Gloria in Excelsis. The ILLUMINATIONS ARE EXCEEDINGLY FINE AND RICH, 8 HORAE BEATAE MARIAE VIRGINIS AD USUM ROMANUM. 12mo., 195 leaves written in a beautiful regular Italian Gothic, 17 lines to the full page; with 15 MAGNIFICENT MINIATURES, probably by SIMON BYNNYNCK or Bening, EACH WITHIN A SPLENDID BORDER, with a similar one opposite, each page of the Calendar also having a beautiful THREE-QUARTER BORDER, with a small MINIATURE in the lower portion, also hundreds of ornamental initials, etc.; green velvet, with a silver cross on the upper cover £ 1. Early Saec. XVI 420 00 This charming little volume commences with a Calendar, every page containing half the month, the left hand beginning with the KL. or Kalends and going down to the 15th, the right from the 16th to the end. Each page has a 3-side or bracket-border panel, with a yellow ochre ground mixed with powder-gold, on which arc painted cut flowers, birds and insects, branches of brown-gold or coloured acanthus of the kind distinguished as of Gantois origin, but employed all over Flanders. Again, at foot of each left page is the month or occupation scene, and in the border opposite the zodiacal sign, January having Aquarius-here a very realistic naked boy standing in the sea with a water-bottle in each hand, out of which he is pouring water. The usual occupations are to well known to need description; they never vary very much. Nor are these little pictures of any special interest, except perhaps for costume, which they render very exactly. Here we see to the life how the farmer of the 15th century looked, what he wore and what sort of tools he used. April shews us the young gallant with his hawk. May, the lovers. Junius, a characteristic scene in the grass field on a mowing day. The cancer, or crab, opposite is a scarlet fish with ten legs. In October the scorpion is "an evolution from subconscious cerebration," simply joints and legs. Undoubtedly the flower-painting in these borders is perfect beyond praise. The Calendar is of Roman use. After it come two blank up, and on the verso of fol. 14 is painted the favourite and oft-repeated figure of the “Silvator Mundi," or, as sometimes called, the Sancta Facies. Of the many examples with which it may be compared, it is unquestionably equal to the best of them. This is saying a great deal, for it may be seen in several of the finest and earliest MSS. in the British Museum, e.g., in Egerton 1147, Kothschild No. IV (add. 35313), and in some very fine examples in private hands. They all differ in detail, in the fingers, or the cross, or the jewels, and the expression varies; some faces are more serious or more care-worn, but the general intention is the same in all. In fact, none were slavish copies, but it is quite clear that they have all sprung from the same original model, and this model wus a production of the late 15th century. One of the most highly finished and perfect examples is the fine Salvator Mundi assigned to Quentin Massys, or Matsys, and now in the Louvre, but whether this be the fountain-head or not is not easy to say; it is most probably itself merely an example among others of equal merit, but it shews the influence of this master on those who followed him, as the present miniature, although differing in the arrangement of the hands and other details, shews, if not suggested by the Massys picture, that both painters had seen the same prototype. One other miniature in this volume seems to have come from this painter's hand; the rest, though having a similar look, are of inferior skill, or at least less careful finish. They are all skilful, and all shew the practised miniaturist. The list begins with the Invocation, "Salve Sancta Facies," and the two pages form a coup d'œil in a framework of Flemish Renaissance architecture, and floral embellishments not easily surpassed. It is a typical presentation of the miniature art of West Flanders during the early years of the 16th century. It should be noticed that the earlier Italian manner of forming the capital letters of the inscriptions or the white bands in the lower borders is made use of, where the peculiar form of the M-viz., M— misled some earlier writers on art to give Jan Memmelinck the name of Hemmelinck. f. 16, end of ɛection In capitals, Per omnia secula seculorum. "World without end." Amen. 16 v. blank. 17 blank. 17 v. Miniature, full page, of Crucifixion. The frontispiece to the Hours of the Cross within an architectural symbol-bearing border. The text includes the services for each of the 7 Canonical Hours to fol. 23 v. They are very brief, being only such portions as are not given in the Hours of the Virgin beyond the Introits. 24 v. Miniature of Pentecost, being frontispiece to the Hours of the Holy Spirit, another abridgment,.with very fanciful architectural borders on green, grey, and lake grounds, with groups of flowers, which, as usual, are the best part of the ornament. In the miniature the execution is much superior to the previous one. On the side label of 24 v. is the ribbon inscription Veni Creator Spirit, and similar passages on other pages. To each page of text at these headings is a large initial on a coloured panel, composed of Gantois foliages, and scattered throughout the text are a great many smaller ones in lilac letters on red-gold panels. A white dove at foot, on a leaden-grey ground with strawberries, holds a label with the words Emitte Spiritum. Fol. 30 Miniature of Madonna and Child, enthroned, to Mass of the Virgin, to fol. 40. f. 40 v. and 41 blank. The Hour-Services are given as in previous section, ending on fol. 29 v. blank. 30 v. f. 41 v. We now reach the Hours of the B. Virgin Mary, with the usual Miniature of the Annunciation, but in a different treatment from the common Flemish one, which is best known from the work of Peter Christus. Usually the Virgin kneels at a prie-dieu with her back towards the Angel, and turns half round as she listens to the message. Here she faces Gabriel, her hands crossed on her bosom. Brightness of colour is got from the deep red hangings of her bed, and the bright emerald of the cloth over the prie-dicu, as contrasted with her own rich blue gown and the vestments of the angel. The recessed back of the picture is cool brown and grey. The green is repeated in the lower border by trees, pot of flowers, of a cock, and the ground of two arches. The text page has a similar border, but at foot a medieval Merman is shooting at the peacock while a Mermaid sits behind: beyond is a river, then a landscape with church. At top are green and blue panels. Here, too, the Miniature-now unfortunately injured in the face of Gabriel-shews good and careful finish. Service ends on f. 57. 57 v, 58, blank. 58 r. Miniature of the Visitation. Frontispiece to Lauds. Another excellent piece of work. Draperies and features good, background of buildings. Borders yellowgold washed, and filled with cut flowers, butterflies, etc., of most exquisite delicacy. Large initial D of the usual Gantois type on pink panel. f. 68, f. 68 v, 69, blank. fol. 69 v. Miniature of Nativity, or Adoration of the Holy Child, usual frontispiece to Prime. Borders cut flowers, i.e., roses and carnations on yellow ground, brown foliage and birds. Initial D on blue panel. Here the surface has been somewhat rubbed, so as to rather spoil the brilliancy of the original work, but is by same hand as the Visitation. Ends 73 v. 74 blank. 74 v. Angel appears to Shepherds. Note costumes and bagpipes. The usual frontispiece to Terce. The initial D here has a bright green panel. Borders, flowers and insects, etc., as before. The work by same hand as Visitation. End f. 78. 78 v. and 79 blank. f. 79 v. Miniature of Adoration of Magi. Frontispiece to Sext. Initial D on rose-pink. Here the treatment of the borders recall the peculiarity of some of the Grimani Breviary miniatures, where it seems as if the vellum containing the miniature and that with the text were laid over the middle part of a landscape. On the left is a boy climbing a tree to get at a bird's nest, and on the right a boy like a negro has climbed and caught a large bird by the neck. At foot are two highly finished mythological combats. A river runs across both pictures. End fol. 83. fol. 83 v, and 84 blank. 84 v. A very pretty miniature of the Presentation in the Temple. Frontispiece to None. Initial D on slate panel. We cannot but notice that the man who served as model for the High Priest in this picture is evidently the same as the seated shepherd on fol. 74 v, and Joseph on fol. 69 v. Two flower borders on yellow gold. End on fol. 88. 88 v. and 89 blank. This miniature fol. 89 v. Miniature of the Murder of the Innocents. Vespers. is not of the same high standard as that of the rest of the book. costumes give it interest. These two pages form another instance of inlaying on fullpage landscapes. Ends fol. 96; 96 v. and 97 blank. 97 v. The Flight into Egypt. This is a subject that sometimes is placed here and is sometimes replaced by one or two other subjects, as Christ before Pilate, or Assumption or Coronation of the Virgin. Much depends on locality and patterns in use where the MS. was illuminated. The peacocks and flowers in these pair of borders strongly recall the same objects in Egerton 2125, a MS. which shows the same patterns used by Gerard David and his wife. The Joseph in the Flight into Egypt is the same individual previously noticed. End fol. 102; fol. 102 v and 103 blank. 103 v. Miniature of Coronation of the Virgin-the usual picture to this section, viz., "The Office of the Virgin for Advent." This miniature is another of the less careful works. The more they are examined the more probable it seems that the master-hand had an assistant who tried hard to imitate the pattern. The flowers and snails in the borders again recall the borders of Egerton 2125. Office ends fol. 110 v. ; f. 111 blank. f. 111 v. Miniature of the Penitence of David-a usual frontispiece to the Penitential Psalms, which begin on fol. 112. This is one of the best pictures in the book. It is most like the master's hand. The border is mostly of the intercepted landscape sort, with a brown gold tower with recesses and ornamental mouldings on the left side, and a handsome pillar, fountain, and basin on the right. This is rather a long office, and extends to the Litany of the Saints on fol. 121 v. to 126 v., The Kyrie. End f. 130; f. 130 v. and 131 blank. fol. 131 v. Miniature of the Raising of Lazarus, by the ordinary hand. The Joseph of the Flight is here the Christ, with the usual Flemish defect of big head and short stature. The border is architectural with coloured grounds. The very appropriate symbols of skulls: one at top, with motto, Tempus veniet, "time will come. One at foot, with Cogita mori, "Think to die;" again, on right, Tempus veniet omni. "The time will come to everyone." Re(quies) in pace, amen, "Rest in peace," (at foot) "amen." The Office which follows on f. 132 is that of the Vigils of the Dead. Of this, the first part goes down to f. 139. 139 is the Dirge (a service in church). f. 149 v., The Requiem. The burial service ends on f. 166 v. 167. With pretty three-side bracket of flowers and tiny picture of a Pietà begin the Prayers to the B. Virgin Mary. Initial O (containing the picture). Obsecro te Domina scta Maria, etc. fol. 170. O intemerata and in eternum benedicta . . . virgo. Ends fol. 174 v. 175. Hymn Stabat mater dolorosa, juxta crucem lacrimosa, dum pendebat filius. This beautiful hymn ends on fol. 176. Here follow a few prayers and memoriæ of several saints usually here recorded, concluding with the story of the Passion from the Gospel of St. John. In a contemporary but lighter hand is added a prayer of the blessed Thomas Aquinas. This ends the text on fol. 193 v. In going through the miniatures and ornaments of this manuscript we cannot but notice the dark Spanish or Portuguese features of the persons represented, and most strongly perhaps in the David (fol. 111 v.). We also note the peculiar touch in some scenes of a woman's hand. The skill here shown in the miniatures, however, is not that of quite so accomplished a miniaturist as Cornelia Cnoop, the wife of Gerard David, but it is skilful, and to all appearance, feminine work. It is work also pointing to the Spanish Netherlands, and the school of Bruges. On the whole-for we cannot pretend to enumerate all the little marks of circumstantial evidence-it seems quite within the range of possibility that this is one of the early works of Simon Bynnynck of Bruges. He is best known by the eleven miniature sheets in the British Museum called the Portuguese Genealogies, a work in which he was assisted probably by his daughters, of whom he had five, some no doubt trained miniaturists. The eldest, Lavinia, afterwards married George Teerlinck. She was a pupil of her father, and came over to England and was employed at Court under Edward VI., Mary, and Elizabeth. The work in this MS. may well have been done whilst she lived at home with her father, who in 1518 settled finally at Bruges. (He was a native of Antwerp, and became a Member of the Guild of St. John and St. Luke at Bruges in 1508.) Now this MS. may well have been executed by Simon and his eldest daughter from about 1520 onward. The Genealogies were begun about 1530. He is identified by M. Pinchart with Simon Bering, who painted a book of armorial escutcheons of Knights of the Golden Fleece. As for the handwriting, there were resident Italians and Spaniards employed as copyists in Bruges at that time. What the younger daughters did is not known, but Lavinia (or Lievine) was noted as a most skilful flower painter, and the delicacy and high finish of these borders would seem to demand the light and refined touch of a woman's hand, not to speak of the weaker and less sympathetic work on several of the miniatures and calendar pictures of the months, which may have been the work of a younger daughter of Bynnynck. £ 8. d. EARLY PRINTED BOOKS illustrated and non-illustrated 9 ESOP. (Title :) Esopi appologi siue mythologi cum quibusdam carminum et fabularum additionibus Sebastiani Brant. (Colophon :) Impressi Basilee opera et impensa. Jacobi de Phortzheim: Anno . primo post quindlcima centesimum £ s. d. Sm. folio, Gothic letter, with 335 fine spirited woodcuts; the first leaf in facsimile, otherwise good, sound, and clean; russia, the joints neatly repaired Basel, 1501 36 0 0 10 ARISTOPHANES. COMEDIE. Editio Princeps. 11 The woodcuts are apparently the same as in the Augsburg edition. (Fol. 1α:) ΑΡΙΣΤΟΦΑΝΟΥΣ ΚΩΜΩΔΙΑΙ 'ENNE'A ARISTOPHANIS COMOEDIAE NOVEM. │. . . (Fol. 1b :) Aldus Manutius Romanus Danieli Clario Parmenfi. S. P. D. | . . . (This address ends on fol. 2a, and the preface of Marcus Musurus and other preliminary matter, in Greek, follow. (Fol. 9α:) ΑΡΙΣΤΟΦΑΝΟΥΣ, ΗΛΟΥΤΟΣ. | . (Fol. 90 blank. The text ends on fol. 346a, and the two following pages are occupied by the register. Fol. 347b). Venetiis apud Aldum. M.IID. Idibus Quintilis. | . (Fol. 348 blank) Sm. folio, FIRST EDITION, 348 leaves; a fine, sound copy in blue morocco extra, gilt edges Venice, Aldus, 1498 18 0 0 the same. Sm. folio, a remarkably large (320 × 219 mm.) and fine copy; some leaves a little discoloured; in a contemporary binding of reddish-brown morocco with blind knotwork and other decoration on the sides, the back a little damaged at head and foot 12 AUSLEGUNG DES LEBENS JESU CHRISTI. 1498 30 00 (Fol. 1, blank on the obverse and having a large woodcut (Fol. 178a, last three lines, beneath a woodcut:) Griept fyeft Sm. folio, Gothic letter, 178 leaves, 40 long lines to the VERY RARE. 13 BERGOMENSIS DE CLARIS MULIERIBUS. (Fol. 1a, title, aylographic:) De | plurimis | claris fceletis (sic) q3 | Mulieribus. Opus prope diuinu3 | nouiffime | congeftum (On the reverse a large woodcut design and border bearing the date MCCCCLXXXXIII. Fol. 2a) Pro logus. Fratris Iacobi philippi Bergomefis ordis Here mita diui Auguftini ad | facratiffima Beatrice; Aragonia, Ungaro Boemo4 Regina in librum de | claris fceletifq; (sic, as on title) Mulieribus nouiflime geftum. .. (Fol. 176a).. ... Ferrarie ipreffuz. | Opera z ipenfa Magiftri Laurentij de rubeis de ualentia tertio kal'. maias. [ anno falutis nre. M.cccclxxxxvij Small folio, 176 leaves printed in Gothic letters, 45 lines to the page, with foliation and quire-signatures; with 175 remarkably fine woodcuts designed by Ferrarese artists, including three very fine decorative borders; bottom margin of the first leaf and plain corners of one or two leaves mended; otherwise a fine copy in red morocco extra, with broad Derome ornamental borders, gilt edges £ s. d Ferrara, Lorenzo de Rossi, 1497 65 00 This is one of the most important of the books illustrated with woodcuts which were produced in Italy in the fifteenth century, and the finest production of the Ferrarese press. It is extremely difficult to obtain copies in anything approaching good condition. The signatures are A 4 leaves; a-e in eights; f 6 leaves; g-p in eights; q-x in six and eight alternately; y and z 6 each. The foliation begins on the seventh leaf which is marked Fo. III, and is continued to the end, the last leaf being marked erroneously CLXX. 14 BERLINGHIERI. GEOGRAPHIA. (Fol. 1a blank; 1b:) IN QVE | STO VOLVME | SI CON FRANCESCO BERLIN GERI FIORENTINO ALLO IL | LVSTRISSIMO LIBER PRIMVS FELICITER INCIPIT Roy. folio, Roman letter, 122 printed leaves; with 31 maps, printed on thicker paper, all of which have been coloured by a contemporary hand; the first leaf inlaid, as also the leaf containing the first table and the first leaf of text; a little soiled and spotted in places; otherwise a most excellent copy in old mottled vellum [Florence, Nicolaus Laurentius, c. 1481] 105 00 |