Walters Ms. W.762, Beaupre Antiphonary, Vol. 4 Title page and ownership inscription Notated Offices Notated Offices for feasts in Temporale and Sanctorale Beaupré Antiphonary, Supplement Principal cataloger Randall, Lilian M.C. Cataloger Herbold, Rebekah Editor Herbert, Lynley Copy editor Dibble, Charles Contributor Brown, Emily Contributor Emery, Doug Contributor Herbold, Rebekah 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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 This supplement to the Beaupré Antiphonary, volume I (W.759) was produced ca. 1475-1500, but also includes eighteenth-century additions. These are supplemental musical settings of various feasts. Please see the contents for a detailed description of each supplemental notated text. Baltimore The Walters Art Museum W.762 The primary language in this manuscript is Latin. The secondary language of this manuscript is French, Middle (ca.1400-1600). 1r - 62v Beaupré Antiphonary, Supplement W.762 is the only extant example of an appended supplement of the type cited in the summary description for all three complementary lost volumes auctioned in 1863, in each entitled "Supplement pour les Responses et Anttiennes, qui ne se trouvent point dans ce Livre" frontflyleafi,4 - frontflyleafi,v Title page and ownership inscription Supplement Pour les Responses & Antiennes, Les Quelles Ne Se Trouvent Point Dans ce Livre Unnumbered parchment leaf, ca. eighteenth century; title and inscription page identifying the text as a supplement without any explanatory reference 1r - 42v Notated Offices Notated offices, headings in red; fols. 1r-28r: Corpus Christi (identification by Michel Huglo); fols. 28r-40v (beginning on line 3 of fol. 28r): Visitation, Vigils though beginning of Mass in feast, ending imperfectly; fols. 41r-41v: Annunciation, Magnificat and Benedictus antiphons at end of Office, beginning imperfectly (added ca. fourteenth century?); fol. 41v, lines 2-6: Vespers Magnificat antiphon added, notated, ca. eighteenth century; fols. 42r-v: Crown of Thorns, beginning imperfectly in Vespers, continuing with Magnificat antiphon and Invitatory Matins, ending imperfectly in fourth antiphon of first nocturn 43r - 62r Notated Offices for feasts in Temporale and Sanctorale Fols. 43r-v: Benedictus and Magnificat anitphons for Sundays XII, XIII after Pentecost; fol. 44r: Annunciation, Benedictus antiphon; St. Joseph (Mar. 19), Vesper Magnificat antiphon; St. Joachim (Mar. 20) second Vespers, Magnificat and Benedictus antiphon; fol. 45r: St. Gabriel (Mar. 26), Vespers and Lauds antiphons; fols. 45r-v: Invention of the Cross (May 3), Benedictus antiphon, second Vespers Magnificat antiphon; fol. 46r: St. John Evangelist before Latin Gate (May 6), second Vespers, Magnificat antiphon; fols. 46r-47v: Apparition of St. Michael Archangel (May 8), Magnificat antiphon, matins, three responsories and versicles, Benedictus antiphon; fols. 47v-48r: St. John Baptist (Jun. 24), first Vespers, third antiphon; fol. 48r: SS. John and Paul (Jun. 26), first Vespers, Magnificat antiphon; fols. 48r-v: Visitation (Jul. 2), Matins, Invitatory; fols. 48v-51v: Translation of St. Benedict (Jul. 11), from Matins Invitatory through None antiphon; fols. 51v-52r: St. Anne (Jul. 26), Magnificat and Benedictus antiphons for first Vespers, Magnificat antiphon for second Vespers; fols. 52r-v: St. Peter in Chains (Aug. 1), antiphons for first and second Vespers; fols. 52v-54r: Transfiguration (Aug. 6), from first through second Vespers antiphon; fols. 54r-v: Crown of Thorns (Aug. 10), Vespers antiphon, cue to Magnificat antiphon with instruction to turn to p. 83 (cross-reference to full notated text in this very Supplement, now fol. 42r); fol. 54v: St. Lawrence (Aug. 10), cue "Beat. Laurenti" and cross-reference to p. 348 (W. 759, fol. 175r, full notated text); fols. 54v-55r: Sts. Tiburtius and Susanne (Aug. 11), cues and cross-references to pp. 401, 414 (W.759, fol. 201v, 208r, full notated text), Benedictus antiphon through second Vespers antiphon; fol. 55r: St. Clare (Aug. 12), cue to antiphon "Veni sponsa." cross-reference to p. 441 (W. 759, fol. 221v, full notated text); fols. 55r-v: Confessor-pope and doctor of church, first Vespers Magnificat antiphons; fol. 55v: second Vespers, Magnificat antiphon; fol. 55v: Confessor non-pope, antiphon for Easter and second Vespers Magnificat; fols. 55v-56r: Virgins, Vespers antiphons; fols. 56r-59r: Several Virgins, second Vespers, Magnificat and Benedictus antiphons, Matins Invitatory and nine responsories, versicles, through second Vespers Magnificat antiphon; fols. 59r-60v: Martyr saint, non-Virgin and non-Martyr saints, Invitatory with special reference to SS. Anne and Mary Magdalene, nine responsories and versicles; fols. 60v-61r: Sunday in octave of Blessed Sacrament, Matins, third nocturn, responsory twelve; fols. 61r-62: Eight tones of "Gloria Patri," notated text ends on line 2, rest of page cut off and replaced by re-binder after 1904; fol. 62v: blank Headings in French

Parchment of medium to heavy weight, highly selected and prepared, eighteenth-century portion composed of stiffer parchment; some stains, grime, and cockling; early mending visible; front and back flyleaves of modern parchment, twentieth-century

 Foliation: ii+62+i48.0 34.6 36.1 24.1 Three extant foliation programs: two foliations added in the eighteenth century at outer top corner of each recto/verso, in Arabic numerals after "i" in medium-brown ink on fols. "1v"-"40v," continuing "81"-"123" from fol. 41 to the end, Roman numeral foliation above Arabic numerals in dark brown ink; third foliation modern pencil foliation in upper right corner rectos; modern pencil foliation in upper right hand corner of each recto (sequence from 1-62) used here

Quire 1: 8, with first folio cancelled (fols.1-7); Quires 2-3: 8 (fols. 8-23); Quire 4: 6 (fols. 24-29); Quire 5: 8 (fols. 30-37); Quire 6: 10, with first, second, sixth, seventh, and eighth folios removed, composite after fol. 40 (fols. 38-42); Quires 7-8: 6 (fols. 43-54), Quire 9: 8 (fols. 55-62) In pale brown ink at lower right of first rectos in quires 1-3 and 6, beginning "a//" Often extant in fifteenth-century quires, visible at lower right of verso, elaborated initials, in text hand (see fol. 37v for exemplary specimen)

Fols. 1r-40v: fifteenth-century additions composite of 7 staves of 4 lines alternating with 7 lines of text; fols. 41r-v: written space of 35.4 x 24.2 cm, 1 column, 8 staves of 4 lines and 8 lines of text; fols. 43r-62r: eighteenth-century additions, written space 38 x 26.9 cm., 1 column, 9 staves of 4 lines and 9 lines of text; musical notation in dark brown ink, square notation, composed on staves of 4 lines (plainsong notation); the outer format of W. 762 considerably exceeds that of the abbess's first Antiphonary volume to which it was appended, this presumably a result of observance of the less radically cropped second volume made for the abbess (W. 760); rulings in lead Fifteenth-century leaves written in textura formata; eighteenth-century portion written in regularly formed Roman script One illuminated initial on fol. 43r One illuminated initial of Roman capital "H" in liquid gold on red ground; flourished initials of two types, last quarter of the fifteenth century, found at openings of responsories, antiphons, versicles, hymns, and hymn verses: Cadels in dark brown, stroked in red, flourished in brown, one exception in blue (fol. 13v), featuring floral motifs and inscriptions, usually on banderole wound around dark brown thin pole in center; inscription format is analogous to scribe's name "dominus" Johannes Doecken, 1466-1467, in Gradual, Ghent, St.-Jacques; trefoil terminal flourishes beginning on fol. 30v (also used in catchwords beginning on fol. 37v); caricatured profiles facing left on fols. 30v, 35v, and 39r; fol. 35v features two heads on ascenders of "H," head with a belled cap, a red flourish retreating from the mouth; second type of flourished initials are in irregular alteration with cadels, red and blue letters with flourishes in brown and red respectively, tonary numbers "i" to "8" roughly inscribed inside letters in brown ink, passim; painted initials, one red and one blue, eighteenth-century Roman capitals in alternating red and blue, at all text divisions, height of text line; male profiles along left side of large, well-executed cadels, precedents found in first volume this would have supplemented (W.759) Roman capital "H" Twelfth Sunday after Pentecost, Vespers antiphon Illuminated initial "H," one stave of four lines and one line of text

Rebound in England after 1904, crimson morocco, 5-compartment spine, gilt title reading, "ANTIPH. ECCLE. S. MAR. BELLO PRATO/ II SUPP./MS"; edges are partially painted in a faded blue

 Ca. 1475-1500 CE Hainaut Created in Hainaut ca. 1475-1500, under Abbess Jacquemine Hendricx at the Cistercian abbey of Sainte-Marie of Beaupré at Grimmage as supplement for earlier manuscript (W.759) Abbess Angéline de Lossy (1755-96), eighteenth century; abbey seized during French Revolution and subsequently sold in 1797; church destroyed soon thereafter John Ruskin, ca. 1850, England Arthur Severn (cousin of John Ruskin) and Mrs. Severn, London, ca. 1900-02/1904 Henry Yates Thompson, 1902, his bookplate, his sale, London, Sotheby's, June 22, 1921, lot 67, Pls. 4-6 Bernard Quaritch, London bookseller Sir A. Chester Beatty, his sale, London, Sotheby's, June 7, 1932 Spanish Art Gallery, London, after 1932 William Randolph Hearst, San Simeon, California, before 1951 Walters Art Museum, January 1957, gift of the Hearst Foundation Relevant Works Cockerell, Sydney Carlisle. “LXXXIII. Antiphoner of the Cistercian Abbey of Beaupré, near Grammont.” In A Descriptive Catalogue of Twenty Illuminated Manuscripts Nos. LXXV to XCIV…in the Collection of Henry Yates Thompson. Cambridge: Cambridge University Press, 1907; pp. 55-74. Van den Gheyn, J. "L'antipohnaire de l'abbaye de Beaupré près Grammont." Handelingen van de Oudheid- en Geschiedkundige Kring van Audenarde 2 (1908-1909): 195-200; pp. 195-200. Cockerell, Sydney Carlisle, and Edward Fairbrother Strange. Catalogue of Miniatures, Leaves, and Cuttings from Illuminated Manuscripts. Exhibition Catalogue: Victoria and Albert Museum. London: H.M. Stationary Office, 1923; p. 11. De Ricci, Seymour, and W. J. Wilson. Census of Medieval and Renaissance Manuscripts in the United States and Canada. Vol. 2. New York: H. W. Wilson Company, 1935; p. 1688, cat. no. 4. Boeckler, Albert. Abendländische Miniaturen bis zum Ausgang der romanischen Zeit. Berlin: Walter de Gruyter and Co., 1938; pp. 51-52. Loomis, Roger S., and Laura H. Loomis. Arthurian Legends in the Middle Ages. New York: Oxford University Press, 1938; p. 92. Miner, Dorothy. "The Antiphonary of Beaupré." Journal of the Walters Art Gallery 9/8 (1957): 3-5; pp. 3-5. Faye, Christopher U. and William Henry Bond. Supplement to the Census of Medieval and Renaissance Manuscripts in the United States and Canada. New York: Bibliographical Society of America, 1962; p. 199, nos. 574, 577. Dearden, J.S. "John Ruskin, the Collector: With a Catalogue of the Illuminated and Other Manuscripts Formerly in His Collection." The Library 21/2 (1966): 124-154; pp. 135, 136, 153. Stones, M. Alison. "Illumination of the French Prose Lancelot in Flanders, Belgium, and Paris, 1250-1340." Ph.D. diss., University of London, 1970-1971; pp. 85, 111, 236-237, 244, 265 (n. 6). Dearden, J.S. "Portrait of a Bibliophile XVI: John Ruskin, 1819-1900." The Book Collector 21 (1972): 203-213; p. 203. Dearden, J.S. "Bulletin codicologique." Scriptorium 27 (1973); pp. 123 (cat. no. 79). Glorieux, Therese. "Provenances monastiques des manuscrits medievaux des anciens pays -bas meridionaux de la iv serie a la bibliotheque royale albert ier a bruxelles." Miscellanea codicologica F. Masai Dictata. Vol. 2. Edited by Peter Cockshaw (Les Publications de Scriptorium, 8, 1979) 559-575; cat. nos. 19, 39. "Abbaye de Beaupré à Grimminge." Monasticon Belge 7, Province de flandre orientale. Vol. 3. Liège: Abbaye de Maredsous, 1980; pp. 309-310, 314. Hauck, Alice H.R. "John Ruskin's Uses of Illuminated Manuscripts: The Case of the Beaupré Antiphonary." Arts Magazine 56 (1981): 79-83; pp. 79-83. Plotzek, Joachim M. Die Handschriften der Sammlung Ludwig. Vol. 2. Cologne: Schniitgen-Museum der Stadt Köln, 1982; pp. 70, 80. Hauck, Alice H.R. "John Ruskin's Use of Illuminated Manuscripts and Their Impact on His Theories of Art and Society." Ph.D. Diss., Johns Hopkins University, 1983; pp. 60-61, 72-73, 76-77. Calkins, Robert G. Illuminated Books of the Middle Ages. Ithaca: Cornell University Press, 1983; pp. 234-242, 248. Büttner, F.O. Imitatio Pietatis: Motive der christlichen Ikonographie als Modelle zur Verähnilichung. Berlin: Gebrüder Mann Verlag, 1983; pp. 135, 206. Thomson, James. C. Music Through the Renaissance. Dubuque: W.C. Brown Publications, 1984; pp. 54, 55, 60. Gaspar, Camille and Frédéric Lyna. Les principaux manuscrits à peintures de la Bibliothèque royale de Belgique. Brussels: Bibliothèque royale de Belgique, 1987; p. 199. Randall, Lilian M.C. "From Cîteaux Onwards: Cistercian-Related Manuscripts in the Walters Art Gallery. In Studies in Cistercian Art and Architecture. Vol. 3. Edited by Meredith P. Lilich, 111-136. Kalamazzo, Michigan: Cistercian Publications, 1989; p. 113. Stones, M. Alison. "Madame Marie's Picture-Book: A Precursor of Flemish Painting Around 1400." In Flanders in a European Perspective: Manuscript Illumination around 1400 in Flanders and Abroad. Proceedings of the International Colloquium, Louvain. Edited by Maurits Smeyers and Bert Cardon, 429-443. Leuven: Peeters, 1995; pp. 429-443. 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. 26-56, cat. no. 219. Bennett, Adelaide. "Continuity and Change in the Religious Book Culture of the Lowlands in the Thirteenth and Fourteenth Centuries." In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 166-179. Turnhout, Belgium: Brepols, 2002; p. 178. De Hamel, Christopher. "Book in the Church." In In Medieval Mastery: Book Illumination from Charlemagne to Charles the Bold (800-1475). Edited by William Noel and Lee Preedy, 46-55. Turnhout, Belgium: Brepols, 2002; 50 (fig. 4), 51. Gummlich, Johanna Christine. Bildproduktion und Kontemplation.: Ein Überblick über die Kölner Buchmalerei in der Gotik unter besonderer Berücksichtigung der Kreuzigungsdarstellung. Weimar: Verlag und Datenbank fur Geisteswissenschaften, 2003; p. 128, 132. Greenia, George D. "The Bigger the Book: On Oversize Medieval Manuscripts." Belgisch tijdschrift voor philologie en geschiedenis 83/3 (2005): 723-745; p. 743. Hunt, Elizabeth Moore. Illuminating the Border of French and Flemish Manuscripts, 1270–1310. London: Routledge, 2006; p. 180 (n. 26). 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