Walters Ms. W.172, Book of Hours, Use of Augustinian Canons of Windesheim Chapter Calendar Hours of the Virgin Devotional sequence Seven penitential psalms Litany, petitions, collects, and prayers Office of the Dead, nine lessons, and prayers Added Magnificat Book of Hours artist Master of the Ghent Privileges and associates Principal cataloger Randall, Lilian M.C. Cataloger Herbert, Lynley Cataloger Herbold, Rebekah Editor Herbert, Lynley Copy editor Wallace, Susan Contributor Emery, Doug Contributor Noel, William Contributor Schuele, Allyson Contributor Tabritha, Ariel Contributor Toth, Michael B. Contributor Wiegand, Kimber Conservator Owen, Linda Conservator Quandt, Abigail The Walters Art Museum

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 Completed for liturgical use of the Augustinian Canons of the Windesheim Chapter ca. 1450, this Book of Hours features eleven extant miniatures and nine historiated initials. The manuscript was illuminated by the Master of the Ghent Privileges and associates, possibly in Tournai. The first owner's association with Ghent as a cleric is evinced in the graded calendar, with possible visual references on fols. 1r and 82v. Along with occasional marginal additions, this Book of Hours also features some heraldry that attests to a cherished history. Baltimore The Walters Art Museum W.172 The primary language in this manuscript is Latin. 1r - 121v Book of Hours artist 1r - 6v Calendar Januarius One-half to two-thirds full; graded in red and black; contents indicate Windesheim liturgical useage; notable saints include: Gertrude (Mar. 16, usually 17), Benedict (Mar. 20, usually 21), George (Apr. 23), Walburga (May 1), Our Lady of Martyrs (May 13), Lawrence (Aug. 10), Hippolytus (Aug. 14, usually 13), Assumption (Aug. 16, usually 15), Bernard (Aug. 16, usually 15), Augustine (Aug. 28), Augustine (Oct. 2, translation), Livin (Nov. 12) 7v - 50v Hours of the Virgin Incipiunt hore beate virginis. Ad matutinas. Domine labia mea 50v - 60v Devotional sequence Incipiunt hore de sancta cruce. Ad matutinas. Devotional sequence beginning with Hours of the Cross with rhyming and short lines, Matins followed by verse prayer to Christ; fols. 58r-59r: four suffrages (Cross, Virgin, Augustine, and All Saints), closing prayers; fols 59v-60v: cues for Fifteen Gradual Psalms, three groups of five psalms each with each group followed by invocations and prayer 61r - 68r Seven penitential psalms Domine ne infurore 68r - 80v Litany, petitions, collects, and prayers Letania Kyrieleyson Fol. 68r-71r: Litany, with a mix of northern and southern Netherlandish saints, including St. John the Baptist alone in group of patriarchs and prophets; sixteen apostles from Peter to Mark; twenty-six martyrs, including Ignatius, Peter (martyr), Pontianus, Lambert, Dionysius, Boniface, and Gereon; twenty confessors, including Augustine, Jerome, Nicholas, Remigius, Hilary, Servatius, Willibrord, Lebuin, and Odulph; sixteen virgins including Mary Magdalene, Agnes, Walburga, Gertrude, Ursula, and Elizabeth; fols. 71r-72v: Petitions; fols. 72v-73r: Prayer, "Preces" (Ego dixi domine); fols. 73r-74v: Four collects; fols. 75r-v: Four prayers about the Passion; fols. 76r-80v: Prayer asking for the remission of sins and the mercy of Christ, the Virgin, saints, angels, archangels, evangelists (specifically Peter the apostle and Archangel Michael) 80v - 117v Office of the Dead, nine lessons, and prayers Incipiunt vigilie mortuorum. Dilexi quoniam exaudiet Fols. 82r-117v: Office of the Dead; fols. 109r-112r: Nine lessons; fols. 112r-117v: Communion prayers (the second drawn from Geert Grote's Hours of Eternal wisdom) 118r - 122v Added Magnificat Credo quod redemptor meus Text and musical notation added in seventeenth century; notated Magnificat in first nocturn in Office of the Dead (fol. 122r-v ruled with four-line staffs but otherwise blank)

Medium to heavy parchment, well prepared

 Foliation: ii+121+ii21.7 16.3 14.5 8.9 Flyleaves are wove paper; front flyleaf ii has a watermark with the word "HILD," and back flyleaf i has a unicorn watermark

Quire 1: 6 (fols. 1-6); Quire 2: 8, with first folio added (fols. 7-15); Quire 3: 8, with fifth folio added (fols. 16-24); Quire 4: 8, with fourth and eighth folios added (fols. 25-34); Quire 5: 8, with first, fourth, and seventh folios added (fols. 35-45); Quire 6: 8, with first and sixth folios added (fols. 46-55); Quire 7: 8, with fifth, sixth, and seventh folios cancelled (fols. 56-60); Quires 8-9: 8 (fols. 61-76); Quire 10: 8, with fifth folio added (fols. 77-85); Quires 11-13: 8 (fols. 86-109); Quire 14: 10, with first folio cancelled (fols. 110-118); Quire 15: 4, with fourth folio cancelled (fols. 119-121) None None

Layout differs from rest of manuscript: nine groups of four-line staffs per page; text and musical notation fill entire page and leave no margin Layout does not apply to the calendar (5 columns, 33 lines), or the added text on fols. 118r-120v (9 four-line staffs per page, with text filling entire page including margins) Seventeenth-century hand has added notated responsories and antiphons in margins Later, seventeenth-century hand Written in textura; added Hufnagel musical notation in later, seventeenth-century hand Eight full-page miniatures on fols. 7v, 20v, 28v, 32v, 35v, 38v, 41v, and 46v; one large miniature on fol. 8r; seven historiated initials on fols. 21r, 29r, 33r, 36r, 39r, 42r, and 47r One full-page miniature on fol. 51v Historiated initial fol. 61r Full-page miniature fol. 81v; historiated initial fol. 82r Ten extant full-page miniatures; one large miniature (14 lines) and nine historiated initials (7-10 lines) within foliate margins face full-page miniatures; occasional marginalia; decorated initials in gold, blue, and rose throughout (2-5 lines) including KL in calendar; flourished versals in alternating red and blue; rubrics in red; text in black ink Agony in the garden of Gethsemane Hours of the Virgin: Matins Full-page miniature Annunciation Hours of the Virgin: Matins Large miniature, 28 lines Betrayal and arrest of Christ Hours of the Virgin: Lauds Full-page miniature Initial "D" with the Visitation Hours of the Virgin: Lauds Historiated initial "D," 7 lines Christ before Pilate Hours of the Virgin: Prime Full-page miniature Initial "D" with the Annunciation to the shepherds Hours of the Virgin: Prime Historiated initial "D," 7 lines Flagellation Hours of the Virgin: Terce Full-page miniature Initial "D" with the Nativity Hours of the Virgin: Terce Historiated initial "D," 7 lines Christ carrying the cross Hours of the Virgin: Sext Full-page miniature Initial "D" with the Adoration of the Magi Hours of the Virgin: Sext Historiated initial "D," 7 lines Crucifixion Hours of the Virgin: None Full-page miniature Initial "D" with the Presentation in the Temple Hours of the Virgin: None Historiated initial "D," 7 lines Deposition Hours of the Virgin: Vespers Full-page miniature Initial "D" with the Flight into Egypt Hours of the Virgin: Vespers Historiated initial "D," 9 lines Entombment Hours of the Virgin: Compline Full-page miniature Initial "C" with the Massacre of an Innocent Hours of the Virgin: Compline Historiated initial "C," 7 lines Virgin of Humility Hours of the Cross Full-page miniature Initial "D" with King David penitent Seven penitential psalms Historiated initial "D," 9 lines Funeral service and Purgatory Office of the dead Full-page miniature Initial "D" with the Raising of Lazarus Office of the dead: Vespers Historiated initial "D," 10 lines

Rebound with red-brown velvet in Belgium (?), late nineteenth century; spine rounded, backed at that time; endbands glued, with striped cloth around cord core; edges speckled with red; pastedowns and facing flyleaves made of purple-gray and white marbleized paper

 Ca. 1450 CE Flanders Made for a cleric in the 1450s, likely for the use of the Augustinian Canons of the Windesheim Chapter; illuminated possibly in Tournai by the Master of the Ghent Privileges and associates; calendar saints suggest an association with Ghent Havet family of Tournai (?), late fifteenth century, suggested by an added armorial that appears similar to that of the Havet family (fol. 8r) Sixteenth-century inscription in pale ink, "servio Alberto Godefrido Cluter..." (bottom margin, fol. 1r); date appears to be "1504" when viewed under ultraviolet light Unknown owner numbered manuscript in modern pencil "N. 1200" on front flyleaf ii, r Gruel and Engelmann, Paris, late nineteenth or early twentieth century, their bookplate inscribed with "No. 60" on front pastedown Henry Walters, Baltimore, purchased from Gruel before 1931 Walters Art Museum, 1931, by Henry Walters' bequest Relevant Works De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 1. New York: H. W. Wilson Company, 1935; p. 788, cat. no. 195. Delaissé, L.M.J. "An Exhibition of Netherlandish Book Illumination, April 22 through May 12" at Oberlin College. Allen Memorial Art Museum Bulletin 17 (1960): 94-113; cat. no. 31. Van Buren, A. Review of Die illuminierten handschriften und inkunabeln der österreichischen Nationalbibliothek, ser. 1/6: Flämische Schule I by Otto Pächt, Ulrike Jenni, and Dagmar Thoss. Art Bulletin 67 (1985): 327-331; pp. 328. Dogaer, G. Flemish Miniature Painting in the 15th and 16th Centuries. Amsterdam: B.M. Israel BV, 1987; pp. 31. Owens, M.B. "Musical Subjects in the Illumination of Books of Hours from Fifteenth-Century France and Flanders." Ph.D. diss, University of Chicago, 1987: 389. Wieck, Roger Seymour. Time Sanctified: The Book of Hours in Medieval Art and Life. Exhibition Catalogue. Baltimore, Walters Art Gallery. NY: George Braiziller, 1988; pp. 30, 71, 210: no. 85, Pl. 27. Stejskal, K. "Reportáž o cestě za francouzskými a belgickými illuminátory rukopisů v pražské Národní knihovné." Dějiny a Současnos. Kulturně Historická Revue 16 (1994): 37-42; p. 41. Wieck, Roger S. "Inventive Efficiency from the Master of Ghent Privileges; or, A Little Bit of Hell Goes a Long Way." In Medieval Codiology, Iconography, Literature, and Translation: Studies for Keith Val Sinclair, edited by P.R. Monks and D.D.R. Owen. Leiden: Litterae Textuales, 1994; p. 137, Fig. 45. Bousmanne, Bernard. Item à Guillaume Wyelant aussi enlumineur: Willem Vrelant, un aspect de l'enluminure dans les Pays-Bas méridionaux sous le mécénat des ducs de Bourgogne Philippe le Bon et Charles le Téméraire. Bibliothèque Royale de Belgique. Turnhout: Brepols, 1997; p. 354 (n. 37), Randall, Lilian M. C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Belgium, 1250-1530. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp; 219-226, cat. no. 245. Cardon, Bert. "The Portfolio of a Bruges Miniaturist in the Mid-Fifteenth Century." In "Als Ich Can": Liber Amicorum in Memory of Professor Dr. Maurits Smeyers, edited by Bert Cardon, Jan Van der Stock, and Dominique Vanwijnsberghe, 319-355, vol. 1. Leuven: Peeters Press, 2002; p. 337. Clark, Gregory T. Made in Flanders: The Master of the Ghent Privileges and Manuscript Painting in the Southern Netherlands in the Time of Philip the Good. Turnhout: Brepols, 2000; pp. 29-31, 33, 47, 54, 58, 65-66, 79-80, 83, 92, 94-95, 97, 122, 129, 131-32 135, 139, 141, 160, 163-164, 167, 171, 189-191, Figs. 10-11, 93-104. Smeyers, Katharina. "Iconographic Cycles in Légendes Dorées." In Manuscripts in Transition: Recycling Manuscripts, Texts, and Images. Proceedings of the International Congres held in Brussels (5-9 November 2002). Edited by Brigitte Dekeyzer and Jan van der Stock, 285-290. Leuven: Uitgeverij Peeters, 2005; pp. 286, 290 (n. 17). Clark, Gregory T. "'Made In Flanders' and the Master of the Ghent Privileges: A Second Coda." In Tributes in Honor of James H. Marrow: Studies in Painting and Manuscript Illumination of the late Middle Ages and Northern Renaissance. Edited by Jeffrey F. Hamburger, James H. Marrow, and A. S. Korteweg, 155-172. Turnhout, Belgium: Harvey Miller, 2006; p. 156. Reynolds, Catherine. "The Undecorated Margin: The Fashion for Luxury Books without Borders." In Flemish Manuscript Painting in Context: Recent Research, edited by Elizabeth Morrison and Thomas Kren, 9-26. Los Angeles: Getty Publications, 2006; pp. 13, 24. Scillia, Diane. "The Master of the Tiburtine Sibyl's Raising of Lazarus (Mexico City, San Carlos Museum) and the Early Haarlem School of Painting Reconsidered." In Tributes in Honor of James H. Marrow: Studies in Painting and Manuscript Illumination of the late Middle Ages and Northern Renaissance. Edited by Jeffrey F. Hamburger, James H. Marrow, and A. S. Korteweg, 453-464. Turnhout, Belgium: Harvey Miller, 2006; pp. 457-459. König, Eberhard. "Zur Farbigkeit der verbannten Gefangennahme im Turiner Gebetbuch." In Quand la peinture était dans les livres: Mélanges en l'honneur de François Avril. Edited by Mara Hofmann, Caroline Zöhl, Eberhard König, Jonathan James Graham Alexander, and Lucy Freeman Sandler, 111-128. Turnhout: Brepols, 2007; pp. 121, 122, 126. 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