MS 7 is a Book of Hours consisting of 251 leaves (and twelve flyleaves) still bound in its original binding of calf leather over wooden boards. The ornamentation of this binding includes animal motifs, a scene of a bagpiper and three dancers, and words which identify the binder as Ludovicus Bloc, a binder in Bruges, Flanders, form 1484-1529. The manuscript ws made in Bruges in 1484-1529 but may have been intended for use in Lierre-en-Brabant. The text was written in Batarde script, with light brown to black ink for the text and red for rubrics. The layout for the main text consists of 16 rows in 1 column. Not only does the binding match another found in the Goldschmidt collection, but the panel with the bagpiper and dancers matches a narrative border for the Annunciation to the Shepherds on f.82r of Syracuse MS 7 and also a page in Vienna, Nat. Bibl. MS. 1984, f. 95v.
The text which follows the use of Rome, is in Latin with the final prayer in French, and consists of a calendar, Hours of the Cross, Hours of the Holy Spirit, Gospel readings, Mass of the Blessed Virgin Mary, Hours of the Virgin, Salve Regina, Prayer of St. Bernard, Penitential Psalms, Litany, Office of the Dead, various prayers and suffrages.
This manuscript is profusely illuminated and contains approximately 63 small and large miniatures with borders and 5 historiated initials, in addition to the usual array of decorative initials and end-of-row space-fillers. The borders surrounding the major illuminations may be designed with bold-colored patterns ornamented with realistically-detailed flowers and foliage, or attempt to recreated special effects such as jewels pinned on to the border, or illustrate a narrative scene. In general, the artwork is characteristic of work done in Ghent & Bruges the beginning of the 16th century.
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|Image||Links and descriptions|
|Shelfmark||MS 7, Syracuse University Library, Department of Special Collections.|
|Total Folios||ff. iv + 251 + viii.|
|Outer Dimensions||14 x 10 cm.|
|Physical Issues/Binding||Silver clasp ends of a later period attached to binding. Contemporary stamped calf binding (brown) over wooden boards is decorated with various designs. Panels on front and back depict 1 man playing a bagpipe and 3 men and 1 woman dancing. These images are reminiscent of the images of the bagpiper and dancing shepherds and shepherdess on f.82r. Other animals included in the the design include stag, boar, dog, rabbit, squirrel, monkey, cow?, and a dog-like creature with a curly tail. Words printed on the cover provided identification of the binder: OB. LAUDEM / XPRISI.LIBRUM. HUNC / RECTE.LIGAVI / LUDOVICUS. BLOC /.|
|Provenance||J. F. Drake; Adrian Van Sinderen.|
|Bibliography||Everson Museum of Art of Syracuse and Onondaga County. Medieval Art in Upstate New York. Syracuse, NY: Everson Museum of Art of Syracuse and Onondaga County, 1974.[p. 110]|
|Notes (Manuscript Level)||Ludovicus (Louis) Bloc worked at Bruges, 1484-1529. An identical binding was used to enclosed several texts printed in 1520 (and found in the collection of E. P. Goldschmidt). Panel with bagpiper and dancers also resembles a page in a manuscript (Vienna, Nat. Bibl. Ms. 1984, fol. 95v) written and illuminated in the workshop of Simon Bening of Bruges, ca. 1510-1520.|
|Source(s)||Everson Museum of Art of Syracuse and Onondaga County. Medieval Art in Upstate New York. Syracuse, NY: Everson Museum of Art of Syracuse and Onondaga County, 1974.[p. 110]. -- Goldschmidt, E. P. Gothic & Renaissance Bookbindings, 2 vols. London: Ernest Bern (Benn?) Ltd., 1928. [See Vol. 2, p. vi, and Plate XLII for a manuscript with an exact binding match; also, Vol. 1, pp. 210-211, for information on Louis Bloc and manuscript photographed.] ? Additional descriptions,notes, and observations by Jennifer Casten.|
|Part Number||Pt. I, Calendar; Hours of the Holy Cross; Hours of the Holy Spirit; Hours of the Blessed Virgin Mary; the Seven Penitential Psalms; Litany; Office of the Dead; Suffrages; and additional prayers.|
|Span of Folios for Part||Pt. I, ff. 1r-251v (not including front or back flyleaves, or any blank pages in between).|
|City||Made in Bruges; Possibly intended for use in Lierre-en-Brabant. Calendar includes solemnity of St. Gummarius or Gommaire (Oct. 10) and his translation (March 17), suggesting that the owner may have lived near Lierre-en-Brabant.|
|Date||ca. 1510-1520, based on binding and artwork style. Ludovicus (Louis) Bloc worked at Bruges, 1484-1529. An identical binding was used to enclosed several texts printed in 1520. Panel with bagpiper and dancers also resembles a page in a manuscript (Vienna, Nat. Bibl. Ms. 1984, fol. 95v) written and illuminated in the workshop of Simon Bening of Bruges, ca. 1510-1520.|
|Layout||Ink ruling. Calendar: 18 horizontal & 5 vertical lines, 17 rows of text. Remainder of MS: 17 horizontal and 2 vertical lines, 16 rows of text in 1 column. Text in light brown to black ink. Rubrics in pale red. At least three changes of scribal hand.|
|Representational Decoration||The artwork is characteristic of manuscripts produced in Bruges and Ghent at the beginning of the sixteenth century. The major illuminations consists of 6 full-page miniatures with border/margin on facing page, 63 small and large miniatures with borders, and 5 historiated initials. Borders surrounding the major miniatures may consist of bold color patterns decorated with floral/foliage, or may contain flowers illustrated in realistic detail, or contain words relevant to the illumination. Others create the effect of a border pinned with jewels, or a sculpture/frieze framing the main miniature. Still other borders are narrative extensions of the scene depicted in the main miniature, or may even depict scenes with subject matter that is rather incongruous in theme to the subject matter of the main miniature (e.g., wild folk narrative border around miniature for the Coronation of the BVM, f.104). The following list includes miniatures (and narrative borders) and historiated initials appearing in this MS, with their respective folio numbers: Arrest of Christ, Agony in the Garden, Christ being bound (13v-14r); Christ before Pilate & Flagellation (15r); Pilate shows Christ to the crowd (Ecce Homo) & the Carrying of the Cross (16r); Christ stripped and waiting for the Cross & Nailing to the Cross (17v); Raising of the Cross and the Crucifixion (19r); Deposition or Descent from the Cross & Lamentation (20r); Entombment & Angel announces the Resurrection the the women (21r); Baptism of Christ by John the Baptist & Historiated initial of the Holy Spirit (22v-23r); Christ appears to the Apostles (24r); Pentecost (25v); St. Peter and St. Paul blessing/healing people (27r); St. Matthias preaching & baptizing in Ethiopia (28r); St. Peter preaching to a group of men (29r); St. Paul performing baptisms (30r); Historiated initial: Eagle of St. John the Evangelist (31v); Historiated initial: Ox of St. Luke the Evangelist (32v); Historiated initial: Angel or Winged Man of St. Matthew the Evangelist (34r); Historiated initial: Lion of St. Mark the Evangelist (35v); Agony in the Garden and Instruments of Christ’s Passion (37r); Madonna and Child (47v); Annunciation to the BVM (55v); Visitation & Frolicking Monkeys/Apes border (66r); Nativity (77v); Annunciation to the Shepherds & Bagpiper with Dancing Shepherds (82r); Adoration of the Magi & Children Playing Games (86v); Presentation in the Temple & Sporting Games (91r); Flight into Egypt & Massacre of the Innocents (95v); Coronation of the BVM & Wild Folk Scene (104r); Mary Queen of Heaven with Christ Child & Five Virgin Saints (109r); St. Bernard before Virgin and Child (111r); King David kneeling in prayer & David’s Victory over Goliath (113r); Raising of Lazarus & Death of a Man (133v); Funeral Procession, Night Vigil, & Historiated Initial of Skull and Bone (134r); Crucifixion & Stag Hunt (179v); Virgin and Child (182v); Virgin kneeling in prayer with Jesus in her lap (183r); Christ as Salvator Mundi (194r); St. Michael the Archangel (200v); Sts. Peter and Paul (201v); St. Andrew (202v); St. Sebastian (203r); St. Anthony the Hermit (204r); St. Adrian (205r); St. Guidon (206r); St. John the Baptist (207r); St. John the Evangelist (208r); St. Laurence (208v); St. Nicholas (209r); St. James the Greater (209v); St. Christopher (210v); St. Claudius (212r); An Apostle (213v); Veneration of the Holy Sacrament (215r); The Crucifixion (216r); God the Father (216v); God the Son as Christ Triumphant (217v); God the Holy Spirit as Dove (218r); Christ as Infant or Christ Emmanuel (219r); St. Agnes (221r); St. Anne with Virgin Mary and Infant Jesus (222r); St. Mary Magdalene (223r); St. Elizabeth of Hungary (224v); St. Catherine of Alexandria (225r); St. Barbara (226v); S.t Margaret (227v); St. Apolonia (229r); St. Agatha (230r); St. Mary of Egypt (231r); St. Cecilia (231v); St. Lucy (232v); The Elevation of the Body of Christ (234v); Before Receiving Christ/Distribution of Communion (235r); Madonna and Child (239r); Christ as Salvator Mundi (247r).|
|Other Decoration||Decorative initials are of two types: a gold letter against a red or blue rectangular background, 1-2 rows high; or a letter, 2 rows high, created by design of foliage. End of row space fillers appear in text as same height of a row, either as red or blue rectangles with gold design.|
|Notes (Part Level)||Although there appears to be a particular focus on St. Gummarius in the calendar, there is also an interesting entry for the dedication of the Cathedral of St. Peter at Geneva. In addition, a saint associated with Anderlecht, appears in the suffrages: St. Guidon (St. Guy or St. Wye).Dating and location of origin information are contributions of Professor Sheila Edmunds, Wells College, as well as information about manuscript, binding, text, and art, as found in Medieval Art in Upstate New York, pp.112-113. Additional information (including individual miniature identifications, e.g., St. Guidon) provided by J. Casten.|
|Span of Folios for Text||Calendar: ff. 1r-12v; Hours of the Cross: ff.13v-21r; Hours of the Holy Spirit: 22v-30r; Gospel readings: ff. 31v-46v; Mass of the Blessed Virgin Mary: ff. 47v-54r; Hours of the BVM: ff. 55v-108v; Salve Regina: ff. 109r-110v; Prayer of St. Bernard: ff. 111r-112v; Penitential Psalms: begins ff. 113r; Litany: begins ff.124v; Office of the Dead: begins ff. 133v-134r; Various prayers and suffrages: ff. 179v-251v.|
|Other Associated Name(s)||Louis Bloc or Ludovicus Bloc.|
|Supplied Title||Book of Hours.|
|Incipit||[Immediately following calendar-rubric:] "Incipiunt hora de sancta cruce ad matutinas." (f.14r)|
|Language(s)||Latin. Final prayer in MS in French.|
|Notes (Text Level)||Use of Rome.|
|Additional Sources of Information||Goldschmidt, E. P. Gothic & Renaissance Bookbindings, 2 vols. London: Ernest Bern (Benn?) Ltd., 1928. [See Vol. 2, p. vi, and Plate XLII for a manuscript with an exact binding match; also, Vol. 1, pp. 210-211, for information on Louis Bloc and manuscript photographed.]|
MS 7: [Book of Hours]
Everson Museum of Art of Syracuse and Onondaga County. Medieval Art in Upstate New York. Syracuse, NY: Everson Museum of Art of Syracuse and Onondaga County, 1974. [pp. 111-113]
De Ricci, Seymour. Census of Medieval and Renaissance Manuscripts in the United States and Canada, vol. 2. New York, NY: H. W. Wilson Company, 1937. [pp. 1204-1205: Manuscript from the Library of Adrian Van Sinderden. Now Syracuse University Library, Department of Special Collections, MS 7. Supposedly similar binding is that of H. Yates Thompson MS 23].
Goldschmidt, E. P. Gothic & Renaissance Bookbindings, 2 vols. London: Enrest Bern (Benn?) Ltd., 1928. [See Vol. 2, p. vi, and Plate XLII for a manuscript with an exact binding match; also, Vol. 1, pp. 210-211, for information on Louis Bloc and manuscript photographed.]