MS. Gough Liturg. 3
Summary Catalogue no.: 18344
Contents
Calendar
Full; 7 August, Dulcissimi nominis Jesu.
Suffrages after Lauds (fols. 24r-28r) as summarized in Horae Eboracenses, ed. Wordsworth (1920), 44-5, but without Panthaleon, Erkenwald, Armagilus, Wilgefortis, Sitha; after Matins of the Hours of the Cross (fol. 28r-v, as Horae Ebor. 46) follows 'In omni tribulacione temptacione necessitate \in/firmitate pa\u/pertate timore dolore pestilencia fame et angustia succurre nobis piissima uirgo Mariae. Amen. Ihesus for thy holi name and thy byttir paschon, Ihesus sayffe me fro syn and schaym and fro endlesse dampnacion and brynge me to thy blesse Ihesus haue mercy on me. Amen.'
Compline followed (fol. 39v) by troped Salve regina and (fol. 40r) prayer ('Omnipotens sempiterne deus qui gloriose uirginis et matris Marie corpus'), as pr. Horae Ebor. 62-3.
Ending 'For the lyuyng and deed', as E. Hoskins, Horae Beatae Mariae Virginis (1901), 108-9; cf. Horae Ebor 36-7n.
Followed by cues for Ps. 53, Ps. 66, Ps. 129
Masculine forms; as e.g. Oxford, Queen's College, MS. 349, fols. 33r-34v.
cf. Hoskins 112-113.
Cf. Hoskins 116
Horae Ebor. 83-4
For other manuscripts see Lyell Catalogue, pp. 66-7 (on MS. Lyell 30 fol. 116).
Followed by six collects (Deus cui proprium, Omnipotens sempiterne deus, Deus qui caritatis, Deus a quo sancta, Ineffabilem misericordiam, Pietate tua)
On fol. 94v, originally blank, are added 16th-century notes of the Cope family; see Provenance.
Psalms of the Passion, followed by prayer, largely as Horae Ebor. 114-15
There are sporadic corrections to the text throughout.
Addition, on four leaves at the beginning and four leaves at the end of the manuscript; including remedy 'For a kancar', three remedies attributed to 'Richard a wod othirways callyd the myller of Cutt' myll', one dated 1532; one remedy attributed to 'Mr. Wylliam Hoggan of Banbury'.
Fols. 3r-v, 4v, 121r-v, 123r-v, 124r-v are blank.
Physical Description
Layout
Calendar, 34 lines
Main text is ruled with 21 long lines. Pricking on 21 lines, with 2 holes for 20th line. Ruled space 150 × 105 mm. for text, 200 × 150 mm. for borders. The written space is ruled in brown ink, while the outer edges of border spaces are ruled in red ink.
Hand(s)
Formal Gothic bookhand; semi-quadrata. One hand for main text.
Decoration
Five miniatures in Flemish style, with borders in Flemish style, on inserted sheets. (Pächt and Alexander i. 354, pl. XXVIII, and iii. 1116, pl. CIV)
- 14v: The Annunciation. Angel Gabriel, winged with cloak, kneeling before Mary, one hand on knee and other pointing, with banderolle running from pointed finger with the words "Ave gr[ati]a plena domin[us] tecum". Mary standing with palms forwards, in red dress and blue mantle, with an open codex behind her. Chapel interior with mountain scene on the left, with dove and ray of light. Lily in vase before both figures. Illustration faces the opening of Matins ("Domine labia me ap[er]ies").
- 29v: The Nativity. Mary and Joseph kneeling before newborn Christ, who lies naked on Mary's cloak. Ox and ass behind Mary, with Angel Gabriel above and star of heaven above Christ. Scene of blue mountains and castle in the background. Illustration faces opening of Prime ("Deus in adiutoriu[m] meum meum intende").
- 59v: The Crucifixion. Christ on cross, with wounds visible and streaming blood: nails pierce both his hands, one nail pierces feet, one wound over his heart, one wound in right leg. Soldier and official male figure to the right of the cross, in discussion. Three female figures on the left: Virgin Mary collapsing to the ground, likely Mary Magdalen behind her. Background scene of castles and blue mountains. Illustration faces Psalm 6 ("Domine ne reminiscar ne in furore tuo arguas me").
- 72v: Requiem Mass. Church interior, with robed priest facing towards the altar, celebrating the Eucharist. Hearse with two candlesticks. Three figures on each side, bearing torches. Three additional figures: one male with book open, one male with hand raised, and one attendant with torch and bell. Illustration faces the opening of the Office of the Dead.
- 95v: The particular judgement (see Rogers). Angel stands before Devil, soul represented as a child between them. Surrounded by green scene and peaks of blue mountains. Illustration faces the opening of Commendation of Souls.
Historiated initial "D" on folio 104v (in a different style) showing Christ as the Man of Wounds.
Borders (hybrid English / Flemish in style) on fols. 15r, 19v, 30r, 60r, 73r, 96r, 104v
4- or 5- line initials (English in style) on fols. 15r, 19v, 30r, 60r, 73r, 96r; elsewhere 2-line initials.
1-line initials in blue, flourished in red, or gold, flourished in blue.
Line fillers.
Binding
18th-century binding of leather over boards, each cover with a frame of gilt tooling with a pattern of insects and animals.
History
Provenance and Acquisition
John Cope (d. 1558), of Banbury and Canon's Ashby, on whom see History of Parliament and Visitations of Northamptonshire made in 1564 and 1618-19 (1887), 15: records of the births of his sons, Erasmus (born 1528) and George (born 12 Feb. 1530), at Eydon, Northamptonshire, on fol. 94v, signed 'per me Johannem Coope'. Also Anthony Coope on same folio, although with no further details. Rogers plausibly suggests that the manuscript may have been made for John's father William (1450-1513).
'C. W.', fols. 4r, 8r, 15r, 17th or 18th century; unidentified.
William Herbert, 1718-1795; his bookplate, inside upper cover; price code ('c/c t/t'), fol. 2r, similar to other Herbert books ((cf. R. Myers, 'William Herbert: his library and his friends', in Property of a Gentleman, ed. R. Myers and M. Harris (1991), 133-58 at 141, 149)
Bequeathed by him to the Bodleian. Former shelfmark Gough Missal 198.
Record Sources
Digital Images
Digital Bodleian (full digital facsimile)
Digital Bodleian (4 images from 35mm slides)
Bibliography
Printed descriptions and studies:
Abbreviations
View list of abbreviations and editorial conventions.
Last Substantive Revision
2022-09: Description revised for publication on Digital Bodleian.