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Detailed record for Harley 2891

Title Missal, use of Paris
Origin France, Central (Paris)
Date between 1317 and 1318
Language Latin
Script Gothic
Artists Attributed to the Fauvel Master, 2 miniatures by the Papeleu Master (ff. 145v, 146).
Decoration 2 full-page miniatures, in colours and gold, at the beginning of the Canon of the mass (ff. 145v, 146). 16 large historiated initials with partial foliate borders, some with birds or hybrid figures, the first with full foliate borders, birds and heraldic arms, in colours and gold (ff. 20, 33, 36, 144, 147, 153r, 170v, 176v, 183v, 240, 251v, 264v, 267, 279, 297, 301). 6 large decorated initials with partial foliate borders, some including hybrid figures, birds and animals, in colours and gold (ff. 238, 341, 350v, 380, 383v, 384v). Large and small decorated initials, many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red.
Dimensions in mm 275 x 190 (165 x 115) in two columns
Official foliation ff. 385 (+ 3 medieval blank leaves after ff. 239, 300, 379; + 2 paper flyleaves at the beginning and 1 unfoliated medieval parchment and 1 paper flyleaf at the end); medieval foliation in red ink roman numerals, 'i'-'ccclxi' (ff. 20-[379v]
Form Parchment codex
Binding Post-1600. Diced brown leather; gilt edges.
Provenance Probably made for the use of Sainte-Chapelle, the French royal chapel in Paris: the calendar includes feasts specific to the Sainte-Chapelle such as the dedication of the royal chapel in gold letters 'dedicatio sancte capelle reg. par. annuum festum' (26 April, f. 15v), the translation of the head of St Louis 'Translatio capitis beati ludovici annuum festum' (17 May, f. 16), the feast of the Crown of Thorns 'susceptio corone domini' and the feast of St Louis (25 August, f. 17v), translation of the Holy Relics (30 September, f. 18); also included are obits of the royal family: Philip II (14 July, f. 17), Louis VIII (8 November, f. 19), Blanche of Castile (26 November, f. 19r), and Louis, eldest son of Louis IX (11 January); datable by the inclusion of the feast of St Louis d'Anjou, celebrated in Paris as of 7 April 1317; the Fête-Dieu (Corpus Christi), celebrated in Paris as of 1318, is added only at the end with a mass ordained by Pope Clement VI in 1348 (see Trésor de la Sainte Chapelle 2001). The added masses also include the feast of the translation of the head of St Louis and the translation of the Holy Relics.
Member of the Beauvau familly, probably Bertrand de Beauvau (b. 1382, d. 1474), chamberlain to Charles VII, King of France (from 1435), the Beauvau arms with a star mise en abyme (see his arms in the Statuts de l'ordre du Croissant (Paris, Bibliothèque nationale de France, ms. fr. 25204, f. 45v) (f. 20).
Added marginal notes in French or Latin referring to the liturgical contents, 17th century.
Joseph Hinselin, Lord of Ternes and Carrières (in 1670), royal advisor and corrector at the Chambre de Comptes, 17th century: his armorial bookplates (f. 1)
Matthew de Varennes, London bookdealer, 21 December 1723; bought by Nathaniel Noel for Robert Harley (see Wright 1972).
The Harley Collection, formed by Robert Harley (b. 1661, d. 1724), 1st earl of Oxford and Mortimer, politician, and Edward Harley (b. 1689, d. 1741), 2nd earl of Oxford and Mortimer, book collector and patron of the arts, inscribed as usual by their librarian, Humfrey Wanley '21 die Decembris A.D. 1723.' (f. 1). Edward Harley bequeathed the library to his widow, Henrietta Cavendish, née Holles (b. 1694, d. 1755) during her lifetime and thereafter to their daughter, Margaret Cavendish Bentinck (b. 1715, d. 1785), duchess of Portland; the manuscripts were sold by the Countess and the Duchess in 1753 to the nation for £10,000 (a fraction of their contemporary value) under the Act of Parliament that also established the British Museum; the Harley manuscripts form one of the foundation collections of the British Library.
Notes Full digital coverage available for this manuscript: see Digitised Manuscripts at http://www.bl.uk/manuscripts.
The first historiated initial protected with white silk.
Medieval quire signatures, at the end of quires 'Corr.c' for correctus.
Complete digital coverage available for this manuscript; see Digitised Manuscripts http://www.bl.uk/manuscripts.
Select bibliography A Catalogue of the Harleian Manuscripts in the British Museum, 4 vols (London: [n. pub.], 1808-12), II, no. 2891.

Walter de Gray Birch and Henry Jenner, Early Drawings and Illuminations: An Introduction to the Study of Illustrated Manuscripts (London: Bagster and Sons, 1879), p. 9.

Léopold Delisle, Recherches sur la libraire de Charles V, 2 vols (Paris: Champion, 1907), II, p. 234, n. 68.

J. A. Herbert, Illuminated Manuscripts (London: Methuen, 1911), p. 247.

Schools of Illumination: Reproductions from Manuscripts in the British Museum, 6 vols (London: British Museum, 1914-30), VI: French: Mid 14th to 16th Centuries, pl. 1.

[J. A. Herbert], British Museum: Reproductions from Illuminated Manuscripts, Series 2, 3rd edn (London: British Museum, 1923), pl. 22.

Illuminated Manuscripts and Bindings of Manuscripts Exhibited in The Grenville Library, Guide to the Exhibited Manuscripts, 3 (Oxford: British Museum, 1923), no. 51.

Eric Millar, Souvenir de l'exposition de manuscrits français à peintures organisée à la Grenville Library (British Museum) en janvier-mars 1932 (Paris: Société Française de Reproductions de Manuscrits à Peintures, 1933), pl. 28.

Joan Evans, English Art 1307-1461, Oxford History of English Art, 5 (Oxford: Clarendon Press, 1949), p. 16 n. 2.

Millard Meiss, French Painting in the Time of Jean de Berry: The Late XIV Century and the Patronage of the Duke, 2 vols (London: Thames and Hudson, 1967), p. 317.

C. E. Wright, Fontes Harleiani: A Study of the Sources of the Harleian Collection of Manuscripts in the British Museum (London: British Museum, 1972), p. 266.

Les Fastes du gothique: le siècle de Charles V (Paris: Editions de la réunion des musées nationaux, 1981), p. 285.

Alison Stones, 'The Stylistic Context of the Roman de Fauvel, with a Note on Fauvain', in Fauvel Studies: Allegory, Chronicle, Music, and Image in Paris, Bibliothèque Nationale de France, MS français 146, ed. by Margaret Bent and Andrew Wathey (Oxford: Clarendon Press, 1998), 529-67, pp. 531, 554, 556.

Richard H. Rouse and Mary A. Rouse, Manuscripts and Their Makers: Commercial Book Producers in Medieval Paris 1200-1500, 2 vols (Turnhout: Harvey Miller, 2000), I, 211, 216, II, Appendix 8D.

Le Tre´sor de la Sainte-Chapelle, ed. by Jannic Durand and Marie-Pierre Laffitte (Paris: Re´union des muse´es nationaux, 2001), no. 48 [exhibition catalogue].

Alison Stones, Gothic Manuscripts: 1260-1320, 2 vols (London: Harvey Miller, 2013-14), I.2, pp. 131, 136; II.1, p. 218.

D'Or et d'ivoire: Paris, Pise, Florence, Sienne 1250-1320 (Lens: Musée du Louvre-Lens, 2015), no. 96 [exhibition catalogue].


Images
* * *
 
Priest presenting his soul to God

f. 20
Priest presenting his soul to God
Nativity

f. 33
Nativity
Adoration of the Magi

f. 36
Adoration of the Magi
 
Crucifixion

f. 145
Crucifixion
Crucifixion and Majests Domini

ff. 145v-146
Crucifixion and Majests Domini
God enthroned

f. 146
God enthroned
 
Priest

f. 147
Priest
Resurrection

f. 153
Resurrection
Pentecost

f. 176v
Pentecost
 
Trinity

f. 183v
Trinity
Andrew

f. 240
Andrew
Presentation

f. 251v
Presentation
 
Presentation

f. 251v
Presentation
Peter

f. 267
Peter

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