Antiphonal-hymnal. Dominican Use (with an excerpt from De Musica by Jerome of Moravia O. P.)
| Manuscript location | ||
|---|---|---|
| Place | ||
| Repository | State Library of Victoria | |
| Collection | ||
| Shelf mark | RARES 096.1 R66A | |
| Former shelf mark | ||
| Manuscript name | ||
| Name | Antiphonal-hymnal. Dominican Use (with an excerpt from De Musica by Jerome of Moravia O. P.) | |
| Contents | ||
| Summary | Fols. 1-428r. Antiphonal-Hymnal. Fols. 1r-4r. Prologue of the tract of Jerome of Moravia O.P. De Musica, begins: Quoniam ut dicit Boetius in prohemio… and the text proper: Musica est motus vocum congra proportione… In this copy the excerpt begins in the middle of cap. XXI: Omnis cantus ecclesiasticus… and ends fol. 4r at the conclusion of cap. XXII… Benedicamus domino alleluya R. Deo gratias alleluia. Fol. 4r. Instructions to scribe re ruling and musical notation in the antiphonal and provisions for checking new book against exemplum Fols 4v–196v. Temporal for Advent to twenty-fifth Sunday after Pentecost Fols 196v–398r. Sanctoral. Fols 373v–397v. Common of the Saints Fols 398r–424r. Hymnal Fol. 424r. Antiphons for SS. Sebastian and Ivo; fols 425r–428v Office for the translation of St Thomas Aquinas. Special Dominican feasts include SS. Louis of France, Dominic, Lawrence, Peter Martyr and Thomas Aquinas. | |
| Physical description | ||
| Support | Parchment | |
| Dimensions | 285 x 200 mm | |
| Extent | i (modern parchment) + 428 fols + ii (modern parchment) | |
| Collation | 1-248, 254, 26-468, 474, 48-508, 515, 52-548 553, 564. | |
| Catchwords | Catchwords agree. | |
| Signatures | ||
| Foliation | Modern pencil foliation by tens; sixteenth-century pagination in Arabic numerals 1–10 on fols 4v–9r. Folio 424v is blank. The manuscript has recently been re-foliated in pencil with Arabic numbers appearing on every folio. | |
| Condition | ||
| Layout | Text space: 204 x 155mm. Written in black ink, faded to brown. Ruled in light brown ink, twenty-seven long lines or nine groups of four-line red staves with black square notation and words written beneath. Sometimes as many as four lines of text are interspersed between the lines of music. | |
| Scribes | Explicit on fol. 196v, Antiphonarium de tempore. A similar but later scribe has written on fols 424r and 425r–428v. | |
| Scripts | French littera gothica textualis written in black ink, faded to brown. | |
| Decoration | Initials in black, burnished gold, red or blue, finely flourished in blue or red, occupy the height of one line of text and a musical stave. They introduce various antiphons, verses and responses throughout the text. Smaller initials in the same colours and flourished in like manner introduce subsidiary verses and prayers. There are also black cadel initials flourished in black and sometimes with heads or floral motifs. Thirteen decorated initials with ivy-leaf infills, and twenty-three historiated initials, all about two staves and one line of text in height (approximately 45 x 45), introduce antiphons and responses for particular Offices etc. as detailed below. These initials are blue or pink and are set against rectangular grounds of pink, blue or burnished gold patterned with white tracery. Grotesques and dragons occasionally occur within the ivy-leaf tendrils of the decorated initials. The backgrounds of the scenes in the historiated initials have tessellated patterns in deep blue, red or pink. A narrow bar border in blue, red and gold extends from the decorated and historiated initials along the vertical margin. In pages with historiated initials the bar extends along three sides of the page terminating in fine ivy-leaf fronds or grotesques at the top of the page. Small ivy sprigs sprout from the bar itself. The decorated initials have a single vertical bar with fronds along the upper and lower margins. Colours are homogeneous for all the decoration: deep blues and rich vermilion are contrasted with paler hues of pink and bluish-grey and there is restrained but effective use of black, white and gold. Flesh tones and features are rendered in white and black in the draughtsmanlike technique characteristic of much early French gothic illumination. In the historiated initials almost no attempt is made to render a specific architectural setting; diapered and tessellated backgrounds predominate. Program of Decoration and Illustration The decorated and historiated initials are related to the text as follows: Fol. 1r. ‘O’ decorated initial. Omnis cantus: excerpt from De Musica. Fol. 4v. ‘A’ Annunciation. Aspiciens a longe: antiphon for responsory for first reading of first nocturn for matins for first Sunday in Advent. Fol. 35r. ‘H’ Nativity. Hodie: antiphon for 1st nocturn for matins for Christmas. Fol. 46v. ‘H’ Adoration of the Magi. Hodie in iordane baptizato Domine: matins for Epiphany. Fol. 54r. ‘D’ decorated initial. Domine ne in ira tua: matins for 6th Sunday after Epiphany. Fol. 80v. ‘E’ decorated initial. Ecce nunc tempus: matins for 1st Sunday in Lent. Fol. 125v. ‘A’ decorated initial. Alleluia for invitatory for Easter Sunday. Fol. 126r. ‘A’ Resurrection. Angelus Domini descendit: matins for Easter Sunday. Fol. 143r. ‘P’ Ascension. Post passionem: matins for Ascension. Fol. 147v. ‘C’ Pentecost. Cum complerentur: matins for Pentecost Fol. 154r. ‘B’ Decorated initial. Benedicat nos Deus: matins for Trinity Sunday. Fol. 197v. ‘C’ Martyrdom of St Andrew. Cum perambularet: matins for St Andrew. Fol. 207v.‘S’ Decorated initial. Stephanus autem plenus gratia: matins for St Stephen. Fol. 211v. ‘V’ Decorated initial. Valde honorandus: matins for St John, apostle. Fol .234r. ‘A’ Presentation in the Temple. Adorna thalamum tuam, Sion: matins for Purification of the Virgin. Fol .249r. ‘M’ Annunciation. Missus est Gabriel: matins for Annunciation. Fol. 253r. ‘V’ Decorated initial. Virtute magna reddebant Apostole: matins for St Mark. Fol. 257v. ‘O’ St Peter Martyr. O petre fidus: matins for St Peter Martyr. Fol. 261r. Decorated initial. Dulce lignum: matins for finding of the Holy Cross. Fol. 266v. Translation of St Dominic. Fulget decus ecclesie: matins for translation of St Dominic. Fol. 269r. ‘F’ Birth of St John the Baptist. Fuit homo missus: matins for Nativity of St John the Baptist. Fol. 276r. ‘S’ Crucifixion of St Peter. Simon Petre antequam: matins for feast of SS. Peter and Paul. Fol. 281v. ‘Q’ Martyrdom of St Paul. Qui operatus est petro: matins for feast of commemoration of St Paul. Fol. 287r. ‘L’ Christ and Mary Magdalen (Noli me Tangere). Laetentur omnes: matins for St Mary Magdalen. Fol. 294v. ‘M’ St Dominic and the Ladder. Mundum vocans: matins for St Dominic. Fol. 299v. ‘L’ Martyrdom of St Lawrence. Levita Laurentius: matins for St Lawrence. Fol. 305v. ‘V’ Dormition of the Virgin. Vidi speciosam: matins for the Assumption. Fol. 311v. ‘R’ St Louis. Rex regnum: matins for St Louis. Fol. 316v. ‘I’ Decorated initial. Invenit se Augustinus: matins for St Augustine. Fol. 324v. ‘H’ Nativity of the Virgin. Hodie nata est beata Virgo Marie: matins for Nativity of the Virgin. Fol. 334r. ‘F’ St Michael. Factum est silentium: matins for St Michael. Fol. 345r. ‘S’ All Saints. Summae Trinitate: matins for All Saints. Fol. 350v. ‘C’ Funeral service. Credo quod Redemptor: matins for commemoration of faithful departed. Fol. 369v. ‘E’ Decorated initial. Ecce ego mitto vos: common of apostles and evangelists. Fol. 398r. ‘C’ Decorated initial. Conditor alme siderum: hymn for first vespers of Advent. Fol. 404r. ‘A’ Decorated initial. Ad coenam Agni: hymn for first vespers of Easter. | |
| Musical notation | Red staves with black square notation and words written beneath. | |
| Binding | Seventeenth-century old calf over early but not contemporary boards with four brass bosses (fifth is lost), with brass corner pieces. | |
| Seals | ||
| Accompanying material | ||
| History | ||
| Origin | Paris, c.1335–45 | |
| Provenance | Inside the back cover in contemporary black ink is Correct pour la saison d’(h)iver. On fol. I verso is the impression of a shield with fleur-de-lys but no precise details of the arms remain. Inside the front cover is a stencilled lion rampant with the words ‘Sir T. P./Middle Hill/233’. On the spine is printed ‘no. 223’. Folio i verso has in a nineteenth-century hand ‘423’ and ‘48’. Folio ii verso has ‘W. H. Robinson 5.2.1947’. Inside back cover is evidence of a chain having been attached to the book.
The manuscript was acquired by Thomas Phillipps before 1824. It was sold at Sotheby’s in 1946.[i] W. H Robinson sold the manuscript to the State Library of Victoria in 1947. [i] Sotheby and Co, Bibliotheca Phillippica. Catalogue of a Further Portion of the Late Sir Thomas Phillipps Sale 1 July 1946, London, lots 8, 12, 29 (1946), p. 11. | |
| Acquisition | W. H Robinson sold the manuscript to the State Library of Victoria in 1947. | |
| Bibliography | ||
| Bibliography list | K.V. Sinclair,’Phillipps Manuscripts in Australia’, in The Book Collector, Vol. 2 (1962a), pp. 332–3.
K.V. Sinclair, Descriptive Catalogue of Medieval and Renaissance Western Manuscripts in Australia, Sydney, 1969, pp. 369–70.
M.M. Manion and V.F. Vines, Medieval and Renaissance Illuminated Manuscripts in Australian Collections, London, 1984, pp. 176-9.
J. Naughton, ‘The Poissy Antiphonary in its Royal Monastic Milieu’, La Trobe Library Journal, Vols 51, 52, 1993, pp. 38-49.
J. Stinson, ‘The Poissy Antiphonal: A Major Source of Late Medieval Chant’, La Trobe Library Journal, Vols 51, 52, 1993, pp. 50-9.
J. Naughton, ‘Manuscripts from the Dominican Monastery of Saint-Louis at Poissy’, Ph.D. dissertation, The University of Melbourne, 1995, pp. 75-97.
J. Naughton, ‘Books for a Dominican Nuns’ Choir: Illustrated Liturgical Manuscripts at Saint-Louis de Poissy, c. 1330-1350’, in The Art of the Book: Its Place in Medieval Worship, (eds), M.M. Manion and B.J. Muir, Exeter, 1998, pp. 70-110. J. Stinson, The Dominican Liturgy of the Assumption: Texts and Music for the Divine Office’, The Art of the Book: Its Place in Medieval Worship, (eds), M.M Manion and B.J. Muir, Exeter, 2002, pp. 171, 192-3.
J. Naughton, ‘Antiphonal-hymnal’, in B. Stocks and N. Morgan (eds), The Medieval Imagination: Illuminated Manuscripts from Cambridge, Australia and New Zealand, exh. cat, State Library of Victoria, Melbourne, 2008, p. 85, pl. 25, No. 25. | |
| Analysis | ||
| Commentary | Dr Joan Naughton has shown that this Antiphonal was produced in Paris as part of a group of Choir Books for the nuns’ choir at the Dominican monastery of St. Louis de Poissy in the period 1330-1346.[i] The liturgy is Dominican and covers the sung Offices for the camomical Hours for the temporal or seasonal feasts of the Church year, together with the Sanctoral cycle and the common of the Saints. The rich but refined program of the manuscript is described by Naughton as in keeping with the other manuscripts of the group King Philippe IV established the community of nuns at Poissyin 1304 and its chapel was built to commemorate Philippe’s grandfather Louis IX, who had recently been canonized. Naughton draws attention to the slightly later antiphon in this manuscript which is ‘associated uniquely with the altar of Saints Sebastian and Ivo in the nuns; choir and confirms the book’s Poissy provenance. Naughton further observes that ithe book was no doubt madebecause of the belated completlion of the nuns’ very grand churchin 1331. Its large new choir held four rows of stalls, two on either side. There was also a ‘great increase in the size of the community, which numbered around 150 members in 1350. With two Antiphonals and the provision of adequate choir stalls, the Office could be chanted in responsorial mode. The elegant style of both the initial decoration and the miniatures is characteristic of the high quality production of the workshop of Jean Pucelle which continued after his death in 1334. Attached to the main text of this Antiphonal is a Tonary and instructions for the writing and correcting of Dominican chant taken from Jerome of Moravia’s De musica. This was included in the Dominican archetype at the Convent of Saint Jacques in Paris. All copies of the Dominican revised liturgy, which was compiled in the mid 1250’s, had to conform to this exemplar. [i] M. Avril first indicated the probable Poissy provenance of this manuscript. For Joan Naughton see, Naughton (1993, 1995 and 2008). | |
| Description by | ||
| Acknowledgements | Digital imaging and research on this manuscript were supported by the Australian Research Council Linkage Grant, Medieval and Renaissance Manuscripts in Australia:Researching and Relating Australia’s Manuscript Holdings to New Technologies and New Readers (2010-13). Substantial donations from the Catholic Archdiocese of Sydney, Catholic Church Insurance and the National Australia Bank are gratefully acknowledged. The Catholic Diocese of Ballarat, The Network for Early European Research, and Newman College, The University of Melbourne, have also generously contributed to the project. Chief Investigators (CIs) of the ARC project were Professor emeritus Margaret Manion (The University of Melbourne), Professor Bernard Muir (The University of Melbourne), and Dr Toby Burrows (The University of Western Australia). Graduate research assistants were Alexandra Ellem, Dr Hugh Hudson, Dr Elaine Shaw and postgraduate scholar Elizabeth Melzer (The University of Melbourne). Shane Carmody was the representative of the Chief Industry Partner (The State Library of Victoria). The following curators, conservators, photographers and computer specialists at The State Library of Victoria also contributed their expertise: Katrina Ben, Des Cowley, Ian Cox, Adrian Flint, Ross Genat, Jean Holland, Shelley Jamieson, Afsana Khan, Coralie McInnes, Monika McIntyre, Helen McPherson, Peter Mappin and Sarah Mason. Other contributors, besides the ARC team, both in Australia and overseas, are acknowledged in relevant endnotes. These detailed entries draw on the information in earlier catalogues and also update it. In particular, they are based on the following: K.V. Sinclair, Descriptive Catalogue of Medieval and Renaissance Western Manuscripts in Australia, Sydney, 1969, M. M. Manion and V. F. Vines, Medieval and Renaissance Manuscripts in Australian Collections, London, 1984, and B. Stocks and N. Morgan, eds, The Medieval Imagination: Illuminated Manuscripts from Cambridge, Australia and New Zealand, Melbourne, 2008. Our debt to these pioneering publications and dependence on them are acknowledged here. Margaret M.Manion on behalf of the ARC team, October, 2013. | |
| Other descriptions | ||
| Digital copies | http://handle.slv.vic.gov.au/10381/205232 |