MS. Canon. Liturg. 377

Summary Catalogue no.: 19460

Choir Psalter with Antiphons, Carthusian Use; Italy, North (Mantua (?)), 14th century, late

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

[items 1–7 occupy quires I–XIX and XXI]

1. (fols. 1r–147r)

Psalms 1–150, laid out with each verse starting on a new line, most with short titles (‘psalmus’ or ‘psalmus dauid’) and numbers in Roman numerals in the original hand. The ends of verses are often written on the preceding lines, separated from the rest of the text by decorative penwork strips. Punctuated throughout with punctus elevatus used to mark metrum and minor pauses, and punctus used to mark the ends of verses. Psalms are in the biblical order, accompanied by antiphons, versicles, responses, invitatoria and cues for lessons with music (square notation on staves of four red lines) and rubrics referring to monastic use. Psalms 41: 11–43: 12 are missing because of the loss of a leaf after fol. 38. Verses 10–16 of psalm 131, omitted by the scribe, are supplied in a contemporary hand on fol. 131b, a parchment half-leaf bound with the manuscript.

There are textual divisions at psalms 26 and 109 (see ‘Decoration’). Subdivisions within psalms are marked with 2-line initials and rubrics ‘diuisio’ at 9: 20 (fol. 7r), 17: 26 (fol. 13r), 36: 27 (fol. 33r), 67: 20 (fol. 59v), 68: 17 (fol. 61v), 77: 36 (fol. 73r), 88: 20 (fol. 83v), 103: 25 (fol. 97v), 104: 23 (fol. 99r), 105: 32 (fol. 102v), 106: 25 (fol. 104v), 138: 11 (‘Et dixi ... ) (fol. 136v), 143: 9 (fol. 141v), 144: 10 (fol. 143r). Antiphons sometimes follow the first part of the psalm. Psalm 118 is subdivided into twenty-two 8-verse units.

Corrections and additions in the margins, including antiphons with music, in contemporary and later hands. Some liturgical notes in the margins (e.g. fols. 2r, 6v, 7r, 9r, 114r) may be in the hand which added hymns on fols. 190r–193v (see below).

Fragments of parchment bookmarks or paste which used to hold them mark the beginnings of psalms appointed to be recited first at Matins (20 (fol. 16r), 32 (fol. 28r), 45 (fol. 42r), 59 (fol. 54r), 73 (fol. 68r), 85 (fol. 81r), 101 (fol. 94r)) and Vespers (109 (fol. 109r), 113 (fol. 111v), 129 (fol. 130v), 134 (fol. 132v), 138 (fol. 136r), 141 (fol. 139) and 144: 10 (fol. 143r)) during the week in monastic use.

2. (fol. 147r–155v)

Weekly canticles, with titles, the beginning marked with a parchment bookmark:

(1) Confitebor tibi domine (Isaiah 12) (‘Feria secunda . canticum ad laudes’);
(2) Ego dixi (Isaiah 38: 10–21) (‘Feria. iij . ad laudes canticum’);
(3) Exultauit cor meum (1 Samuel 2: 1–11) (‘Feria . iiij . ad laudes . Canticum anne regum primo’);
(4) Cantemus domino (Exodus 15: 1–20) (‘Feria . v . ad laudes . canticum moysi’);
(5) Domine audiui (Habakkuk 3) (‘Feria . vj . ad laudes . canticum abachuc’);
(6) Audite celi (Deuteronomy 32: 1–44) (‘Sabbato ad laudes . Canticum moysi’), subdivision marked with a 2-line initial at verse 22, ‘Ignis succensus ...’.

3. (fols. 155v–160v)

Daily canticles, prayers and creeds, most with titles:

(1) Benedicite omnia opera (‘Canticum danilis’) (fol. 155v);
(2) Benedictus dominus deus (‘canticum zacharie. luce .’) (fol. 156v);
(3) Magnificat (‘Canticum glorissime semper virginis marie’) (fol. 157v);
(4) Nunc dimittis (‘Canticum symeonis’) (fol. 158r);
(5) Athanasian Creed (Quicumque uult ... ) (‘simbolum athanasij’) (fol. 158r);
(6) Apostles’ Creed (Credo in deum ...) (fol. 160r), followed by an antiphon.

4. (fols. 160v–164r)

Litany, containing Blandina and Mary Magdalene (the last) among the virgins. The petitions include the unusual ‘A concupiscentia iniqua libera nos domine’. Followed by collects (fols. 163v–164r):

(1) Deus cui proprium est misereri semper et parcere ...
(2) Pretende domine famulis et famulabus tuis dexteram celestis auxilii ...
(3) Fidelium deus omnium conditor et redemptor animabus famulorum famularumque tuarum ...
(4) Omnipotens sempiterne deus qui uiuorum dominaris simul et mortuorum ...

5. (fol. 164r–v)

Hymn Christe qui lux es et dies ... (Chevalier, no. 2934) added in a different hand.

6. (fols. 165r–176r)

Canticles for the year, some with rubrics:

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

7. (fols. 176r–189 and 194r–196v)

Hymnal (‘Incipiunt hymni per circulum anni’) with rubrics and music for the opening lines of hymns, comprising hymns for the year, from Advent to Pentecost, followed by the hymns for the feasts of Corpus Christi, John the Baptist and the Virgin Mary. Conditor alme (Chevalier, no. 3733), Uenit redemptor gentium (Chevalier, no. 21243), Egressus eius a patre (Chevalier, no. 5268), Audi benigne conditor (Chevalier, no. 1449), Uexilla regis (Chevalier, no. 21481), Arbor decora (Chevalier, no. 1268), Hic est dies uerus dei (Chevalier, no. 7793), Misterium mirable ut abluat (Chevalier, no. 11831), Optatus uotis omnium sacratus (Chevalier, no. 14177), O grande cunctis gaudium (Chevalier, no. 13071), 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 solemnijs (Chevalier, no. 17713), Uerbum supernum prodiens nec patris (Chevalier, no. 21398), Ut queant laxis resonare (Chevalier, no. 21039), Antra deserti (Chevalier, no. 1214), O nimis felix meritique (Chevalier, no. 13311), Aue maris stella (Chevalier, no. 1889), the beginning repeated on fol. 185r–v with a different music, Misterium ecclesie hymnum christo (Chevalier, no. 11828), Uere gratia plena es (Chevalier, no. 21408), Christe redemptor omnium conserua tuos famulos (Chevalier, no. 2959), the beginning repeated on fol. 157r with a different music, Iesu saluator seculi redemptis (Chevalier, no. 9677), the beginning repeated on fols. 187v–188r with a different music, Deus creator omnium polique (Chevalier, no. 4426), Eterne rerum conditor (Chevalier, no. 647). Continued without a loss of text on fols. 194r–196v: 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. 195v with music for ferial days, Rerum deus tenax uigor (Chevalier, no. 17328). The last seven hymns (fols. 188v–189v and 194r–196v) are in a different contemporary hand with initials by a different illuminator.

[item 8 occupies quire XX]

8. (fols. 190r–193v)

Hymns for the Common of Saints, Mary Magdalene, Anne, Michael and feasts during the year, with rubrics and music for their opening lines, added on paper in a 17th-century hand: Exultet celum laudibus (Chevalier, no. 5832), Sanctorum meritis inclyta gaudia (Chevalier, no. 18607), Deus tuorum militum (Chevalier, no. 4533), Iste confessor domini (Chevalier, no. 9136), Iesu corona virginum (Chevalier, no. 9507), Huius obtentu Deus alme nostris (Chevalier, no. 8162), Saluete flores martyrum Quos lucis (Chevalier, no. 18344), Hostis Herodes impie (Chevalier, no. 8073), Ad cenam agni prouidi (Chevalier, no. 110), O lux beata Trinitas et principalis (Chevalier, no. 13150), Lauda mater ecclesia (Chevalier, no. 10210), Lucis huius festa (Chevalier, no. 10698), Quicumque Christum quaeritis (Chevalier, no. 16557), Crux fidelis inter omnes (Chevalier, no. 4018), Tibi Christe splendor Patris (Chevalier, no. 20455).

Fol. 197 is a blank paper fly-leaf.

Language(s): Latin

Physical Description

Secundo Folio: seruite domino in timore (psalter, fol. 2r)

Form: codex

Support: parchment; paper fly-leaves

Extent: 201 leaves

Dimensions (leaf): c. 347 × 236 mm.

Leaves were trimmed in rebinding, occasionally causing the loss of decoration; lower outer corner is damaged by rodents (?)

Foliation: early modern in ink entered prior to the trimming of leaves; modern, in pencil from fol. 39; i–ii + 1–131a + 131b + 132–198.

Collation

(fols. i–ii) fol. i is a paper fly-leaf conjoint with the upper pastedown; fol. ii is a paper fly-leaf | (fols. 1–30) I–III (10) | (fols. 31–39) IV (10−1) missing 9 | (fols. 40–189) V–XIX (10) fol. 131b is a singleton inserted after fol. 130 | (fols. 190–193) XX (4) two paper bifolia | (fols. 194–196) XXI (4−1) missing 4 | (fols. 197–198) fol. 197 is a paper fly-leaf; fol. 198 is a paper fly-leaf conjoint with the lower pastedown. Catchwords survive.

Layout

Ruled in ink with single vertical and horizontal bounding lines extending the full height and width of page; 18 lines per page; written below the top line; written space: c. 220–225 × 165 mm.

Hand(s)

Large formal Gothic book hand, black ink, smaller script used for antiphons

Musical Notation:

Square notation on staves of four red lines.

Decoration

3-line Beatus-initial (fol. 1r) with half-figure of Christ (?) and border (left and right margins) decorated with coiled tendrils, foliage, animal heads and gold discs (badly rubbed).

Border: see above.

2-line initial, on gold background (rubbed), decorated with geometric designs, foliage and gold discs, at the beginning of psalm 26 (fol. 21r).

3-line blue initials, decorated with red penwork, at the beginnings of psalm 109 (fol. 109r), hymnal (fol. 165r) and various hymns, e.g. fols. 167v, 173v, 176r, etc.

2-line blue or red initials, decorated with contrasting red or purple penwork, at the beginnings of psalms, canticles, prayers and hymns. Penwork occasionally includes anthropomorphic and zoomorphic designs, such as birds and human profiles.

1-line alternating red and blue initials, decorated with contrasting purple or red penwork, at the beginnings of verses and periods. Guide-letters for the illuminator often survive.

Added hymns on fols. 188v–189v and 194r–196r have 2-line red or black penwork initials.

Medieval and later drawings in the margins, including floral designs, hands, human heads and profiles, e.g. fols. 28v, 72r, 82v, 98r, 121r.

Rubrics in red ink.

Binding

Brown leather over wood boards; one of the standard Canonici styles, Italian, 18th century. Blind roll floral border, outlined by blind fillet lines round the outer edge of both covers. Rectangular frame, containing a diamond-shaped figure, both formed by blind roll floral designs on both covers. Floral decorations on the sides and in the corners of the frame and inside the diamond-shaped figure. The designs used are identical with those on MS. Add. D. 47. Five raised bands on spine. Panels between the bands are framed with gilt fillet lines. Brown leather label on spine, framed by gilt fillet lines and gilt arabesque designs, with gilt lettering ‘PSALTERIV. || DAUIDI- || CUM || COD. MEM.’. ‘377’ written in white paint on spine. Pastedowns and fly-leaves made of laid paper, no watermarks.

History

Origin: 14th century, end ; Italian, North (Mantua (?))

Provenance and Acquisition

Owned by and probably made for a Carthusian house near Mantua, presumably the Charterhouse of the Holy Trinity: inscribed in a formal script ‘Cartusie Mantue 72’ (15th century), with a cross on a trifoil base with a horizontal letter ‘S’ above it, stamped over the inscription (the Triumphant Cross, symbol of the Carthusian Order) (fol. 1v, centre of lower margin).

An inscription, 16th century (?), comprising a cross and ‘die xv septembris’ (fol. 69r, lower margin).

A description of the manuscript 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). 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. Add. D. 47, MS. Canon. Liturg. 105, MS. Canon. Liturg. 155 and MS. Canon. Liturg. 393: ‘Psalterium Chorale. Cod. membran. in fol. saec. XIV. ad usum Monasterii cujuspiam Benedictini. In fine Cantica Biblica, Hymni per annum, aliaeque preces. Videtur in Gallia descriptus’ (fol. ii recto).

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. Earlier shelf-marks: ‘Miscell. Liturg. CCCLXXVII’ and ‘377’(fol. i verso), cf. upper pastedown and fol. 1r.

Record Sources

Elizabeth Solopova, Latin Liturgical Psalters in the Bodleian Library: A Select Catalogue (Oxford, 2013), pp. 480–5. Previously described in the Summary Catalogue.

Summary Catalogue, vol. 4, p. 394

Digital Images

Digital Bodleian (1 image from 35mm slides)

Bibliography

Select bibliography:

Summary catalogue, vol. 4, no. 19460.

Frere, no. 186.

S. J. P. van Dijk, Latin Liturgical Manuscripts in the Bodleian Library, Oxford, vol. 2: Office Books (typescript, 1957), p. 123

Pächt and Alexander (1966–73), vol. 2, no. 198.

Ker (1969–2002), vol. 2, p. 591.

Abbreviations

View list of abbreviations and editorial conventions.

Last Substantive Revision

2024-06: Encode full description from Solopova catalogue.

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