Seals, Angels, Trumpets and Incense: An Apocalyptic Prayer from a French Medieval Book of Hours (ca. 1420-30)

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    Medieval Books of Hours

    Books of Hours are usually fairly short, but they vary enormously in content and

    length as well as in decoration. Because the Book of Hours never received official

    sanction from the Church, it never achieved a truly standard form beyond the

    requirement that it include a version of the eight-prayer Hours of the Virgin.

    1

    Asurvey of surviving Books reveals a typical core layout consisting of (1) The

    Calendar; (2) Gospel extracts and two prayers to the Virgin Mary, namely ObsecroTeand O Intemerata;

    2(3) Hours of the Virgin; and (4) Penitential Psalms, Litany

    of the Saints, Hours of the Cross, Hours of the Holy Spirit, and the Office of the

    Dead. However, even these basic texts were not standardized, and may vary greatlyfrom manuscript to manuscript.

    3

    The Barilla manuscript

    Starting with this basic template, medieval scribes

    freely added or subtracted texts to suit the interests of their clients or, in the case of

    stock books made without commission, to conform with local devotional customs.

    The manuscript that concerns us isa Book of Hours, in Latin, written onvellum in

    northern France doubtless Paris4 in or around the period 1420-1430.

    5The intended

    region of use is not specified, but local deployment in Paris seems most likely. At thetime of its sale in 2012, the manuscript consisted of 206 leaves, misbound and lacking a

    number of leaves throughout. Leaves are 127 x 92 mm, unnumbered, typically 15 lines in

    brown ink in two sizes of fine early gothic bookhand, with rubrics in red ink, one-lineinitials in blue or gold with contrasting penwork, and two-line initials in gold on blue and

    pink grounds heightened with white penwork.6The hue of the rubrics indicates that the

    pigment is minium (red lead), while in the illuminated initials one may reasonablyassume that the blue ground is coloured using azurite and the pink using rose madder

    lake.7The larger initials are adorned in the borders with Rinceaux patterns, usually

    single-line foliate extensions terminating in gold and coloured flowers and fruit. Themanuscript contains seven three-quarter page miniatures, including the following scenes:

    Joachim and Anne (parents of the Virgin Mary) meeting at the Golden Gate of Jerusalem;

    the Last Supper; Christ in the Garden of Gethsemane; Christ before Caiaphas, the HighPriest; Mary Magdalene with the risen Christ, and St. Catherine. Many of these images

    employ a gold diapered background. Amongst the supplementary texts in the book is a

    version of the Fifteen Joys of the Virgin written in French.8

    The endleaves of the Book of Hours show ownership inscriptions of Frederick Fowler

    (England) dated 4 March, 1824. In the 20th

    century the book formed part of the collection

    of Giovanni and Gabriella Barilla in Geneva. Giovanni is descended from Italys famouspasta-making dynasty; his grandfather, Pietro Barilla, founded the Barilla group of

    companies in 1877.9Forconvenience, in this paper I will refer to the manuscript as the

    Barilla Book of Hours.10

    In March 2012, the book was sold at auction by Sothebys inLondon,

    11and soon afterwards individualpages from it were being offered for sale in the

    United States by Charles Edwin Puckett,12

    a dealer specialising in medieval and

    Renaissance manuscripts. Puckett identified the illuminations as the work of the schoolassociated with the Boucicaut Master,

    13a conclusion consistent with the timing and

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    location of the books manufacture, the style of its miniatures, and the high output of this

    scribal confederation. The Boucicaut School will be described in detail below.

    The prayer that is the focus of this paper is contained on two sides of a single leaf

    (frontispiece, below abstract; see ahead for enlargements of text).14

    The leaves

    immediately adjacent to it were not available for inspection.

    Historical milieu

    To aid an appreciation of its historical context, it may be helpful to consider that the

    Barilla manuscript was written in Paris around the time of Joan of Arcs ill-fated assault

    on the city in 1429. The capital was successfully defended by the Burgundian-Englishalliance, the Dukeof Bedford having delegated the defence of the city to the troops of

    Philip the Good.15

    Joan, who had accompanied troops commanded by the Duke of

    Alenon, was shot in the leg during their attempt on the city. The ensuing rout ended thepossibility that the capital might be re-taken for Charles VII.

    16

    Since most Parisians

    (particularly those of wealth and power) supported the Duke of Burgundy rather thanCharles, one may reasonably suppose that the Barilla Book of Hours was created for aclient sympathetic to the Burgundian alliance.

    Like other Books of Hours from this period, the Barilla document allows a glimpse intothe medieval mind-set of fervent belief and religious zeal, the environment from which

    Joan emerged with her mission. The Barilla miniatures include a large image of St.

    Catherine with her sword, while a number of the books prayers (including the one thatcommences in Fig. 2) invoke the archangel Michael. Both of these saints were frequent

    angelic visitants to Joan,17

    and she carried into battle a swordthat had been unearthed

    from beneath the altar of St. Catherines church in Fierbois.18

    Joans promoter andmentor, Yolande of Aragon, was greatly enamoured of beautiful Books of Hours,and had

    purchased the famousBelles Heuresof the Duke of Berry upon his death in1416.19

    Yolande is believed to have commissioned the magnificent Rohan Hours for her nephewand son-in-law, Charles VII, while John of Lancaster, the Duke of Bedford who had Joan

    tried and executed in 1431, appears to have commissioned the exquisite Bedford Hours as

    a gift for his Burgundian wife.

    The Boucicaut School

    In early 15th

    -century Paris, a group of loosely affiliated illuminators associated with themaster responsible for the Boucicaut Hours (Paris, Muse Jacquemart-Andr, MS 2)

    collaborated to produce illuminated leaves that were compatible in style, and thereby

    allowed the output of different individuals to be combined to form a single cohesivecodex.

    20This flexibility allowed for large-scale production of Books of Hours, while the

    recognizably consistent brand of International Gothic associated with books from this

    confederation whose clients included wealthy and powerful patrons ensured theirongoing desirability. Perhaps surprisingly, the requirement for underlying stylistic unity

    did not stifle creativity; on the contrary, the collaborative methods actually encouraged

    artistic innovation.21

    The independence of the school from the court of any one patron

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    was an additional bonus that proved invaluable in times of social upheaval, when

    individual fortunes were often short-lived; the output of Boucicaut-circlebooks actually

    peaked during the years when political conflict was at its most intense.22

    The Boucicautschool was particularly active from 1400 to 1430; the Barilla manuscript is attributed to

    the third and final decade of that period.

    Within the Barilla manuscript, it is evident that different sections have been written by

    different hands. In some cases, the inks used by different scribes have since faded to

    different extents; for example, a comparison of Figs. 1 & 2 (from the angelologicalsection) with Fig. 3 (from a different section, the Hours of the Holy Trinity) reveals

    systematic differences in the handwriting style of two individuals and in the present

    colour of their ink. In the borders of this book, the floral Rinceaux decorations thataccompany each hand conform to a common framework but nevertheless show clear

    compositional and stylistic differences; the same is true of the way in which capitals are

    illuminated or illustrated. The Apocalyptic prayer that is the focus of this paper (Figs. 1 &2) was reported by the vendor, Charles Edwin Puckett, to conclude a section of the

    Boucicaut School manuscript identified as the Hours of the Angels. In support of this, thecalligraphy and decoration of the text in the Apocalyptic prayer leaf and the content of itsmarginal illustrations match perfectly those of the other leaves available from this

    angelological section (not shown). The same scribe appears to have produced some other

    sections of the manuscript, too, such as the Hours of John the Baptist.

    The Hours of the Angels

    The set of supplementary prayers known as the Hours of the Angels is a relatively rare

    inclusion in Books of Hours. Versions are included in Les Heures de Savoie23

    (the Savoy

    Hours, ca.1335-1380) and in an unnamed Book of Hours (Tours, forthe use of Rome, ca.1500) catalogued as Bibliothque de Genve, Comites Latentes 124,

    24

    but I was unable to

    find any other mention of them in English, French or Latin. In the first manuscript, the

    Hours of the Angels are thought to have originally been the eighth of 54 sections,following on from the Hours of John the Baptist and preceding Several Prayers of Our

    Lady. In the second, there is no doubt about the placement; the Hours are the fifteenth of

    20 sections, following on from the Hours of John the Evangelist and followed in turn by

    miscellaneous prayers (including verses from St. Bernard and a prayer against the plague)and then by the Hours of the Sorrows of the Virgin. A position immediately after the

    Hours of John the Evangelist makes perfect sense, given the reliance of the Hours of the

    Angels on the visions contained in the Book of Revelation, which is traditionallyconsidered to have been written by John the Evangelist.

    To allow the Apocalyptic prayer from the Barilla manuscript to be compared with textsfrom the Hours of the Angels, extracts of these Hours from Comites Latentes 124 and

    from the surviving remnant of Les Heures de Savoie are provided towards the end of this

    paper.

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    Fig. 1. Enlargement of text on first page of the Apocalyptic prayer in the Barilla

    manuscript (leaf, recto). Digitally-added annotations (purple numbers) correspond toline numbers in the transcription (Box 1) and translation (Box 2). Authors collection.

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    Fig. 2. Enlargement of text on second page of the Apocalyptic prayer in the Barilla

    manuscript (leaf, verso). Digitally-added annotations (purple numbers) correspond toline numbers in the transcription (Box 1) and translation (Box 2). Authors collection.

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    The angelological section of the Barilla manuscript

    Although its section on angels was classified by Charles Edwin Puckett as the Hours ofthe Angels, the four other leaves from this section available for inspection at the time of

    writing contained only a catalogue of angelic ranks, devoid of rubrics related to the

    hours.

    25

    Among the text leaves from elsewhere in the manuscript that were available forinspection, many did contain hour-based rubrics; for example, line 9 in Fig. 3 showsAd

    terciam, the instruction for the hour of Terce, while the preceding page (i.e., the recto

    face of the same leaf; not shown) carries the rubric for Prime. This suggests that thecontent of the angelological section may actually not have been organized into Hours. If

    so, it is likely that the entire section provides an uninterrupted meditation on the angelic

    realm that was intended to be read in a single session.

    The four other leaves from the Barilla angelological section describe elements of the

    celestial hierarchy, and consist mainly of prayers and antiphons. For example, the maintext for the seventh order of angels through whom God dispenses his justice

    26

    is a

    prayer that translates:

    O God of all things, the just judge who sits in the throne of glory, you proclaimeverything in purity and equity, who created the seventh order of angels, called

    Thrones, amongst and in the midst of whom you sit still, and through and by whomyour signs and well-pleasing orders are dispensed, have mercy on us, who in manyways offend your justice, and declare and dispose of us not by the rigor of justice

    but according to the multitude of thy mercy.

    The incomplete numbering suggests the following scheme: [], Thrones (7th

    ),Dominations (6

    thorder), Principalities, Powers, Virtues (3

    rd), Archangels (2

    nd) and Angels

    (1st). The hierarchical sequence of the seven named orders follows that in theDe

    Apologia Prophetae David of St. Ambrose (4th

    century)27

    for the senior ranks and theHomiliaof St. Gregory the Great (6

    thcentury) for the junior ones, but the numerical

    assignations are the reverse of the usual sequence: idiosyncratically, the angels closest to

    God are here assigned the highest numerical value (9th

    order) and those closest to man,

    the lowest (1storder). Beginning with the angels closest to man, the account proceeds

    stepwise up the heavenly hierarchy and concludes with the Seraphim, the angels closest

    to God.28

    With its focus on the heavenly throne-room and the angels who stand directly

    before God, is entirely fitting that the prayer that forms the subject of this study shouldappear at this point in the sequence. Having arrived at the apex of the heavenly realms,

    the text embodies a culminative and climactic vision of this most exalted station.

    The Apocalyptic prayer

    The empyrean vision in the prayer is based largely upon verses from chapters 5 and 8 intheBook of Revelation(Rev 5 & Rev 8), the finalbook of the New Testament and one

    with which medieval readers were very familiar.29

    Although the text often provides a

    paraphrase of Biblical narrative, interjected with liturgical formulae, its wording islargely unique and seemingly unpublished, either in Latin or in English. A transcription

    and translation are therefore provided in Boxes 1 and 2.

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    Box 1. Transcription of the Apocalyptic prayer that concludes the angelological section

    of the Barilla Book of Hours.

    Segment #(purple inFigs. 1-2)

    01 caminaferte.*

    02 Sic quod ad immensamspeciem03 veniamus aperte.

    04 Oremus

    05 ORATI

    O

    06 Deus, qui tenes librum vitae septem signacula habentem

    07 qui aperis et nemo claudit, claudis et nemo aperit

    08 incuius conspectu stant septe

    mangeli cum tubis

    09 quibus datum est tuba canere ante thronumgloriae tua

    10 et octavus angelus cum turribulo aureum

    11 et incensis multis quaesunt orationes sanctorum12 incensant altare tuum q

    uod est ante oculos tuos or

    ationu

    modoramento

    rum

    13 misereri nost

    ri et aperi nobis iamiam vitae eternae graciae et virtutis

    14 et in voce tube angelice fac nos amortuis resurgere

    15 ad te ascendere et orati

    ones nostras ante et odorare

    16 per Christu

    m Domminum

    nost

    rum, Ame

    n

    17 ANTIPHON

    18 Regna polipande.

    19 michi mundi rector amande.

    20 Suscipe me blande.

    21 noli reprobare nephande.

    22 Oremus

    23 ORATI

    O

    24 Deus qui beatum michaelem archan[gelum]

    ---*End-rhymes within the antiphonal sections are highlighted inblue

    Superscript letters are inferred from an abbreviated form of the word in the manuscript (greywhen

    uncertain)

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    Box 2. Translation of the Apocalyptic prayer that concludes the angelological section ofthe Barilla Book of Hours.

    [end of an ANTIPHON]

    a

    01 carry on the way.

    02 So to the immensityof the sight

    03 Let us come clearly.

    04 Let us pray.

    05 PRAYER

    06 O God, who holds the book of life having the seven seals07 which you open and no one shuts, you shut and no one opens08 in whose sight stand seven angels with trumpets09 to whom it is given to sound the trumpet before your throne of glory10 and an eighth angel with a golden censer11 and many incenses which are the prayers of the saints

    12 they perfume your altar which is before your eyes with prayers of fragrance13 have mercy upon us and open to us right now the eternal life of grace and virtue14 and, at the sound of the angelic trumpet, ensure that we rise again from the dead15 ascending to you, our prayers perfumed before you,

    b

    16 by our Lord Jesus Christ, Amen.

    17 ANTIPHON

    18 Unfold the kingdom of heaven19 to me, beloved ruler of the world20 Receive me gently21 do not refuse the abominable

    22 Let us pray.

    23 PRAYER

    24 O God, who [sent?]the blessed archangel Michael

    ---aInferences and uncertain translations are shown in greybAssumes ante et adorareshould read ante te adorare

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    Fig. 3. Enlargement of text on a page (verso) from another section of the Barilla

    manuscript, comprising the end of Prime and beginning of Terce in Hours of the HolyTrinity. The hand is different to the one that penned the Apocalyptic prayer (Figs. 1 &

    2). Authors collection.

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    An overview of the prayer

    The prayer provides a sanitized extract of the early chapters of Revelation from which allof the attendant cataclysms and afflictions have been omitted. Perhaps this was done for

    the same reason that Hell hardly ever forms the subject of illustrations inBooks of Hours:

    the horror may have been thought too much for the medieval lay mind to bear.

    30

    Despiteits uncomfortable origins, the tone of this selective Apocalyptic vision is one ofIn

    Paradisumrather thanDies Irae. A quick check shows that the prayer shares none of the

    actual phraseology ofthe former, an antiphon from the liturgy of the Requiem Mass:

    In paradisum deducant te Angeli;

    in tuo adventu suscipiant te martyres,

    et perducant te in civitatem sanctam Ierusalem.

    Chorus angelorum te suscipiat,

    et cum Lazaro quondam paupere

    ternam habeas requiem.

    May angels lead you into Paradise;upon your arrival, may the martyrs receive you

    and lead you to the holy city of Jerusalem.May the ranks of angels receive you,and with Lazarus, once a poor man,

    may you have eternal rest.

    At the end of the Apocalyptic prayer we find the beginning of a prayer to the archangel

    Michael, the captain of the angelic hierarchy. It is presumably no accident that thecontent of the Apocalyptic prayer has substantial overlaps with the offertory trope for the

    feast of the archangel Michael (Michaelmas, 29 September), a commemoration that

    originally served as a celebration of the entire angelic host (St. Michael & All Angels):31

    Factum est silentium in celo quasi media hora

    et septem angeli stantes erant in conspectu Dei

    et date sunt illis septem tubae et venit alius et

    stetit angelus iuxta aram templi

    habens thuribulum in manu eis

    et data sunt ei incensa multa

    ut adoleret eam super altare aureum

    quod est ante thronum

    et ascendit fumus aromatum in conspectu Dei32

    There was silence in heaven for about half an hourand the seven angels that stood in the sight of Godto them were given seven trumpets, and there came also another, andthis angel stood by the altar of the temple

    having a censer in his handand there was given unto him much incense

    that he should burn it on the altar of goldwhich is before the throneand there arose a smoke of perfume in the sight of God

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    It is obvious that this text is a very close paraphrase of Rev 8:1-4, whereas the prayer in

    the BarillaBook of Hourstakes a more permissive approach to the wording.

    Theologically, the purpose of the angel at the altar (Rev 8:3-5) may be to link thepetition for justice of the saints, occasioned by the breaking of the fifth seal (Rev 6:9-11),

    to the series of plagues heralded by the trumpets (Rev 8:6-9:21).33

    The prayers sources, parallels and equivalences

    In this section we take key sentences and phrases with a view to identifying the scripturalorigins and/or liturgical parallels of specific concepts or formulae, with a particular

    interest in instances where extra-Biblical connections, approximations and equivalences

    have been used to simplify and condense the narrative. The obvious reason for takingsuch liberties is that they enhance the internal coherence of the text and provide a

    progression and flow that would otherwise be lacking.

    Segment 06 In Rev 5:1 John sees, in the right hand of God seated on the throne, a

    book written within and on the back side, sealed with seven seals. This book is taken bythe Lamb (Rev 5:6-8), who alone is judged worthy to open its seals (Rev 5:9); their

    subsequent opening visits a sequence of catastrophes on the earth (Rev 6). Much later in

    the Apocalypse (Rev 13:8, 17:8, 20:12-15 & 21:27), John mentions the Lambs book of

    life, which is used in the judgement of the dead: And I saw the dead, small and great,

    stand before God; and the books were opened: and another book was opened, which is

    the book of life: and the dead were judged out of those things which were written in the

    books, according to their works. [] And whosoever was not found written in the book

    of life was cast into the lake of fire.

    The identification of the book with seven seals (Rev 5:1) with the book of life

    (Rev 20:12-15) that we find in Segment 06 of the Barilla text is extra-Biblical, since the

    Book of Revelation does not actually say anything about the contents of the sealed scroll;the equivalence is based solely on the fact that both books belong to the Lamb. Since the

    opening of the seals on the first book unleashes one purifying cataclysm after another

    upon the earth, one might reasonably assume that this scroll has an actively punitive role

    towards the wicked, like the huge two-sided flying scroll described by Zechariah (Zech

    5:1-4),34

    Nevertheless, the idea that the sealed scroll is actually the book of life seems to

    have been well established by the 15th

    century and remained popular thereafter. For

    example, in an 18th

    century text we readquia solus in caelis dignus habitus est aperirelibrum vitae, et solvere septem signacula eius because He alone in heaven is worthy

    to open the book of life, and to loose the seven seals thereof.

    rather than simply being a record of everyones deeds (Rev 20:12) or a list of the

    names of the righteous (Rev 20:15). Moreover, the wording of Rev 20:12 and another

    book was opened, which is the book of life conveys a sense that this is a different book

    from the one with seven seals, whose last seal had been opened much earlier (Rev 8:1).

    35Indeed, the conflation of

    the two books persists in popular Christian literature to the present day, e.g. In this verse

    [Rev 5:1], we see God on His throne with a book sealed up with seven seals. This book,

    of course, is the book of life.36

    Some modern theological perspectives include a

    harmonization in which the sealed scroll combines attributes of Zechariahs flying scroll

    with that of the Lambs book of life.37

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    Segment 07 Rev 3:7; cf. Is 22:22, Rev 5:3 & Rev 20:12. Respectively, these verses

    read ...These things saith he that is holy, he that is true, he that hath the key of David, he

    that openeth, and no man shutteth; and shutteth, and no man openeth; And the key of

    the house of David will I lay upon his shoulder; so he shall open, and none shall shut; and

    he shall shut, and none shall open; And no man in heaven, nor in earth, neither underthe earth, was able to open the book, neither to look thereon; and And I saw the dead,

    small and great, stand before God; and the books were opened: and another book was

    opened, which is the book of life: and the dead were judged out of those things which

    were written in the books, according to their works.

    The segment in the prayer is also part of the Antiphon O Clavis David, appointed

    for Dec 20: O Key of David and sceptre of the House of Israel; you open and no one can

    shut; you shut and no one can open. Come and lead the prisoners from the prison house,

    those who dwell in darkness and the shadow of death. The application of the open/shut

    formula to the book with seven seals or the book of life, as done in the prayer, is an extra-

    Biblical innovation in which quite distinct sources are juxtaposed.

    Segment 08 Rev 8:2 And I saw the seven angels which stood before God; and to them

    were given seven trumpets. Here, the prayer adheres closely to the scriptural text.

    Segment 09 Rev 8:6 And the seven angels which had the seven trumpets prepared

    themselves to sound. The prayer conforms to the sense, if not the wording, of the

    Biblical text. Theologically, trumpet-blasts signal the intervention of God in history.38

    Segment 10 Rev 8:3 And another angel came and stood at the altar, having a golden

    censer Again, the prayer follows the sense but not the wording of the verse. The

    remainder of the verse is dealt with in the following segment, which continues the

    description of the angel with the censer / thurible.

    Segment 11 Rev 8:3 and there was given unto him much incense, that he should

    offer it with the prayers of all saints upon the golden altar which was before the throne.

    The Biblical verse indicates that the incense fumes accompany the prayers of the saints,

    whereas the Barilla text says that they actually arethe prayers of the saints. This

    identification almost certainly arises from Rev 5:8 And when he [the Lamb] had taken

    the book, the four beasts and four and twenty elders fell down before the Lamb, having

    every one of them harps, and golden vials full of odours, which are the prayers of saints.

    Like Segments 06 and 07, this segment of the Apocalyptic prayer conflates traditions

    from two distinct sources.

    Segment 12 This segment recapitulates the sentiments of the previous one. Again, the

    prayers and incense fumes are one and the same.

    Segment 14 Finally we segue from the Book of Revelation to the letters of Paul. The

    source text here is 1Cor 15:52, In a moment, in the twinkling of an eye, at the last trump:

    for the trumpet shall sound, and the dead shall be raised incorruptible, and we shall be

    changed.

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    While it has been instructive to consider in detail the sources and assumptions

    underpinning the Apocalyptic prayer that concludes the angelological section of theBarilla Book of Hours, we must now turn our attention to the nature of the section as a

    whole. As mentioned above, the angelological section has provisionally been identified as

    the Hours of the Angels, but it does not appear to contain any rubrics relating to thecanonical hours. It is therefore desirable to identify versions of the Hours of the Angels in

    other manuscripts with a view to comparing their structure and content to the available

    text from the Barilla manuscript.

    The Hours of the Angels in Comites Latentes 124

    Comites Latentes 124 is an unnamed Book of Hours (Tours, for the use of Rome, ca.

    1500) in the care of the Bibliothque de Genve.39

    The structure and composition of each

    canonical hour within the Hours of the Angels in this manuscript (folios 134v-142v)varies considerably. This section contain no miniatures. While the following extract tries

    to convey the general flavour of these Hours, it focuses on content that is of relevance tothe Apocalyptic prayer (and the subsequent invocation of St. Michael) in the Barillamanuscript.

    Matins[commencing 134v] Antiphon: Stetit angelus

    iuxta aram templi{An angelstood near the altar of the temple}, Response:Habeus turibulumaureumin Manu sua

    {having a golden censer in his hand}. Immediately thereafter, a list of devotions to the

    archangels with explanations of their names Michael (who is like God), Gabriel (the

    strength of God), Raphael (the healing of God) [134v]; then the psalm Te Deum[135r].Section concludes [135v] with Antiphon:Ascendit fumus aromatum{The perfumed

    smoke ascended}, Response:In conspectu domine Dei de manu angeli{before God, out

    of the hand of the angel}. The Latin quoted here is a close paraphrase of Rev 8:3-4.Lauds[commencing 135v] includes the Antiphon: Stetit angelusiuxta aram templi,

    Habens turibulum aureumin manu sua(Translated in Matins, see above) followed by the

    psalmJubilate Deo. Chapter: Michael and his angels fight the dragon and his angels.Hymn Christe sanctorum[ending 136r] to Michael, Gabriel, Raphael and the Virgin

    (discussed on p.17). Concludes [136v] with Prayer:Deus qui miro ordine angelor

    um

    (discussed on p. 17).

    Prime: [commencing 136v] Antiphon, with reference to Michael the archangel;

    Chapter, with reference to the angel that rolled away the stone on Christs tomb;

    concludes [137r] with a Prayer:Domine Deus pater omnipotens. Qui virtute potentie tue

    facis tuos spiritus. Et ministros tuos flamam ignis, fac nos in hac vita Spiritaliter vivere.

    Et corda mea igne tui spiritus indesinenter ardere. {Lord God, omnipotent Father, whomakes your Virtues and Powers spirits, and your ministers a flame of fire (cf. Psalm

    104:4), make us live spiritually in this life. And may my heart never cease to burn withthe fire of your spirit.}

    Terce[commencing 137r] includes the psalmExaudiat te dominus; Chapter [138r;

    Fig. 4]: Stetit angelus iuxta aram templi, habeus turibulum aureum inmanu sua.

    Et data

    sunt ei incensa multa. Et ascendit fumus aromatum de Manu angeli in conspectu Domini.

    Deo gra

    tias.(Translated in Matins, see above.) Concludes with a Prayer.

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    Fig. 4. Enlargement of text on folio 138r of Comites Latentes 124, from the hour of Terce. TheBiblical extract Stetit angelus, which is in heavy print near the centre of the page (line 12),

    commences with the largegold capital letter S on red ground. Image courtesy of Bibliothque

    de Genve, Switzerland.40

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    Sext[commencing 138v] Hymn invoking Michael, Gabriel, Raphael and higher

    angelic orders. Includes Response [139r]: Qui facis angelos tuos spiritus Et mini

    stros tuos

    flamam ignis{Who makest thy angels spirits, and thy ministers a flame of fire} (Psalm104:4).

    None [commencing end 139r] includes Chapter [139v]:Et omnis angeli stabant in

    conspectu throni et Seniorum Et quatuor animalium et ceciderunt infacies suas inconspectu Throni. Et adoraverunt Deum Dicentes Amen. Deo gratias.{And all the angels

    stood before the throne and the Elders and the four beasts, and fell upon their faces before

    the Throne, and worshipped God, saying Amen.} (Rev 7:11) {Thanks be to God.};concludes with a Prayer [140r] invokingBeati Michaelis et omnius angleorum cotidiana

    custodia. Ut hostis antiquus inimicus nostri procul recedat {Daily protection of St.

    Michael and all the angels. So that the old enemy, our enemy, is far away from us.}

    Vespers[commencing 140r] includes Chapter [140r] citingMichael princeps magnus{Michael, the great prince}; Hymn [140v] to Michael, Gabriel, Raphael; then the Canticle

    of Mary,Magnificat; then a Prayer [141r]:Deus cuius claritatus fulgore Beatus Michael

    archangelus precellit agminibus angelor

    umpresta quesumus. Ut sicut ille tuo dono meruit

    patriam possidere celestem, Ita nos eius precibus vitam Obtineamus eternam. Perdominum. {O God, by whose clarity the brilliance of St. Michael the archangel surpasses

    that of the host of angels, and just as he earned your gift of possessing a home in heaven,may we earn eternal life by his prayers. By the Lord.} (Part of a Collect for 8 May, on

    which the feast of St. Michael used to be celebrated).41

    Compline[commencing 141r] Includes Chapter [141v]:Ego Iohannes vidi angelumascendentem ab ortu solis habentemsignum Dei vivi. {I John saw an angel ascending from

    the rising of the sun [i.e., the east], having the seal of the living God} (Rev 7:2) [142r]Deo gratias. {Thanks be to God.} Response: Stabant o

    mnes angeli in circuito throni {All

    the angels were standing around the throne} Antiphon:Et adoraverunt Dominum In

    circuitu. Gloria patri.{And they worshipped the Lord all around. Glory be to the Father.}

    The Hours of the Angels in Les Heures de Savoie

    Of the estimated 340 folios of the enlarged Savoy Hours (ca. 1335-1370), only 26 have

    survived. Commissioned in the 1330s by Blanche of Burgundy,42

    and expanded after1361 by Charles V, it was in its time the biggest and richest Book of Hours in existence.

    Liturgically, it contained a veritable summa of all the possible or probable offices and

    prayers to be found in Books of Hours.43

    In 1409, it was gifted by Charles VI to hisuncle, Jean, Duc de Berry, whom it had greatly influenced. The book then disappeared

    for several centuries, during which time it suffered various injuries. In 1720, the

    rediscovered book was donated to the University Library of Turin, where it remained

    until it was destroyed by a major fire in 1904. In 1910, 26 leaves that had been removedfrom the original manuscript during its period of disappearance were unexpectedly

    discovered in the Catholic Episcopal Library of Portsmouth Cathedral; these are now inthe care of Yale University as Beinecke MS 390.

    44

    Most of the extant text relates to the

    commemoration of named saints, martyrs, etc., but a few pages are relevant to our current

    investigation. All of these date to the original commission by Blanche of Burgundy.

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    Folio 2v45

    is the start of aMemoire des Angres, where angreis a medieval French version

    of ange(angel)46

    and the rubric indicates a Memorial/Suffrage of the Angels.47

    This

    seemingly one-page section, which commences with a miniature of a group of angels,contains text which appears to be different to both the angel-related text in the Barilla

    manuscript and to the Hours of the Angels in Comites Latentes 124. It is thought to have

    been section 14 in the original Heures de Savoie,

    48

    while Une Messe des Angres(A Massof the Angels) believed to have been section 48 in the original49

    appears lost. The first

    half of theMemoire des Angresreads:Angeli archangeli throni dominationes principatus

    et potestates virtutes celorum cherubi et seraphin laudate dominum de celis alleluya

    Antiphon:In conspectu angelorum psallam tibi deus meus. Response:Adorabo ad

    templum sanctum tuum et confitebor nomini tuo.{Angels, Archangels, Thrones,

    Dominations, Principalities and Powers, Virtues of heaven, Cherubim and Seraphim [i.e.,the complete angelic hierarchy], praise ye the Lord from the heavens (Psalm 148:1)

    Hallelujah! Antiphon: Before the Angels I will sing praises to thee, my God. Response: I

    will worship towards thy holy temple and praise thy name (Psalm 138:2)}.

    Folio 5r

    50

    begins with a prayerDeus qui miro ordineangelorum ministeria hominum quedispensas concede propicius ut quibus tibi ministrantibus in celo semper assistitur: abhijs in terra vita nostra muniatur{O God, who in the dispensation of thy providence dost

    admirably dispose the ministry of angels and of men; mercifully grant that the holy

    angels, who ever minister before thy throne in heaven, may be the protectors also of ourlife on earth}. This prayer is identical to the one that concludes Lauds in the Hours of the

    Angels in Comites Latentes 124 (folio 136v). In the Savoy Hours, however, it is

    concluding the hour of Sext, since the next rubric on the page reads anonne des angres,i.e. the hour of None for the Angels. This Hour commences with a miniature depicting

    angels defending a knight in battle, accompanied by the standard introductory formulaDeus in adiutorium meum intende. Domine ad adviva

    ndum me festina. Gloria patri et filio

    et spiritui sancto. Sicut erat in principio et nunc et semper in secula seculorum. Amen.

    Alleluya.{O God, come to my aid. O Lord, make haste to help me. (cf. Psalm 70:1)

    Glory be to the Father and to the Son and to the Holy Spirit. As it was in the beginning, isnow and ever shall be, world without end. Amen. Hallelujah!} There then begins a hymnChriste sanctorum decus angelorum rector humani generis et auctor nobis aeternum

    tribue benignus scandere celum {Christ, glory of the holy angels, ruler of mankind, our

    creator, Thou who rulest over us, kindly grant that we climb up to heaven.} This hymn isthe same as the one for Lauds in the Hours of the Angels in Comites Latentes 124 (folio

    135v).51

    The complete hymn, attributed to Rabanus Maurus (8th

    -9th

    century), was

    traditionally used for Lauds on the feasts of the archangels Michael, Gabriel andRaphael.

    52

    Folio 5v53continues the Maurus hymn, as does folio 136r in Comites Latentes 124. 54Thetext common to the two manuscripts readsAngelum pacis michael ad istam celitus mitte.

    rogitemus aulam nobis ut crebro veniente crescant prospera cuncta. {Send your

    archangel of peace, Michael, from heaven; we ask that he often come to our dwelling, sothat all things may be favourable.}Angelus fortis gabriel ut hostem pellat antiquum

    volitet ab alto: sepius templum veniens ad istud visere nostrum.{Send your mighty

    archangel, Gabriel, that he may repel from on high the ancient enemy, watching over the

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    temples where you are worshipped.} At this point, two verses from the Maurus hymn (not

    shown) appear in Comites Latentes 124 but not in the Savoy Hours. Both manuscripts

    contain the concluding verse of the hymn, Prestet hoc nobis deitas beata patris ac natipariterque sancti spiritus cuius reboat in omni gloria mundo. Amen. {May this be granted

    to us, blessed God Father, Son and Spirit together whose glory resounds in all the

    world. Amen.} The text then diverges. In the Savoy Hours, this hymn is followed by apsalm of David that is not present in Comites Latentes 124.

    Although none of the 26 surviving Savoy folios contain the Stetit angelusformula that isrepeated in Comites Latentes 124, or the related wording from Rev 8:3 found in the

    Barilla manuscript, folio 12r55

    does provide an angel with a trumpet, namely the seventh

    angel of the Apocalypse. This particular angel is not mentioned in the Hours of theAngels in Comites Latentes 124. The Savoy text readsAngelus tuba cecinit et facte sunt

    voces magne in celo dicentes factum est regnum hujus mundi domini nostri et Christi eius,

    et regnabit in seculo seculorum. Deo gratias. {The angel sounded the trumpet, and therewere great voices in heaven, saying, The kingdom of this world is become that of our

    Lord and of his Christ, and he shall reign for ever and ever. (Rev 11:15) Thanks be toGod.} Response:Michael archangele. Alleluya. Alleluya.{Michael the archangel,Hallelujah! Hallelujah!}. There then follows a concluding prayer,Deus qui miro ordine

    angelorum, the same one that concludes Sext and Lauds in the Hours of the Angels in the

    Savoy Hours and Comites Latentes 124, respectively; this prayer has been discussedabove. Since the subsequent page (folio 12v) begins a Vespers, we may safely conclude

    that folio 12r represents the end of a None.

    Folio 12v56

    commences with the rubric A Vespres {For Vespers} and a miniature of two

    angels ministering to Christ during his temptation in the Judaean desert. The text begins

    with the formulaicDeus in adiutorium [] in secula seculorum. Amen. Alleluya, thesame phrases that introduced None in the Hours of the Angels in folio 5r (see above);

    they are matched by those introducing Vespers and many other Hours of the Angels in

    Comites Latentes 124. The first distinctive text follows the rubric Antiene {Antiphon}and reads Veni michael{Come, Michael}; it is followed by a psalm of David. Neither

    of these appears anywhere in the Hours of the Angels in Comites Latentes 124.

    Despite this last divergence, the presence in folio 12r of the same prayer that concludedSext in the Hours of the Angels and the text in that page describing an angel of the

    Apocalypse, along with focus of the miniature on angelic intervention and the

    summoning of Michael on the following page (folio 12v), combine to suggest that folio12 may represent a second leaf from the Hours of the Angels in the Savoy manuscript. If

    so, folio 12r actually contains the end of the None that we saw begun in folio 5r. The

    current folio numbering of Beinecke MS 390 reflects the order in which the 26 survivingleaves of the Savoy Hours appear in their current binding, which dates only to the 18

    th

    century,57

    and does not reflect the pagination of the original book. Accordingly, there is

    no real problem with finding the start of None in the Hours of the Angels and itsconclusion separated by an apparent 14 pages, as the two leaves may originally have been

    much closer together, and quite possibly adjacent. In an analysis published in French over

    a century ago, Count Paul Durrieu also concluded that both folios 5 and 12 originated in

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    the Savoy Hours of the Angels and calculated that they should have formed pages 219-

    222 in the main manuscript housed in Turin, where their absence was addressed by the

    insertion of two adjacent blank leaves.58

    The Turin codex, of course, is the volume thatburned in 1904.

    The pages text is fully consistent with the proposal that folios 5 and 12 were originallycontiguous, since folio 5v ends with the rubricChapitre (Capitulum, indicating that a

    brief scriptural passage will follow the psalm),59

    and folio 12r commences, with an

    illuminated capital, the textAngelus tuba cecinit, a passage taken from Rev 11:15.These two pages would originally have faced each other in the open book (Fig. 5).

    This conclusion implies the survival of the complete text for None in the Hours of theAngels from Les Heures de Savoie, a fortunate outcome for the present study. The

    many points of difference between it and the corresponding Hour in Comites Latentes

    124 highlight the extent to which the liturgy comprising the Hours of the Angels canvary between sources.

    Fig. 5. Segment concluding None in the Hours of the Angels of Les Heures de Savoie. These

    two pages would have faced one another in the original book, as simulated digitally here, butcurrently form folios 5 v (left page) and 12 r (right page) in BeineckeMS 390. Images courtesy

    of the Beinecke Rare Book and Manuscript Library, Yale University.60

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    Conclusion

    From a comparison of the surviving text for Sext, None and Vespers in Les Heures de

    Savoie with the corresponding segments of Comites Latentes 124 we can see that there is

    substantial variation between the Hours of the Angels in the two manuscripts. This leavesopen the possibility that the Apocalyptic prayer in the Barilla Book of Hours does

    conclude a section representing the Hours of the Angels in that manuscript. If so, the lack

    of hour-based rubrics in the known portion of the angelological section poses a problem.The discovery of aMemoire des Angresin the Savoy Hours, separate from its Hours of

    the Angels and also devoid of time-based divisions, suggests that the angelological

    section of the Barilla manuscript may actually be another text that is complementary to but distinct from a set of such Hours, e.g. an uninterrupted meditation on the angelic

    realm that was intended to be read in a single session. This idea is consistent with the

    fact that the content known to us is quite different in emphasis to that of the Hours of theAngels in the other two manuscripts.

    The Apocalyptic prayer that concludes the angelological section of the Barilla manuscriptprayer ignores the many afflictions and cataclysms of the Apocalypse and focuses wholly

    on the vision of the highest heaven and the Divine presence; it circumvents theDies Irae

    and deposits us directlyIn Paradisum. The specific imagery selected for inclusion, andthe manner in which it is combined, is in itself interesting. Beyond this, the prayers

    paraphrasing of Biblical passages makes a number of approximations and assumptions

    that inform about popular Christian belief of the time, such as the identification of theBook with seven seals (Rev 5:1) with the Lambs book of life (Rev 20:12-15). Concluded

    by a plaintive antiphon with ingenious end-rhyme, the beatific vision and intense longing

    of the prayer are artfully expressed in original wording that deserves to be more widelyknown and appreciated.

    Text Lloyd D. Graham 2014; v02_21.1. 14

    Psalm numbering in this paper follows that in the Authorised King James version of the Bible. Biblical

    quotations are from the same source.

    Online sources were accessed 14 December 2013 15 January 2014.

    1Harry Ransom Center, Books of Hours at the Ransom Center, University of Texas at Austin, online at

    http://www.hrc.utexas.edu/enews/2010/may/booksofhours.html.2Roger S. Wieck (1988) Time Sanctified: The Book of Hours in Medieval Art and Life, G. Braziller, New

    York, p.163-164 provides English translations of both prayers, which are otherwise difficult to find.3Christine G. Andrews (2002) The Boucicaut Masters, Gesta41 (1), 29-38, at 35.4Paris, the attribution in the Sothebys listing, is consistent with the grey colour of the gesso which can be

    seen where gold leaf has rubbed away from the border decorations. In many geographic locations

    Armenian bole was added to gesso to give it a pink, red or brown colour, whereas in Paris it was

    usual not to add this or any other colorant. See online at

    http://web.ceu.hu/medstud/manual/MMM/gilding.html.

    http://www.hrc.utexas.edu/enews/2010/may/booksofhours.htmlhttp://www.hrc.utexas.edu/enews/2010/may/booksofhours.htmlhttp://web.ceu.hu/medstud/manual/MMM/gilding.htmlhttp://web.ceu.hu/medstud/manual/MMM/gilding.htmlhttp://web.ceu.hu/medstud/manual/MMM/gilding.htmlhttp://www.hrc.utexas.edu/enews/2010/may/booksofhours.html
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    5Sothebys, The Collection of Giovanni and Gabriella Barilla, London, 14 March 2012, lot 43; online at

    http://www.sothebys.com/en/auctions/ecatalogue/2012/the-collection-of-giovanni-and-gabriella-

    barilla/lot.43.html.6The technical description of the manuscript (except for the identification of pigment materials) is taken

    from the description of the Sothebys lot, citation as in note 5.7

    A. Baker, Common medieval pigments, online at www.ischool.utexas.edu/~cochinea/pdfs/a-baker-04-pigments.pdf8Data from the Sothebys listing (note 5) about the contents of the book have been augmented with

    information fromhttp://www.cepuckett.com/catalogue.asp?state=Manuscript&class=11,where

    many miniatures and other pages from the manuscript were displayed at the time of access (27 Dec,

    2013).9Giulia Cambieri (2012) Pasta family to sell spaghetti porcelain, Campden FB (13 Feb), online at

    http://www.campdenfb.com/article/pasta-family-sell-spaghetti-porcelain.10The Barilla collection included other Books of Hours, but since they are not relevant to this paper there is

    no ambiguity in the proposed nomenclature.11Sothebys, citation as in note 5.12Website online athttp://www.cepuckett.com/.13Millard Meiss (1968) French Painting in the Time of Jean De Berry: The Boucicaut Master, Phaidon,

    London.14The bottom right of the rectopage is marked very faintly in pencil with 80 or 86, presumably added

    by the dealer prior to dissection of the book into individual pages.15Nancy Goldstone (2011) The Maid and the Queen The Secret History of Joan of Arc, Phoenix, London,

    p.148-156.16The Dauphin, now crowned king.17Willard Trask, ed. (1996)Joan of Arc in Her Own Words, BOOKS & Co./Turtle Point, New York.18Goldstone, The Maid and the Queen, p.122.19Goldstone, The Maid and the Queen, p.7.20Andrews, The Boucicaut Masters.21Andrews, The Boucicaut Masters.22Andrews, The Boucicaut Masters.23Paul Durrieu (1911) Notice dun des plus importants livres de prires de Charles V: Les Heures de

    Savoie ou Trs belles grandes heures du Roi,Bibliothque de l'Ecole des Chartes72, p. 500-555,

    at p.502, 505, 516, 526, 539-541. Online athttp://www.persee.fr/web/revues/home/prescript/article/bec_0373-6237_1911_num_72_1_448421.

    24Online athttp://www.e-codices.unifr.ch/en/description/bge/cl0124.25The description of the sixth order commences on a rectopage with the faint pencil numbering 74,

    while that of the seventh starts on one numbered 76. From this and note 14, it may be inferred that

    these pages appear shortly before the Apocalyptic prayer, as claimed by the dealer.26Gustav Davidson (1967)A Dictionary of Angels, The Free Press, New York, p.289.27In Ambroses scheme, the first four orders follow the sequence given by Paul in Colossians 1:16.28The leaf describing the final rank / highest angels was not actually sighted, but there is little scope for any

    alternative possibility.29One may reasonably claim that many of the miniatures in Books of Hours, as well as the illustrations on

    Trump cards in the early Tarot decks, emerge from the medieval Apocalyptic tradition. See for

    example, Robert ONeill (2013) Tarot Imagery, Part VIII, 19 Sep, online at

    http://www.tarot.com/tarot/robert-oneill/tarot-imagery .30Roger S. Wieck (2008) Prayer for the people: the Book of Hours, In: A History of Prayer: The First to

    the Fifteenth Century, ed. Hammerling, Brill, Leiden, p.339-440, at p.414.31Catholic Activity: Feast of St. Michael the Archangel, online at

    http://www.catholicculture.org/culture/liturgicalyear/activities/view.cfm?id=1155 .32Latin excerpt from Gunilla Iversen (1996) Supera agalmata Angels and the celestial hierarchy in

    sequences and tropes: Examples from Moissac, In:Liturgy and the Arts in the Middle Ages: Studies

    in Honour of C. Clifford Flanigan, ed. Eva L. Lillie & Nils H. Petersen, Museum Tusculanum Press,

    Copenhagen, p.95-133, at p.113-114.

    http://www.sothebys.com/en/auctions/ecatalogue/2012/the-collection-of-giovanni-and-gabriella-barilla/lot.43.htmlhttp://www.sothebys.com/en/auctions/ecatalogue/2012/the-collection-of-giovanni-and-gabriella-barilla/lot.43.htmlhttp://www.sothebys.com/en/auctions/ecatalogue/2012/the-collection-of-giovanni-and-gabriella-barilla/lot.43.htmlhttp://www.ischool.utexas.edu/~cochinea/pdfs/a-baker-04-pigments.pdfhttp://www.ischool.utexas.edu/~cochinea/pdfs/a-baker-04-pigments.pdfhttp://www.ischool.utexas.edu/~cochinea/pdfs/a-baker-04-pigments.pdfhttp://www.cepuckett.com/catalogue.asp?state=Manuscript&class=11http://www.cepuckett.com/catalogue.asp?state=Manuscript&class=11http://www.cepuckett.com/catalogue.asp?state=Manuscript&class=11http://www.campdenfb.com/article/pasta-family-sell-spaghetti-porcelainhttp://www.campdenfb.com/article/pasta-family-sell-spaghetti-porcelainhttp://www.cepuckett.com/http://www.cepuckett.com/http://www.cepuckett.com/http://www.persee.fr/web/revues/home/prescript/article/bec_0373-6237_1911_num_72_1_448421http://www.persee.fr/web/revues/home/prescript/article/bec_0373-6237_1911_num_72_1_448421http://www.e-codices.unifr.ch/en/description/bge/cl0124http://www.e-codices.unifr.ch/en/description/bge/cl0124http://www.e-codices.unifr.ch/en/description/bge/cl0124http://www.tarot.com/tarot/robert-oneill/tarot-imageryhttp://www.tarot.com/tarot/robert-oneill/tarot-imageryhttp://www.catholicculture.org/culture/liturgicalyear/activities/view.cfm?id=1155http://www.catholicculture.org/culture/liturgicalyear/activities/view.cfm?id=1155http://www.catholicculture.org/culture/liturgicalyear/activities/view.cfm?id=1155http://www.tarot.com/tarot/robert-oneill/tarot-imageryhttp://www.e-codices.unifr.ch/en/description/bge/cl0124http://www.persee.fr/web/revues/home/prescript/article/bec_0373-6237_1911_num_72_1_448421http://www.cepuckett.com/http://www.campdenfb.com/article/pasta-family-sell-spaghetti-porcelainhttp://www.cepuckett.com/catalogue.asp?state=Manuscript&class=11http://www.ischool.utexas.edu/~cochinea/pdfs/a-baker-04-pigments.pdfhttp://www.ischool.utexas.edu/~cochinea/pdfs/a-baker-04-pigments.pdfhttp://www.sothebys.com/en/auctions/ecatalogue/2012/the-collection-of-giovanni-and-gabriella-barilla/lot.43.htmlhttp://www.sothebys.com/en/auctions/ecatalogue/2012/the-collection-of-giovanni-and-gabriella-barilla/lot.43.html
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    33Ranko Stefanovic (2006) The angel at the altar (Revelation 8:3-5): A case study on intercalations in

    RevelationAndrews University Seminary Studies44 (1), 79-94; online at

    http://www.auss.info/auss_publication_file.php?pub_id=1117&journal=1&type=pdf.Stefanovic

    makes an interesting case for parallels between Rev 6:9-11 and Rev 8:3-5, taken in combination, and

    the Hebrew service of the evening Temple sacrifice (tamid).34

    A further scroll in Revelation, the little scroll of Rev 10:8-11, has a direct parallel in the two-sidedscroll shown to Ezekiel which contained lamentations, mourning and woe (Ezek 2:9-10); both of

    these scrolls are eaten by the relevant seer and taste as sweet as honey, but subsequently lead to

    bitterness. This obvious equivalence counts against any attempt to identify the sealed scroll of

    Revelation 5 (which is clearly different to the little scroll) with Ezekiels scroll.35Antonio Francesco Gori (1759) Thesaurus Veterum Diptychorum, vol. 3, p.284.36Jack Hilliard (2008), Understanding Revelation, Xulon Press, USA, p.261.37William H. Shea (2003) Zechariahs Flying Scroll and Revelations Unsealed Scroll , Journal of the

    Adventist Theological Society, 14/2, 95-99.38Stefanovic, The angel at the altar (Revelation 8:3-5).39Online athttp://www.e-codices.unifr.ch/en/description/bge/cl0124.40Genve, Bibliothque de Genve, Comites Latentes 124: Book of hours, folio 138r. Fig. 4 is a cropped

    version of the page image online athttp://www.e-codices.unifr.ch/en/bge/cl0124/138r/medium,and

    is reproduced here under the Creative Commons Attribution-NonCommercial 3.0 Unported license

    (CC BY-NC 3.0).41Katherine Allen Smith (2009) Architectural Mimesis and Historical Memory at the Abbey of Mont-

    Saint-Michel, In:Negotiating Community and Difference in Medieval Europe: Gender, Power,

    Patronage, and the Authority of Religion in Latin Christendom, eds. Katherine Allen Smith & Scott

    Wells, Brill, Leiden, p.65-82, at p.77 fn. 38.42Grand-daughter of Louis IX (St. Louis).43Roger S. Wieck (1991) The Savoy Hours and its impact on Jean, Duc du Berry, Yale University Library

    Gazette66 Supplement (Beinecke Studies in Early Manuscripts), pp. 159-180. The information in

    the remainder of the current paragraph is also from this source.44Online athttp://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974.45Online athttp://brbl-zoom.library.yale.edu/viewer/10507297.46Ana Pairet (1997) Review ofLes proprits des choses selon le Rosariusby Anders Zetterberg

    Speculum72 (3), 907-908.

    47Memorials and Suffrages are equivalent; see Wieck (1988) Time Sanctified, p.111.48Durrieu, Notice dun des plus importants livres de prires de Charles V, p.516.49Durrieu, Notice dun des plus importants livres de prires de Charles V, p.517.50Online athttp://brbl-zoom.library.yale.edu/viewer/10507302.51Online athttp://www.e-codices.unifr.ch/en/bge/cl0124/135v/medium.52Christe, sanctorum decus Angelorum, online athttp://www.preces-

    latinae.org/thesaurus/Angeli/ChristeSDA.html.53Online athttp://brbl-zoom.library.yale.edu/viewer/102598554Online athttp://www.e-codices.unifr.ch/en/bge/cl0124/136r/medium55Online athttp://brbl-zoom.library.yale.edu/viewer/1050731656Online athttp://brbl-zoom.library.yale.edu/viewer/1050731757Online athttp://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=102597458Durrieu, Notice dun des plus importants livres de prires de Charles V, p.539-540. Durrieus scheme

    is adopted by Wieck, Time Sanctified, p.176 (cat. 11), as indicated by Wieck (1991) The SavoyHours and its impact on Jean, Duc du Berry, 178, note 3.

    59British Museum, Liturgical manuscripts - Books for the Divine Office, under Collectar, online at

    http://www.bl.uk/catalogues/illuminatedmanuscripts/TourLitDiv.asp.60Image of left-hand page from Beinecke MS 390 is online athttp://brbl-

    zoom.library.yale.edu/viewer/1025985;right-hand page,http://brbl-

    zoom.library.yale.edu/viewer/10507316.

    http://www.auss.info/auss_publication_file.php?pub_id=1117&journal=1&type=pdfhttp://www.auss.info/auss_publication_file.php?pub_id=1117&journal=1&type=pdfhttp://www.e-codices.unifr.ch/en/description/bge/cl0124http://www.e-codices.unifr.ch/en/description/bge/cl0124http://www.e-codices.unifr.ch/en/description/bge/cl0124http://www.e-codices.unifr.ch/en/bge/cl0124/138r/mediumhttp://www.e-codices.unifr.ch/en/bge/cl0124/138r/mediumhttp://www.e-codices.unifr.ch/en/bge/cl0124/138r/mediumhttp://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974http://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974http://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974http://brbl-zoom.library.yale.edu/viewer/10507297http://brbl-zoom.library.yale.edu/viewer/10507297http://brbl-zoom.library.yale.edu/viewer/10507297http://brbl-zoom.library.yale.edu/viewer/10507302http://brbl-zoom.library.yale.edu/viewer/10507302http://brbl-zoom.library.yale.edu/viewer/10507302http://www.e-codices.unifr.ch/en/bge/cl0124/135v/mediumhttp://www.e-codices.unifr.ch/en/bge/cl0124/135v/mediumhttp://www.e-codices.unifr.ch/en/bge/cl0124/135v/mediumhttp://www.preces-latinae.org/thesaurus/Angeli/ChristeSDA.htmlhttp://www.preces-latinae.org/thesaurus/Angeli/ChristeSDA.htmlhttp://www.preces-latinae.org/thesaurus/Angeli/ChristeSDA.htmlhttp://www.preces-latinae.org/thesaurus/Angeli/ChristeSDA.htmlhttp://brbl-zoom.library.yale.edu/viewer/1025985http://brbl-zoom.library.yale.edu/viewer/1025985http://brbl-zoom.library.yale.edu/viewer/1025985http://www.e-codices.unifr.ch/en/bge/cl0124/136r/mediumhttp://www.e-codices.unifr.ch/en/bge/cl0124/136r/mediumhttp://www.e-codices.unifr.ch/en/bge/cl0124/136r/mediumhttp://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/10507317http://brbl-zoom.library.yale.edu/viewer/10507317http://brbl-zoom.library.yale.edu/viewer/10507317http://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974http://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974http://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974http://www.bl.uk/catalogues/illuminatedmanuscripts/TourLitDiv.asphttp://www.bl.uk/catalogues/illuminatedmanuscripts/TourLitDiv.asphttp://brbl-zoom.library.yale.edu/viewer/1025985http://brbl-zoom.library.yale.edu/viewer/1025985http://brbl-zoom.library.yale.edu/viewer/1025985http://brbl-zoom.library.yale.edu/viewer/1025985http://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/10507316http://brbl-zoom.library.yale.edu/viewer/1025985http://brbl-zoom.library.yale.edu/viewer/1025985http://www.bl.uk/catalogues/illuminatedmanuscripts/TourLitDiv.asphttp://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974http://brbl-zoom.library.yale.edu/viewer/10507317http://brbl-zoom.library.yale.edu/viewer/10507316http://www.e-codices.unifr.ch/en/bge/cl0124/136r/mediumhttp://brbl-zoom.library.yale.edu/viewer/1025985http://www.preces-latinae.org/thesaurus/Angeli/ChristeSDA.htmlhttp://www.preces-latinae.org/thesaurus/Angeli/ChristeSDA.htmlhttp://www.e-codices.unifr.ch/en/bge/cl0124/135v/mediumhttp://brbl-zoom.library.yale.edu/viewer/10507302http://brbl-zoom.library.yale.edu/viewer/10507297http://brbl-dl.library.yale.edu/vufind/Record/3520209?image_id=1025974http://www.e-codices.unifr.ch/en/bge/cl0124/138r/mediumhttp://www.e-codices.unifr.ch/en/description/bge/cl0124http://www.auss.info/auss_publication_file.php?pub_id=1117&journal=1&type=pdf
  • 8/13/2019 Seals, Angels, Trumpets and Incense: An Apocalyptic Prayer from a French Medieval Book of Hours (ca. 1420-30)

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    Keywords: Book of Hours, Hours of the Angels, Comites Latentes 124, Les Heures de Savoie, Savoy Hours,

    Beinecke MS 390, angelology, celestial hierarchy, Book of Revelation, Apocalypse, vision of Heaven.