Notable binding

Licenses

• Text

  These images and the content of Department of Prints, Drawings, and Photographs, 1945‑65‑6: Book of Hours for Sarum Use (Mostyn Hours) are free of known copyright restrictions and in the public domain. See the Creative Commons Public Domain Mark page for usage details, http://creativecommons.org/publicdomain/mark/1.0/.

  URL

  http://creativecommons.org/publicdomain/mark/1.0/

• Text

  To the extent possible under law, Philadelphia Museum of Art has waived all copyright and related or neighboring rights to this metadata about Department of Prints, Drawings, and Photographs 1945‑65‑6: Book of Hours for Sarum Use (Mostyn Hours). This work is published from: United States. For a summary of CC0, see https://creativecommons.org/publicdomain/zero/1.0/. Legal code: https://creativecommons.org/publicdomain/zero/1.0/legalcode.

  URL

  https://creativecommons.org/publicdomain/zero/1.0/legalcode

Table of contents

• fol. 1r — Calendar
• fol. 7v — Prayer, "Ave virgo virginum"
• fol. 9r — Hours of the Virgin
• fol. 118r — Seven Penitential Psalms, followed by Litany and prayers
• fol. 145r — The Gradual Psalms
• fol. 159r — Office of the Dead
• fol. 207r — Commendation of Souls
• fol. 228r — The Passion Psalms
• fol. 244r — Hours of the Passion
• fol. 277r — Added prayers (seventeenth century?)

Decorations

• Inside front cover — Bookplate, Thomas Mostyn
• Inside front cover — Notations in pencil and ink
• Flyleaf 1 recto — Bookplate, Philip S. Collins
• Flyleaf 1 recto — Notations in pencil
• fol. 8v — Full-page miniature, Annunciation
• fol. 8v — Full foliate border with birds
• fol. 9r — Illuminated initial D
• fol. 9r — Full foliate border with bird and rabbit
• fol. 19v — Full-page miniature, Betrayal of Christ
• fol. 19v — Full foliate border with birds
• fol. 20r — Illuminated initial D
• fol. 20r — Full foliate border with birds
• fol. 51v — Full-page miniature, Christ before Pilate
• fol. 51v — Full foliate border with birds
• fol. 52r — Illuminated initial D
• fol. 52r — Full foliate border with bird
• fol. 60v — Full-page miniature, Flagellation of Christ
• fol. 60v — Full foliate border with birds
• fol. 61r — Illuminated initial D
• fol. 61r — Full foliate border with bird
• fol. 68v — Full-page miniature, Christ Carrying the Cross
• fol. 68v — Full foliate border with bird
• fol. 69r — Illuminated initial D
• fol. 69r — Full foliate border with birds
• fol. 75v — Full-page miniature, Crucifixion
• fol. 75v — Full foliate border with bird
• fol. 76r — Illuminated initial D
• fol. 76r — Full foliate border with bird
• fol. 82v — Full-page miniature, Descent from the Cross
• fol. 82v — Full foliate border with the face of Christ and Agnus Dei
• fol. 83r — Illuminated initial D
• fol. 83r — Full foliate border with peacock
• fol. 102v — Full-page miniature, Entombment of Christ
• fol. 102v — Full foliate border with angel
• fol. 103r — Illuminated initial C
• fol. 103r — Full foliate border with bird
• fol. 117v — Full-page miniature, Last Judgement
• fol. 117v — Full foliate border
• fol. 118r — Illuminated initial D
• fol. 118r — Full foliate border with birds
• fol. 144v — Full-page miniature, King David in Prayer
• fol. 144v — Full foliate border with rabbit
• fol. 145r — Illuminated initial A
• fol. 145r — Full foliate border with bird
• fol. 158v — Full-page miniature, Funeral scene
• fol. 158v — Full foliate border with monk
• fol. 159r — Illuminated initial D
• fol. 159r — Full foliate border
• fol. 206v — Full-page miniature, A soul carried to Heaven
• fol. 206v — Full foliate border
• fol. 207r — Illuminated initial B
• fol. 207r — Full foliate border with bird and animal
• fol. 227v — Full-page miniature, Mass of Saint Gregory
• fol. 227v — Full foliate border
• fol. 228r — Illuminated initial D
• fol. 228r — Full foliate border with birds
• fol. 243v — Full-page miniature, Agony in the Garden
• fol. 243v — Full foliate border with Veronica Veil
• fol. 244r — Illuminated initial D
• fol. 244r — Full foliate border with birds
• fol. 253r — Inhabited initial D, bird
• fol. 257v — Inhabited initial D, face
• fol. 260r — Inhabited initial D, animal hybrid
• fol. 262v — Inhabited initial D, bird
• fol. 267r — Inhabited initial D, Veronica Veil
• fol. 270r — Inhabited initial D, bird
• fol. 273v — Inhabited initial C, Agnus Dei
• Flyleaf 1 recto — Bookplate, Philip S. Collins
• Flyleaf 1 recto — Notations in pencil