MS. Finch g. 1
Summary Catalogue no.: New Summary Catalogue 46849 (brief notice)
Calendar; written continuously, so most months do not start at the top of a new page; each month headed by a note on the number of days of the solar and lunar month, and the number of hours of day and night; major feasts in red, none local; feasts in ordinary ink (many of them entered on the wrong days), include Gilbert of Sempringham (4 Feb.), Romanus (of Rheims?) (27 recte 28 Feb.), Herculanus (principal patron of Perugia) (1 Mar.); Matrona (15 Mar.), Bibiana (31 (sic) Mar.), Sophia (head relic at Fermo) (30 Apr.), Secundus (relics at Gubbio, patron of Pergola) (1 June), Mustiola (principal patron of Chiusi) (3 July), Reparata (co-titular of the cathedral of Florence) (8 Oct.), Faustinus (23 Nov. (sic)), fols. 15r-16v ruled, otherwise blank.
Hours of the Virgin, Use of Rome, with (fols. 110v-127r) variant nocturns for days of the week, followed by a rubric partly in Italian ('et cosi ogni cosa per ordine como e in lo primo nocturno. Sabbato de aduentu mutatur officium beate uirginis ...'), and (fols. 127v-155v) seasonal variants.
The Seven Penitential Psalms.
Litany, with St. Reparata fourth among 10 virgins; followed (fols. 182r-185v) by petitions, and (fols. 189r-193v) the usual ten collects (cf. MS. Buchanan e. 5), and (fol. 192v) an eleventh: 'Exaudiat nos deus omnipotens et misericors ...'.
Office of the Dead, Use of Rome; the versicles after the ninth lesson and response are 'Clamantes ...' and 'Requiem ...'.
Long Hours of the Cross (also known as the Hours of the Passion), with an unusually long rubric
Short Hours of the Cross, here attributed to, and carrying an indulgence of, Pope John XXII
Quires III-XXXV (fols. 17-277) ruled in pale pink-brown ink, with 11 lines per page, between single vertical bounding lines running the full height of the page; quires XXXVI-XLI (fols. 278-327) with the verticals ruled in hardpoint on the flesh side; fol. 318r with 11 lines to the page; the calendar with five verticals ruled in leadpoint, the 15 horizontals (for 14 lines of text), ruled in pale ink; pricking occasionally visible, especially in the lower gutter margin, closer to the gutter than the vertical ruling. 10 lines of text per page.
Rounded gothic hand
Fine miniature, borders, historiated and other initials. (P&A ii. 243, pl. XXII).
Headings in red; the first letter after a coloured initial touched with yellow; and the first letter after a rubric touched with yellow if it is not a coloured initial.
One unframed miniature in the lower margin of the page with the start of the rubric for the Long Hours of the Cross; with a four-sided border predominantly of ink sprays and gold dots, with some floral motifs, facing the start of the Long Hours of the Cross: (fol. 266v) The Resurrection; Christ blessing and holding a banner, standing in the tomb.
Five historiated initials, each accompanied by a four-sided border of multi-coloured acanthus and other foliage and flowers and gold dots, all except that on fol. 267r incorporating an exotic bird: (fol. 17r) Hours of the Virgin, Matins. 5-line initial D[omine]: Virgin and Child, half-length; a coat of arms (see Provenance) in the lower border (Pächt & Alexander, pl. XXII). (fol. 156r) Penitential Psalms. 3-line initial D[omine]: King David, half-length, playing the psaltery; a naked putto in the lower border. (fol. 194r) Office of the Dead. 5-line initial D[ilexi]: The head and shoulders of an emaciated figure, a personification of Death. (fol. 267r) Long Hours of the Cross. 3-line initial D[omine]: The Man of Sorrows, half-length, standing in the tomb. (fol. 318v) Short Hours of the Cross. 3-line initial P[atris] enclosing a gold cross.
Decorated initials to the remaining hours and the variant Matins nocturns of the Hours of the Virgin, and the remaining hours of the Long Hours of the Cross, mostly 3-, 4-, or 5-line size (fols. 35v, 58r, 67r, 74r [6-line], 79v, 86v, 100v, 111r, 119v, 282r, 289r, 292v, 297r, 301r, 305v, 312v); each initial filled with a flower design, and from which extend foliate and floral extensions, with gold dots, into the three outer margins.It is possible that the leaf now missing before fol. 156, the start of the Seven Penitential Psalms, bore decoration.
Gold KL monograms with red and blue penwork in the calendar.
Original binding? Sewn on three double/split straps, with endbands; between wood boards (the upper board detached); covered in later(?) red velvet, worn and faded; the edges gilt and gauffered; the spine with an 18th?-cent red leather title-piece, lettered in gilt: 'OFFICIUM | BEATAE | VIRGINIS'; no traces of any straps or fastenings are apparent.
Provenance and Acquisition
Arms of Orlandini (?), dimidiating Vettori, both of Florence. (Fol. 17r: lower border, a roundel enclosing a green wreath, enclosing a coat of arms: azure, three goats rampant argent, two and one, impaling party per bend sable and argent, a bend azure semi of lis or (Pächt & Alexander, pl. XXII)
Unidentified Italian owner: a sheet of paper pasted to the lower pastedown inscribed in ink: 'Il sign(or) Biblio:(theca)rio Fontana dice e sone Scritto del 1400:, [..?] Santi notati sul principio son tutti Francesi, Li arme e della Famiglia Casi[?]poni Stabilita in Francia, [and, in a different ink:] [...?]iquartata con l'arme della Famig.(li)a Altoviti'.
Unidentified owner: fol. 1v inscribed in pencil, very small, with a number, perhaps '1743' (the third numeral perhaps '6', the fourth perhaps '5'), perhaps a bookseller's marking.
Robert Finch: fols. 1v and 329r inscribed in pencil in English with brief notes on the dimensions, number of leaves, etc., perhaps by Finch; the upper pastedown with Finch's bookplate; the upper pastedown inscribed in dark turquoise ink with a shelfmark(?): 'V [or U?] 91.'; fol. 1r with a booklabel printed in red: 'TAYLOR INSTITUTION | BEQUEATHED | TO THE UNIVERSITY | BY | ROBERT FINCH, M.A. | OF BALLIOL COLLEGE'.
Transferred to the Bodleian in 1918, and inscribed with the present shelfmark on fol. 1r.
Digital Bodleian (1 image from 35mm slides)