x. Prayers: Before the Image of the Body of Christ; To the

Blessed Mary and to S. John the Evangelist.

There is thus, as in all editions, a great deal in the volume besides the Horae, from which the book takes its name. But of the hundred and sixty pages to which (in addition to the twelve leaves of Kalendar) the volume extends, upwards of sixty are occupied by the Hours, which are thus much the most important item in the contents. The antiquity of these Hours was very great, for they are mentioned as an office as early as the sixth century. They fell, however, into disuse, but were revived, and probably rearranged, by Peter Damian just ten years before our battle of Hastings. Forty years later, in 1096, at the Council of Claremont, the saying of them, in addition to the canonical hours, was made compulsory upon all the clergy, and this compulsion continued until 1568, when Pope Pius V., in issuing his revision of the Breviary, released the clergy from the obligation to say this office, at the same time that he forbade the use of the vernacular translations of it, which for at least two centuries had been permitted to the laity. In England, as we all know, these vernacular versions were called Primers, and their rendering of the Psalms and Prayers of which the Hours were made up, and of the additional matter which was joined with them, has formed the basis of our present English Prayer Book.

Thee God we preise: Thee Lord we knowleche: Thee endless Fader everi erthe worschipeth: To Thee alle angels, to Thee hevenes and alle manere powers: To thee cherubim and seraphim crieth with vois withouten cessinge: Holy, Holy, Holy, Lord God of Ostis: Hevenes and erthe ben ful of mageste of thi glorie: Thee the glorious compainie of apostles: Thee the preisable noumbre of prophetes: Thee preiseth the white ost of martires.

So began the English version of the _Te Deum_ in a Primer written at the end of the fourteenth century (British Museum, Add. MS. 27, 592),[4] and if the beauty of some of these lines has caused us to give them a preference over other versions a little closer to our own, they serve none the less well to show whence it was that our Prayer Book obtained its magnificent rhythms. But who would know more of our old English Primers must be referred to the third volume of the late Mr. Maskell's 'Monumenta Ritualia Ecclesiae Anglicanae' (Clarendon Press, 1882). Here we are concerned with Horae, and that in their bibliographical and pictorial, rather than their liturgical aspect.

[4] Partially reproduced in photographic facsimile by Mr. Henry Littlehales. (Rivingtons, 1890.)

Each of the Hours, we are told, had its mystical reference to some event in the Lives of the Blessed Virgin and our Lord, and these references are explained in some of the Primers in some rude verses, which, with correction of some obvious misprints, and modernising the spelling, I proceed to quote:--

_Ad Laudes_:

How Mary, the mother and virgin, Visited Elizabeth, wife of Zachary, Which said, 'Blessed be thou cousin, And blessed be the fruit of thy body.'

_Ad Primam_:

How Jesu Christ right poorly born was, In an old crib laid all in poverty, At Bethleem, by an ox and an ass, Where Mary blessed His nativity.

_Ad Tertiam_:

How an Angel appeared in the morn, Singing, 'Gloria in Excelsis Deo'; Saying, 'The very Son of God is born, Ye Shepherds of Bethleem, ye may go.'

_Ad Sextam_:

How three kings of strange nations, Of Christ's birth having intelligence, Unto Bethleem brought their oblations, Of gold, of myrrh, and frankincense.

_Ad Nonam_:

Simeon, at Christ's circumcision, These words unto the Jews did tell, 'My eyen beholdeth your redemption, The light and glory of Israel.'

_Ad Vesperas_:

How Mary and Joseph with Jesus were fain Into Egypt, for succour, to flee, Whan the Innocents for His sake were slain, By commission of Herod's cruelty.

_Ad Completorium_:

How Mary assumpted was above the skies, By her Son as sovereign lady, Received there among the hierarchies, And crowned her the queen of glory.

I have quoted these verses in full, rude though they are, because they form the keynote to the scheme of illustrations of all Horae and Primers. The Hours were intended as devotional comments on the subjects of these verses, and in the fourteenth and fifteenth centuries it was thus the most natural thing in the world that each Hour should be accompanied by an illumination, or, failing that, a woodcut, to illustrate its special theme. Accustomed as we nowadays are to gain our information exclusively by reading letterpress, it is only by a visit to our nurseries that we can recall to ourselves how deeply the need of pictures was felt in the ages before the printing press made the art of reading a common acquirement. Of this need the Miracle Plays, with all their rudeness, all their unconscious profanity, were at once the living witness and the living fulfilment. In the great cycles, such as those of York, Wakefield, and Chester, which have come down to us, the history of the world in its sacred aspects is unrolled from the creation of the angels to the day of judgment; and the presentment of these plays probably brought the Bible stories nearer to the people than could have been possible in any other way. Certainly these plays left a deep mark upon current ideas of art, and helped to render impossible any attempt at antiquarian correctness. In the scene of the Adoration of the Shepherds in some of the finest books of Hours (P. Pigouchet: Paris, 1498, 1502, etc.), underneath the figures of the shepherds and their wives (by whom they are mostly represented as being accompanied) are written the names Gobin le gai, le beau Roger, Aloris, Alison, Mahault, Ysambre, by which they were known in the French plays on the Nativity, and the shepherds are French Shepherds of the fifteenth century. But however great their anachronisms, the tableaux in the Miracle Plays and the pictures in books of devotion were found abundantly helpful, and for more than a century and a half, first in manuscript and afterwards in print, the Horae or Primers, the prayer-books of the laity, hold the first place among illuminated books.

A few years ago Mr. Quaritch possessed a charming 'Book of Hours,' which at one time belonged to Elizabeth Poyntz, a relative of the Thomas Poyntz at whose book we were looking a little while back. To this manuscript Mr. Quaritch in his catalogue assigned the date 'about 1360,' which, if correct, gives it considerable antiquity among illuminated Horae. The end of the fourteenth century is the date at which these first become at all common, and it was during the fifteenth century that they obtained their greatest popularity, and that the greatest artists were employed in their production. Numerous and very beautiful examples of the manuscripts produced during this period form part of the permanent exhibition in the Grenville Library at the British Museum, and I hope that many of my readers will go to look at them there. All fine examples of manuscript Horae possess (i.) beautiful initial letters, (ii.) borders surrounding every page, formed of leaves, flowers, birds, grotesques, and the like, (iii.) a number of beautiful miniatures, filling the whole or the greater part of a page, and representing the scenes from the life of Christ and His Mother mentioned in the lines quoted above, with additional illustrations from the Passion, and from the lives of the saints. Beyond saying this, it is impossible to give any general description of these manuscript Hours, each one of which possesses its own delightful individuality. Two or three special examples, however, may be mentioned to show the estimation in which they were held and the care which was spent on their decoration. Thus the late Mr. Charles Elton possessed a charming little 'Book of Hours' which once belonged to Queen Jeanne II. of Naples (1370-1435). It measures only 2 5/8 × 1 7/8 inches, and contains one hundred and sixty leaves and twenty miniatures, nine of which occupy the whole of their page. The initial letters throughout are in gold and colours, and the borders are of the ivy-leaf pattern, the scrolls often terminating in grotesques. Mr. Quaritch, again, when this paper was written, had for disposal (for the sum of one thousand pounds) a Horae of slightly later date, a wedding present from the Regent, John, Duke of Bedford, to Lord Talbot on his second marriage in 1424, when he allied himself to Margaret Beauchamp, daughter of Richard, Earl of Warwick. The first leaf contains a miniature showing Talbot and his wife at prayer under the protection of their patron saints, and many other miniatures are scattered through the rest of the volume. In 1429 Talbot was captured at the battle of Patay and remained a prisoner in France till 1433. During this time he made many entries in the blank leaves of his Hours. Here is a snatch from one in verse:

Saynt George the gode knyght Over your Fomen geve you myght, And holy Saynt Katheryne To youre begynnyng send gode fyne, Saynt Christofre botefull (helpful) on see and lond, Joyfully make you see Engelond.

Twenty years after his release from imprisonment, Talbot was slain (July 20, 1453), fighting against a Breton force at Chatillon. It is possible that he may have carried his Hours on his person, for it was in the cottage of a Breton peasant that it was discovered a few years ago, and it seems likely that a Breton soldier may have found it on the battle-field, and transmitted it to his descendants as an heirloom. As an example of another kind of interest, we may instance a Horae at the Bodleian, on four of whose leaves are drawn most delicate and beautiful representations of religious processions. The best of these has been reproduced in the Proceedings of the Palæographical Society, and it is impossible to overrate the charm of the drawing.

In 1473 Nicholas Jenson printed a Horae at Venice; three years later, Matthias Moravus followed his example at Naples, and the earliest of Caxton's four editions was probably printed not much later than 1478. But these were all ordinary books, with no special beauty about them except what they might receive from the 'rubrisher,' or illuminator, after the printer had done his work. It was not till 1487, just a third of a century after the issue from the press of the first printed document bearing a date, that any serious attempt was made to supplant the manuscript Horae by printed editions. The first essay was made by Anthoine Vérard, of Paris, and is said--I have never seen a copy of it--to have been a poor production, 'without frontispieces' (whatever that may mean), or borders to the text. The success, however, with which it met was apparently sufficient to encourage Vérard to renew his attempt, and in 1488 or thereabouts he issued his 'Grandes Heures,' a fine quarto, with fourteen large engravings, and borders in four compartments to every page. In 1489, he reprinted the book in much cheaper form, using most of the large engravings which now occupied a whole page apiece, and devising for the borders smaller figures, in which scenes from the life of the Blessed Virgin and our Lord were set forth with their Old Testament types. Meanwhile other publishers had not been idle, for, in 1488, Jean du Pré, or Johannes de Prato, as he called himself on his Latin title-pages, issued the first of the few Horae which proceeded from his press; and in 1491 Philippe Pigouchet printed his first known edition, and not long afterwards entered into relations with Simon Vostre, an enterprising bookseller, which resulted in the publication of at least a score of editions, all extraordinarily rare, during the next twenty years. Towards the end of this century, and in the early part of the next, other Paris firms of printers and publishers joined in the trade. Of these, Thielman Kerver, Gilles and Germain Hardouyn, Guillaume Eustace, Francois Regnault, and Geoffroy Tory were the most important, but Horae are extant bearing the imprint of more than thirty other firms besides these. The demand must have been very great, for Paris supplied not only the rest of France--and in the British Museum there are examples of Horae for the use of no fewer than thirty different French dioceses--but also England. Hence there was abundance of work for all, and the different publishers copied each other's editions with a freedom which is not a little embarrassing to the humble bibliographer.

The subjects of the fourteen full-page illustrations in the little 'Horae secundum usum Sarum,' which we have taken as our text, are as follows:--

i. The Betrayal of Christ (repeated after xiv.).