MS. Add. D. 47

Summary Catalogue no.: 30303

Ferial Choir Psalter with Antiphons, Carthusian Use; Italy, Milan (?). 16th century, beginning

Ferial Choir Psalter with Antiphons, Carthusian Use

Fols. i–ii are paper fly-leaves, blank apart from modern notes (see ‘Provenance’).

1. (fols. 1r–135/6r)

Psalms and weekly canticles for Prime during the week, Sunday Matins, Matins and Lauds during the week, Vespers and Little Hours on Sunday and during the week in monastic use, preceded by rubric ‘Incipit psalterium secundum ordinem cartusiensium’. Psalms are laid out as prose, with titles ‘psalmus’ or ‘psalmus dauid’, with numbers added in the margins in a post-medieval hand. Punctuated throughout with colon used to mark metrum and minor pauses, and punctus used to mark the ends of verses. Psalms are accompanied by antiphons, versicles, responses, invitatoria, etc. with rubrics and music (square notation on staves of four red lines). Lacking psalms 139: 10–140, 143: 8–144: 9, 147 and the beginning of the canticle Benedicite, owing to the loss of leaves after fols. 129, ‘130–1’ and ‘133–4’ in quire XVII. Psalms and weekly canticles are in the following order:

Monday Prime and Lauds (fol. 1r)
1–6
Tuesday Prime (fol. 3v)
7–9: 19
Wednesday Prime (fol. 6r)
9: 20–11
Thursday Prime (fol. 7v)
12–14
Friday Prime (fol. 9r)
15–17: 25
Saturday Prime (fol. 11v)
17: 26–19
Sunday Matins (‘In primo nocturno’) (fol. 14r)
20–25
Sunday Matins (‘In secundo nocturno’) (fol. 18v)
26–31
Monday Matins (‘In primo nocturno’) (fol. 25v)
32–34, 36–37
Monday Matins (‘In secundo nocturno’) and Lauds (fol. 32r)
38–41, 43–44, 50, 35
Confitebor tibi domine (‘Canticum ysaie prophete’) (Isaiah 12)
148–150
Tuesday Matins (fol. 41r)
45–49, 51
Tuesday Matins (‘In secundo nocturno’) and Lauds (fol. 45v)
52–55, 57–58, 42, 56
Ego dixi (‘Canticum ezechie regis iuda’) (Isaiah 38: 10–21)
Wednesday Matins and Lauds (fol. 52v)
59–62, 65–72, 63–64
Exultauit cor meum (‘Canticum anne prophetisse’) (1 Samuel 2: 1–11)
Thursday Matins (‘in primo nocturno’) (fol. 66r)
73–74, 76–78
Thursday Matins (‘in secundo nocturno’) and Lauds (fol. 66r)
79–84, 87, 89
Cantemus domino (‘Canticum marie prophetisse’) (Exodus 15: 1–20)
Friday Matins and Lauds (fol. 80r)
85–86, 88, 90, 92–100, 75, 91
Domine audiui (‘Canticum abacuch prophete’) (Habakkuk 3)
Saturday Matins (‘In primo nocturno’) (fol. 91v)
101–104
Saturday Matins (‘In secundo nocturno’) and Lauds (fol. 97r)
105–108, 142
Audite caeli (‘Canticum moysi’) (Deuteronomy 32: 1–44), with subdivision at verse 22
‘Ignis succensus ...’ (rubric ‘Diuisio’)
Sunday Vespers (fol. 106r)
109–112
Monday Vespers, Little Hours, Vespers Tuesday–Saturday (fol. 109r)
113–139, 141, 143–146 (leaves that used to contain psalms 140 and 147 are missing)

Illuminated initials at the beginning of sections shown above, i.e. psalms 7, 9: 20, 12, 15, 17: 26, 20, 26, 32, 38, 45, 52, 59, 73, 79, 85, 101, 105, 109 and 113 (see ‘Decoration’). Fragments of parchment bookmarks, made from a Latin manuscript, or paste which used to hold them, also mark the beginning of sections. Subdivisions within psalms are marked with larger initials and rubrics ‘diuisio’ at 9: 20 (fol. 5r), 17: 26 (fol. 10r), 36: 27 (fol. 29r), 67: 20 (fol. 57r), 68: 17 (fol. 57v), 77: 36 (fol. 69r), 88: 20 (fol. 81r), 103: 25 (fol. 93v), 104: 23 (fol. 95r), 105: 32 (fol. 97r), 106: 25 (fol. 99r), 138: 11 (‘Et dixi ...’) (fol. 127v), 144: 10 (fol. 132r). Psalm 143 is missing; psalm 118 is subdivided into twenty-two 8-verse units.

2. (fols. 135/6r–139r)

Daily canticles, prayers and creeds, with titles, some imperfect:

(1) Benedicite omnia opera, beginning at verse 8 (‘Benedicite glacies et niues ...’) (fol. 135/6r);
(2) Benedictus dominus deus (‘Canticum zacharie prophete .’) (fol. ‘135–6’r);
(3) Magnificat (‘Canticum beate marie uirginis’), ending imperfectly at verse 4 (‘dicent omnes generatio ...’) (fol. ‘135–6’v);
(4) Te deum laudamus, starting imperfectly at verse 5 (‘sunt celi et terra maiestatis gloriae tue ...’) (fol. 137r);
(5) Athanasian Creed (Quicumque uult ... ) (‘Symbolum athanasij’) (fol. 137v).

3. (fols. 139r–147r)

Canticles for the year, with rubrics:

(1) Ecce dominus deus in fortitudine ueniet et brachium eius dominabitur (Isaiah 40: 10–17) (‘In aduentu domini . Cantica’);
(2) Cantate domino canticum nouum laus eius ab extremis terre (Isaiah 42: 10–16) (‘Aliud canticum’);
(3) Hec dicit dominus redemptor israel sanctus eius ... (Isaiah 49: 7–13) (‘Aliud canticum’);
(4) Populus qui ambulabat in tenebris uidit lucem magnam ... (Isaiah 9: 2–7) (‘In natiuitate domini . Canticum’);
(5) Letare hierusalem et diem festum agite ... (Isaiah 66: 10–16, non-Vulgate text) (‘Aliud canticum’);
(6) Urbs fortitudinis nostre syon saluator ponetur in ea ... (Isaiah 26: 1–12) (‘Aliud canticum’);
(7) Deducant oculi mei lacrimas per diem et noctem ... (Jeremiah 14: 17–21) (‘In quadragessima [sic]. Canticum .’);
(8) Recordare domine quid acciderit nobis intuere et respice obprobrium nostrum ... (Lamentations 5: 1–21) (‘Aliud canticum’);
(9) Tollam quippe uos de gentibus et congregabo uos de uniuersis terris ... (Ezekiel 36: 24–28) (‘Aliud canticum’);
(10) Qvis est iste qui uenit de edom tinctis uestibus de bosra ... (Isaiah 63: 1–5) (‘In resurrectione domini . Canticum’);
(11) Uenite et reuertamur ad dominum quia ipse cepit et saluabit nos ... (Hosea 6: 1–6) (‘Aliud canticum’);
(12) Expecta me dicit dominus in die resurrectionis mee in futurum ... (Zephaniah 3: 8–13) (‘Aliud canticum’);
(13) Domine miserere nostri te enim expectauimus esto brachium ... (Isaiah 33: 2–10) (‘Aliud canticum dominicis diebus non habentibus proprium’);
(14) Audite qui longe estis que fecerim dicit ... (Isaiah 33: 13–16) (‘Aliud canticum’);
(15) Miserere domine plebi tue super quam inuocatum est nomen tuum ... (Sirach 36: 14–19) (‘Aliud canticum’);
(16) Uos sancti domini uocabimini ministri dei nostri ... (Isaiah 61: 6–9) (‘In natali apostolorum canticum’);
(17) Reddidit deus mercedem laborum sanctorum suorum ... (Wisdom 10: 17–20) (‘Aliud canticum’);
(18) Fulgebunt iusti et tanquam sintille in arundineto discurrent ... (Wisdom 3: 7–9) (‘Aliud canticum’);
(19) Beatus uir qui in sapientia morabitur .. (Sirach 14: 22 and 15: 3–6) (‘In natiuitate unius sancti xij lectiones . Cantica .’).
(20) Benedictus uir qui confidit in domino ... (Jeremiah 17: 7–8) (‘Aliud canticum’);
(21) Beatus uir qui inuentus est sine macula ... (Sirach 31: 8–11) (‘Aliud canticum’);
(22) Avdite me diuini fructus ... (Sirach 39: 17–21) (‘In natali uirginum . Cantica’);
(23) Gaudens gaudebo in domino et exultabit anima mea ... (Isaiah 61: 10–62: 3) (‘Aliud canticum’);
(24) Non uocaberis ultra derelicta ... (Isaiah 62: 4–7) (‘Aliud canticum’).

4. (fols. 147v–160v)

Hymnal, ending imperfectly, with rubrics and music for the opening lines of hymns. Comprises hymns for the year, from Advent to Pentecost, followed by hymns for feasts and saints’ days, including Corpus Christi, the Virgin Mary and John the Baptist. Conditor alme (Chevalier, no. 3733), Eterne rerum conditor (Chevalier, no. 647), Splendor paterne (Chevalier, no. 19349), Iam lucis orto sydere (Chevalier, no. 9272), Nunc sancte nobis spiritus (Chevalier, no. 12586), Rector potens uerax deus (Chevalier, no. 17061), the beginning repeated on fol. 150r with music for ‘tonus ferialis’, Rerum deus tenax uigor (Chevalier, no. 17328), the beginning repeated on fol. 150v with music for ‘tonus ferialis’, Deus creator omnium polique (Chevalier, no. 4426), Christe qui lux es et dies (Chevalier, no. 2934), Uenit redemptor gentium (Chevalier, no. 21243), the beginning repeated on fol. 152r with music for ‘tonus ferialis’, Audi benigne conditor (Chevalier, no. 1449), Uexilla regis (Chevalier, no. 21481), Hic est dies uerus dei (Chevalier, no. 7793), the beginning repeated on fol. 154r with music for ‘tonus ferialis’, Optatus uotis omnium sacratus (Chevalier, no. 14177), the beginning repeated on fol. 155r with music for ‘tonus ferialis’, Ueni creator spiritus (Chevalier, no. 21204), Iam christus astra (Chevalier, no. 9215), Impleta gaudent uiscera (Chevalier, no. 8506), Pange lingua gloriosi corporis (Chevalier, no. 14467), Sacris solem- nijs (Chevalier, no. 17713), Uerbum supernum prodiens nec patris (Chevalier, no. 21398), Aue maris stella (Chevalier, no. 1889), the beginning repeated on fols. 158v–159r with music for ‘tonus ferialis’, Misterium ecclesie hymnum christo (Chevalier, no. 11828), Uere gratia plena es (Chevalier, no. 21408), Ut queant laxis resonare (Chevalier, no. 21039), Antra deserti (Chevalier, no. 1214), O nimis felix meritique (Chevalier, no. 13311), ending imperfectly at ‘... aucta crementis duplicata quosdam trina centeno’ and a catchword ‘cu-’.

Fols. 161–162 are paper fly-leaves, blank apart from modern notes.

Language(s): Latin

Physical Description

Secundo Folio: aduersum me (psalter, fol. 2r)

Form: codex

Support: parchment; paper fly-leaves

Extent: 160 leaves

Dimensions (leaf): c. 400–405 × 275 mm.

Foliation: 16th- or 17th-century in ink, with corrections in modern pencil and purple crayon; i–ii + 1–‘128–9’ + ‘130–1’ + 132–‘133–4’ + ‘135–6’ + 137–162; on fols. 1–91 foliation in black ink is written over earlier modern foliation in light brown ink.

Collation

(fols. i–ii) fol. i is a paper fly-leaf, conjoint with the upper pastedown; fol. ii is a paper fly-leaf | (fols. 1–‘128–9’) I–XVI (8) | (fols. ‘130–1’–‘135–6’) XVII (8−4) missing 1, 3, 6, 8 | (fols. 137–160) XVIII–XX (8) quires are missing at the end, after fol. 160 | (fols. 161–162) fol. 161 is a paper fly-leaf; fol. 162 is a paper fly-leaf, conjoint with the lower pastedown. Catchwords survive.

Layout

Ruled in plummet with single vertical bounding lines extending the full height of page; 24 lines per page; written below the top line; written space: c. 280 × 180 mm.

Hand(s)

Large formal rounded Gothic book hand, black ink

Musical Notation:

Notation on staves (see van Dijk 1957).

Decoration

Decoration attributed to the artist ‘B. F.’, sometimes identified as Francesco Binasco (Wescher, 1960; Pächt and Alexander, 1966–73; Alexander, 1991):

7-line yellow and pink Beatus-initial, decorated with foliage, on gold background (almost completely rubbed off), infilled with half-figure of King David (defaced).

Border (upper and left margins) decorated with coiled tendrils, flowers and leaves; panel with ‘IHS’ in the upper margin.

5-line initial, decorated with coiled tendrils, foliage and flowers on gold background (flaking) at the beginning of` psalm 109 (fol. 106v).

3- to 4-line initials decorated with coiled tendrils, foliage and flowers on gold background (often flaking) at the beginnings of`psalms 7 (fol. 3v), 9: 20 (fol. 6r), 12 (fol. 7v), 15 (fol. 9r), 17: 26 (fol. 11v), 20 (fol. 14r), 26 (fol. 18v), 32 (fol. 25v), 38 (fol. 32r), 45 (fol. 41v), 52 (fol. 45v), 59 (fol. 52v), 73 (fol. 66r), 79 (fol. 72v) (mutilated), 85 (fol. 80r), 101 (fol. 91v), 105 (fol. 97r), 113 (fol. 109r), groups of canticles for different times of the year (fols. 139r, 143r, 144r, 145r, 145v, 146v) and the beginning of the hymnal (fol. 147v).

2-line red and blue initials at the beginnings of psalms, canticles and hymns, some decorated with penwork.

1-line plain alternating red and blue initials at the beginnings of verses and periods.

Rubrics in red ink.

Binding

Light brown leather over wood boards; one of the standard Canonici styles, Italian, 18th century. Border of double blind fillet lines and floral roll decoration round the outer edge of the upper and lower covers, enclosing two rectangular frames, one inside another, formed by double blind fillet lines and floral roll decoration. The frames have floral decorations in the corners, on the sides and at the centre. The designs are identical with those on the binding of MS. Canon. Liturg. 377. Sewn on five cords; five raised bands on spine framed with gilt fillet lines. Red leather label framed by gilt border with gilt lettering: ‘PSALTERIV. || SEC. CONSV. || CARTHUSIA. || COD. MEM.’. Gilt lettering at the bottom of the spine ‘MS. || BODL. || ADD. || D. || 47’. Paper fly-leaves and pastedowns.

History

Origin: 16th century, beginning ; Italian, Milan

Provenance and Acquisition

Made for the Charterhouse of Garegnano (?) near Milan: liturgical evidence; evidence of decoration. Compare MS. Canon. Liturg. 271 and MS. Canon. Liturg. 378 from the same house.

17th-century inscription on fol. 64r possibly containing a name.

A description of the manuscript on fol. ii recto in an Italian, 18th-century (?) hand, but not the hand of Canonici or any of the earlier owners and librarians whose handwriting is illustrated in Mitchell (1969): ‘Psalterium chorale secundum consuetudinem Cartusiens. Cod. membran. in fol. saec. xv. in fine mutilus.’ Similar descriptions in the same hand are also found in MS. Canon. Bibl. Lat. 42, MS. Canon. Bibl. Lat. 85, MS. Canon. Pat. Lat. 88, MS. Canon. Liturg. 105, MS. Canon. Liturg. 155, MS. Canon. Liturg. 377 and MS. Canon. Liturg. 393.

Matteo Luigi Canonici of Venice (1727–c. 1806), but not from the libraries of Soranzo or Trevisan (see Mitchell, 1969).

Bodleian Library: bought in 1817 from Canonici’s nephew Giovanni Perissinotti. ‘Bodl. Addit. D. 47’ on the upper pastedown.

Record Sources

Elizabeth Solopova, Latin Liturgical Psalters in the Bodleian Library: A Select Catalogue (Oxford, 2013), pp. 607–13. Previously described in the Summary Catalogue.

Summary Catalogue, Vol. 5, p. 783

Summary Catalogue, Vol. 5, p. 784

Bibliography

Select bibliography to 1991::

Frere, no. 191.

Summary catalogue, vol. 5, no. 30303.

S. J. P. van Dijk, Latin Liturgical Manuscripts in the Bodleian Library, Oxford, vol. 2: Office Books (typescript, 1957), p. 125

Wescher, P., ‘Francesco Binasco, Miniaturmaler der Sforza’, Jahrbuch der Berliner Museen, N. F. 2 (1960), pp. 75–91.

Pächt and Alexander (1966–73), vol. 2, no. 1004.

Alexander, J. J. G.,‘The Livy (MS. 1) illuminated for Gian Giacomo Trivulzio by the Milanese artist “B. F.”’, Yale University Library Gazette 66, Supplement (1991), pp. 219–34.

Carminati, M., Codici miniati del Maestro B. F. a Casorate Primo (Pavia: Cardano, 1995), p. 142.

Ker (1969–2002), vol. 2, p. 591.

Abbreviations

View list of abbreviations and editorial conventions.

Last Substantive Revision

2024-05: Encode full description from Solopova catalogue.

A catalogue of Western manuscripts at the Bodleian Libraries and selected Oxford colleges