BOOK OF HOURS Heures a lusaige de Rõme tout au long sans riens reqrir. Auec les figures de la vie de lhõme : & plusieurs aultres belles figures, in French and Latin on vellum.

An extremely rare edition of Hardouin’s c. 1516 Paris Book of Hours – exuberantly illuminated by Hardouin’s atelier

Gillet Hardouin (also found as Hardouyn; c. 1455-c. 1529) was a Parisian printer who worked with his brother Germain, specializing in printed Books of Hours. He is responsible for the present Book of Hours for the use of Rome, which is one of possibly two to four known copies of the present edition, printed with an almanac from 1516-1530 and with this particular Title and Colophon: (Title) Heures a lusaige de Rome tout au // long, sans riens reqrir. Auec les figu//res de la Vie de lhõme : & plusieurs aul//tres belles figures. (Colophon): Cy finissent ces p[r]esents Heures, a lu//saige de Ro[m]me tout au long sans rie[n]s re//querir. Imprimees nouvellement a Pa//ris par Gillet hardouyn librire demou//rant au bout du pont Nostre dame de//vant Saint Denis de la Chartre a Len//seigne de la Rose dor. The copy now in Paris’ Petit Palais (LDUT31) is the same edition (Rahir, Édouard, La Collection Dutuit, Livres et manuscrits, 1899, no. 31, pp. 14-15. Brunet (Manuel du Libraire et de l’Amateur de Livres, Vol. 5. Paris 1864, col. 1637, no. 248) mentions two copies; however, we cannot currently locate them, nor confirm if either of these is one and the same as that of the Petit Palais.

Text

A1                          Title page: Heures a lusaige de Rōme tout au // long sans riens reqrir. Avec les figu//res de la vie de lhōme: & plusieurs aul//tres belles figures.

A1v                        Almanach pour .xiiii.ans.: 1516-1530

A2                           Zodiac and Bloodletting rules, texts on the effects of the stars on people and on bloodletting

A2v-A6                   Calendar: (A2v) January, February; (A3) March, April; (A3v) May; (A4) June, July; (A4v) August; (A5) September, October; (A5v) November; (A6) December

A6v                        Prayers: Ave cuius conception; Deus qui nos conceptionis; Incipit: Initium Sancti evangelii pm Johannem. Gloria tibi domine.

B1v-B8v                 Gospel Extracts: (B1v) John; (B2) Luke; (B2v) Matthew; (B3v) Mark; (B4v-B8) Passion according to John

C1v-I4                    Office of the Virgin, use of Rome , interspersed with Hours of the Holy Cross and Hours of the Holy Spirit: (B8) Incipit; (C1v-C8) Matins; (D1-D5) Lauds; (D6v) Holy Cross Matins; (D7v) Holy Spirit Matins; (D8v-E2) Prime; (E2) Holy Cross Prime; (E2v) Holy Spirit Prime; (E3v-E4v) Terce; (E5) Holy Cross Terce;  (E5v) Holy Spirit Terce; (E6v-E8) Sext; (E8) Holy Cross Sext; (E8v) Holy Spirit Sext; (F1v-F3) Nones; (F3) Holy Cross Nones; (F3v) Holy Spirit Nones; (F4v-F7) Vespers; (F7) Holy Cross Vespers; (F7v-F8) Holy Spirit Vespers (without Incipit); (G1-G2v) Compline; (G2v-G3) Holy Cross Compline; (G3) Holy Spirit Compline

G5-H1                   Advent rules; (H1) Incipit: Penitential Psalms

H2v        Penitential Psalms 

H6v                        Litany

I4v-L4v                  Office of the Dead: (L4v-L5) Funeral prayers: Avete omnes anime fideles, Domine iesu christe salus et liberatio.

L5-L6                     Suffrages of the Saints: (L5) de sanctissima trinitate, ad deum patrem; (L5v) ad filium; (L6) ad sanctum spiritum, de sancta facie domini

L6v-M2                  Prayers: (L6v) Obsecro te; (L8) O Intemerata; (M1v) Stabat mater; (M2) Interveniat pro nobis

M2v-M8                 Continuation of the Suffrages: (M2v) de sancto michaele (Incipit f. M2), de sancto johanne baptista, de sancto johanne evangelista; (M3) de sanctis petro et paulo, de sancto jacobo; (M3v) de omnibus apostolis, de sancto stephano; (M4) de sancto laurentio, de sancto christophoro; (M4v) de sancto sebastiano; (M5) de pluribus martyribus; (M5v) de sancto nicolao, de sancto claudio; (M6) de sancto anthonio; (M6v) de sancta anna, de sancta maria magdalena; (M7) de sancta katherina, de sancta margareta; (M7v) de sancta barbara; (M8) de sancta apolonia; Suffrage Intercessions

M8-N7v                 Prayers: (N1) Quant on lieve le calice; (N1v) Quant on prent la paix; Quant on la receu; (N2) Contre la tempste; Contre la tentation de la chair; Contre les mauvaise pensées; (N2v) Pour quelque tribulation; Pour nos bienffaicteurs; Pour le tien amy qui est mort (N3) Pour le pere et la mere

N4                          Mon benoist dieu; (N4v) Missus est Gabriel; (N7) Te deprecor

N8                          Office of the Conception of the Virgin Mary (Incipit f. N7)

O2v                        Table, Colophon: “Cy finissent ces p[r]esents Heures, a lu//saige de Ro[m]me

tout au long sans rie[n]s re//querir. Imprimees nouvellement a Pa//ris par Gillet hardouyn librire demou//rant au bout du pont Nostre dame de//vant Saint Denis de la Chartre a Len//seigne de la Rose dor.”

Illustration

The edition is furnished with a stylistically pure series of 43 metalcuts, of which 6 full-page, 15 three-quarter page, and 22 small finely hand-painted and framed metalcuts (likely painted by a hand active within the workshop of printing brothers Gilles and Germain Hardouin), most of which were designed by the workshop of Jean Pichore for the Hardouin brothers. These include Gillet Hardouin’s printer’s mark and the bloodletting man in the same style. The borders of all text pages are additionally decorated with a variety of metalcut borders. Although Pichore was mainly an illuminator, he was also an entrepreneur at the head of a large and productive workshop in Paris, where the present metalcuts were designed. Pichore also tried his hand at printing, setting up a press with Remi de Laistre in 1503. He designed numerous metalcuts for himself and others, publishing a first series under his own name in 1504. By 1508, he was supplying designs for Books of Hours by other printers, especially Simon Vostre, Thielman Kerver, Guillaume Eustace and, for the present edition, the brothers Gillet and Germain Hardouin.

Our identification of the illumination cycle and its metalcut artists is indebted to the description of a similar edition in: Tenschert, Heribert. Horae B.M.V. 365 Gedruckte Stundenbücher Der Sammlung Bibermühle, 1487–1586, vol. VI. Bibermühle 2014, no. 76. 

A1                          Gillet Hardouin’s mark with the centaur Nessus abducting Deïaneira [Renouard 429]. Unidentified coat of arms of early owner.

A2                          Hardouin’s bloodletting man in skeleton form (metalcut copy after Vostre’s Zodiac Man)

B1                          Poisoning of the Evangelist John (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509) Inscription: FUIT HOMO MISSUS A DEO

B2                          Luke in his study (small, underlying metalcut: Pichore style for Hardouin, c. 1505)

B2v                        Matthew in his study (small, underlying metalcut: Pichore style for Hardouin, c. 1505)

B3v                        Mark in his study (small, underlying metalcut: Pichore style for Hardouin, ca. 1505)

B4                          Arrest of Christ (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509)

B8v                        Divine Decree: Justice, Peace, Mercy, and Truth (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509); Inscription: MISERICORDIA ET VERITAS OBVIAVERUNT SIBI IUSTIEA ET PAX OSCULATE SUNT

C1                          Annunciation to the Virgin (underlying metalcut: Pichore for Hardouin, in-8°, 1505-09); Unidentified coat of Arms in border

C8v                        Augustus and the Tiburtine Sibyl (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509); Inscription: INSOLE POSVIT TABERNACULUM SUUM

D5v                        Flagellation of Christ (underlying metalcut: Pichore for Hardouin, in-4°, ca. 1509)

D6                          Crucifixion (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509)

D7                          Pentecost (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509)

D8                          Nativity (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509); Inscription: ECCE PUER NATUSEST NOBIS

E3                          Annunciation to the Shepherds (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509)

E6                          Adoration of the Magi (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509) Inscription: REGES TARSIAE VENERUNT

F1                           Presentation in the Temple (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509) Inscription: NUNC DIMICTIS SERUŪ TUUM MDÑE

F4                           Flight into Egypt (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509)

F8v                         Death of the Virgin Mary (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509)

H1v                        Death of Uriah (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509)

H2                          Bathsheba bathing (underlying metalcut: Pichore for Hardouin, in-4°)[1]

I3v                         Rich man’s banquet (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509)

I4                            Raising of Lazarus (underlying metalcut: Pichore for Hardouin, in-8°, 1505-1509); Inscription: LAZARE VENI FORAS

L5v                        God the Father with two angels (small, underlying metalcut: Pichore workshop for Hardouin); Man of Sorrows (small, Master of the Apocalypse Rose-style for Hardouin, c. 1503).

M2v                       Archangel Michael as the conqueror of Satan; John the Baptist with the Lamb (small, underlying metalcuts:  Master of the Apocalypse Rose-style for Hardouin, c. 1503).

M3                         SS. Peter and Paul with their attributes; St. James as pilgrim with book (small, underlying metalcut: Master of the Apocalypse Rose-style for Hardouin, c. 1503).

M4                         St. Lawrence standing with book; St. Christopher as Christ bearer (small, underlying metalcut: Master of the Apocalypse Rose-style for Hardouin, c. 1503).

M4v                       Martyrdom of St. Sebastian (small, underlying metalcut: Master of the Apocalypse Rose style for Hardouin, c. 1503)

M5v                       St. Nicholas with the three boys; St. Claudius as bishop with book (small, underlying metalcut: Master of the Apocalypse Rose-style for Hardouin, c. 1503)

M6                         St. Anthony as a hermit with his pig (small, underlying metalcut: Master of the Apocalypse Rose-style for Hardouin, c. 1503)

M6v                       St. Anne teaches Mary to read; St. Mary Magdalene with ointment jar (small, underlying metalcut: Master of the Apocalypse Rose style for Hardouin, c. 1503)

M7                         St. Catherine with sword and book; St. Margaret emerging from the dragon (small, underlying metalcut: Master of the Apocalypse Rose-style for Hardouin, c. 1503)

M7v                       St. Barbara with tower and palm branch (small, underlying metalcut:  Master of the Apocalypse Rose-style for Hardouin, c. 1503)

[1] A relatively rare scene for the Hardouin 4° series. Zöhl, Caroline. Jean Pichore: Buchmaler, Graphiker und Verleger in Paris um 1500, Turnhout, 2004, p. 144.

M8                         St. Apollonia with forceps (small, underlying metalcut: Master of the Apocalypse Rose-style for Hardouin, c. 1503)

N4                          Man of Sorrows (small, underlying metalcut: Master of the Apocalypse Rose-style for Hardouin, c. 1503)

N7v                        Mary Immaculata (underlying metalcut: Pichore for Hardouin, in-4°, c. 1509).

 llumination

The book at hand has been marvellously individualized through its series of illuminations, surrounded by golden Renaissance frames. The miniatures are consistent with the style of the illuminators in the Hardouin workshop that we find from c. 1515-1525. These painters enjoy the heavy use of liquid gold highlights and delight in elaborate costume details like striped and multi-colored tights, as well as heavy shading of draperies.

Provenance

1.        Unidentified 16^th-century (?) coats of arms: (f. A1) d’argent à paon au naturel, à la bordure d’azur denchée de pourpre bordé d’un filet d’argent; (f. C1) d’argent à paon au naturel, à la bordure d’azur denchée de pourpre bordé d’un filet d’argent (dexter), impaled with d’azure, au calice d’or, accompanié de cinq fleurs-de-lis du même (sinister);

2.        Paris, Ambroise Firmin Didot (1790-1876), his no. 843, his bookplate on front pastedown;[1]

3.        Paris, Georges Wendling, bookplate on front pastedown and ex-libris stamp on first fly leaf;

4.        Europe, private collection.

Literature

Bohatta, Hanns. Bibliographie der « livres d’heures » (Horae BM.V.), Officia, Mortuli animae, Coronae B.M.V., Rosaria und Cursus BM.V. des 15. und 16. Jahrhunderts… — Wien, Gilhofer & Ranschburg, 1924, no. 1001 (with incorrect edition information). 

Brunet, Jacques-Charles. Manuel du Libraire et de l’Amateur de Livres, Vol. 5. Paris 1864, col. 1637, no. 248

Catalogue des Livres Précieux Manuscrits et Imprimés Faisant Partie de la Bibliothèque de M. Ambroise Firmin-Didot de l’Académie des Inscriptions et Belles-Lettres. Vente 17 Juin 1882, lot. 93, p. 97.

Firmin Didot, Ambroise. Catalogue Raisonné des Livres de la Bibliothèque de M. Ambroise Firmin Didot. I, Livres avec Figures sur Bois, Solennités, Romans de Chevalerie. Paris 1867, no. 843.

Tenschert, Heribert. Horae B.M.V. 365 Gedruckte Stundenbücher Der Sammlung Bibermühle, 1487–1586, vol. VI. Bibermühle 2014, no. 76.2

Further reading:

Brunet, Jacques-Charles. Notice sur les heures gothiques imprimées à la fin du 15e siècle et dans une partie du 16e.

[1] Firmin Didot 1867, no. 843, cols. cclxxxi-cclxxxii; Catalogue des Livres Précieux Manuscrits et Imprimés Faisant Partie de la Bibliothèque de M. Ambroise Firmin-Didot de l’Académie des Inscriptions et Belles-Lettres. Vente 17 Juin 1882, lot. 93, p. 97.