(Q2567)
Statements
Master of the Gerona Bible
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Perhaps from the Dominican church of San Jacopo di Ripoli, Florence; Cortlandt Field Bishop (1870-1935); his sale, New York, Anderson, 12 April 1915, lot 293; C. L. Ricketts; acquired by the Lilly Library with the Ricketts Collection in 1961.
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s. XIII(ex); 1285-1299
13. century
1285Gregorian
1299Gregorian
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Binding: Bound in massive wooden boards sewn on 7 double thongs, covered with leather, large metal fittings on sides and clusters of large pegs in thickness of all outer edges, stubs of 4 clasps and straps from the fore-edge and upper and lower edges of upper cover with corresponding pins on the lower cover; spine bare; many soft leather markers knotted together and suspended loosely between...
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Figurative details, ff.1r-.220v: 17 large historiated initials, showing the Entry into Jerusalem (fol. 1v), the Agony in the Garden (fol. 23v), the Crucifixion (fol. 41r), the sealing of the Tomb of Christ and placing three sentries to guard it (fol. 54v), the Resurrection (fol. 67v), the risen Christ appearing to the apostles (fol. 113v), Christ blessing (fol. 117v), David playing a psaltery...
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Other decoration, ff.1r-.220v: Rubrics in red, capitals touched in red, small initials in red or blue with penwork in the contrasting color; large and small painted initials throughout in lush floral designs on delicately decorated panels, some very large.
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Number of scribes, ff.1r-.220v: one.
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Script, ff.1r-.220v: Liturgical textualis.
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Music, ff.1r-.220v: Music in black neumes on 4-line red staves.
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Layout, ff.1r-.220v: Collation: i–xviii#^8#, xix–xx#^10#, xxi–xxvi#^8#, xxvii#^4+4# [once of 4, last originally blank,with 2 bifolia inserted probably in the late seventeenth century between iii and iv—now fols. 216–19—with the text now continuing through to fol. 220r], with horizontal catchwords (that on fol. 79v within a cartouche shaped like a fish) and a few traces of leaf signatures...
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Manuscript note: At least two other volumes from the same set of manuscripts survive, written by the same scribe and illuminated by the same artists. One is Los Angeles, J. Paul Getty Museum MS Ludwig VI.6, with antiphons from the first Sunday in Advent to Epiphany, with sanctoral. The second is London, BL, Add. MS 30084, bought in 1876, which follows with antiphons from the first Sunday after...
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Bibliography: De Ricci 1935, p. 630.
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ff.1r-.220v: The ms. preserves the designer’s written instructions to the illuminator, noting beside many of the spaces which the scribe had left whether the initial was to be painted as “folia”, i.e., a floral initial (e.g., fols. 170v, 184v and 201v), or “ystoriata”, which means with a picture (e.g., fols. 67v, 119v, 133r, 167r, 199v and 207v, all supplied with historiated initials...
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ff.1r-.220v: Latin.
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ff. 1-220r: Begins with the Magnificat antiphon for Vespers on the eve of Palm Sunday, followed by the summer portion of the Temporal to the first week after Pentecost, perhaps originally designed to end on fol. 164v, at the end of quire xx (see collation). Seven further gatherings now follow, with catchwords in smaller script, with antiphons for the Annunciation (fol. 165r, 25 March), the...
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Explicit, ff. 1-220r: Clarifica me pater.
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28 June 2023
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28 June 2023
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