Walters Ms. W.88, Book of Hours Original endleaves Calendar Hours of the Virgin Litany Devotional sequence Office of the Dead Devotional sequence Prayers to Christ Book of Hours Principal cataloger Randall, Lilian M.C. Cataloger Valle, Chiara Editor Herbert, Lynley Copy editor Dibble, Charles Contributor Emery, Doug Contributor Noel, William Contributor Schuele, Allyson Contributor Sedovic, Katherine Contributor Tabritha, Ariel Contributor Toth, Michael B. Contributor Wiegand, Kimber Conservator Owen, Linda Conservator Quandt, Abigail The Walters Art Museum

Licensed for use under Creative Commons Attribution-ShareAlike 3.0 Unported Access Rights, http://creativecommons.org/licenses/by-sa/3.0/legalcode. It is requested that copies of any published articles based on the information in this data set be sent to the curator of manuscripts, The Walters Art Museum, 600 North Charles Street, Baltimore MD 21201.

 This small Book of Hours, made for use in the diocese of Cambrai ca. 1300-10, is especially interesting for its profusion of humorous drolleries. Humans, animals, and hybrids are featured in the margins of each page of the book. Small scenes record a variety of activities, such as cooking, playing games, climbing, fishing, making music, and dancing. Heiner Gillmeister has argued that two of these scenes depict the earliest known images of tennis being played. These drolleries amused the faithful during their prayers, while showing scenes that work as metaphors for the soul fighting the vices. The original female owner seems to have been established in the diocese of Cambrai, judging from the use of the Office of the Dead. A number of signatures on the leaves at the beginning and end of the manuscript provide the book with a rich provenance. A priest in the sixteenth century wrote a message in code on fol. 1v asking that the book be returned to him if lost. Members of the ducal house of Savoy owned this book in the seventeenth century, as evinced by the gilt armorial shield of Charles Emmanuel II (1634-75), duke of Savoy, stamped on the covers. Baltimore The Walters Art Museum W.88 The primary language in this manuscript is Latin. The secondary language of this manuscript is French. 1r - 202r Book of Hours 1r - 3r Original endleaves Fols. 1v-2v: owners' entries 3v - 15v Calendar Calendar in French, three quarters full, graded in red and dark brown; possible destination for Valenciennes in Hainaut; notable saints include: Wasnulf (Oct. 1), Benedict (Mar. 21), Geri, bishop of Cambrai (Aug. 11), Thomas Becket (Dec. 29); sixteenth-seventeenth century addition on fol. 9r: "10000 martyrs;" fol. 15r: fifteenth-century hand writes a prayer to Christ, "Iesu benigne qui aulam virginis elegeras..." 16r - 107r Hours of the Virgin Domine labia mea aperies Text imperfect; fol. 16r: Matins, lacking page after fol. 21; fol. 54r: Lauds; fol. 76v: Prime; fol. 89v: None; fol. 100v: Compline 107r - 116v Litany Incipit letania Kyrie eleison Fols. 107r-110r: Litanies; apostles, evangelists, innocents: Peter to Mark; martyrs, including Hippolytus, Romanus, Dionysius, Maurice, Eustace; confessors, which include Silvester, Martin, Nicholas, Romanus, Remigius, Augustine; and the virgins Mary Magdalene, Mary Egyptian, Catherine, Fides, Margaret, Columba, Benedicta, Karitas; fols. 110r-111v: petitions; fols. 111v-116v: two Collects, invocation to Virgin and St. John Evangelist citing female suppliant 116v - 120v Devotional sequence Hec sunt quinque gaudia gloriose virginis a beato edmundo Cantuariensi archiepiscopo composita cum sequenti collecta qui .xl. dies indulgentie impetravit a domino papa omnibus ea devote in honore eiusdem virginis gloriose recitantibus qui cotidie ea dixerit cotidie predictam indulgentiam obtinebit Grande virgo mater Christi Fols. 116v-117v: Five joys of the Virgin attributed to St. Edmund of Canterbury; fols. 117v-118r: Prayer to Mary; fols. 118r-120v: Prayer of invocation to the Holy Spirit 121r - 179v Office of the Dead Dilexi quoniam exaudiet Office of the Dead for use of Cambrai; fols. 121r-177v: Vespers without the opening page, and Psalm 114 in full; fols. 177v-179v: Collects for priests, individual, father and mother, and souls of the dead 180r - 196v Devotional sequence Oratio ad sanctam Mariam Sancta Maria mater domini Fols. 180r-v: Prayer to the Virgin (ends imperfectly), fols. 181r-184v: Prayer to the Virgin attributed to Philip the Chancellor of Paris (act. 1217-36); fols. 184v-188v: Melody to the Virgin written by Adam of St. Victor, Augustinian (1177-92); fols. 189r-191v: Melody to the Virgin written by Philip the Chancellor of Paris; Sequence to the Virgin written by Guibert of Tournai, Franciscan (d. 1270) 197r - 202r Prayers to Christ Fols. 197r-201r: Prayers concerning the passion of Christ; fol. 202r: palindromic square in roman capitals: "Sator/arepo/temet/opera/rotas" Fols. 198r, 201r-202r: signatures of Johannes Bodardus

Thin to medium-weight parchment, well selected and prepared; severely cropped

 Foliation: ii+202+i10.8 7.4 6.2 3.8 Modern pencil foliation upper right corners, rectos

Quire 1: 2 (fols. 1-2); Quire 2: 14, lacking first folio (fols. 3-15); Quire 3: 8, lacking the first and eighth folios (fols. 16-21); Quires 4-7: 8 (fols. 22-53); Quire 8: 8, lacking the first folio (fols. 54-60); Quire 9: 8 (fols. 61-68); Quire 10: 8, lacking third folio (fols. 69-75); Quire 11: 8, lacking third folio (fols. 76-82); Quire 12: 8, lacking the first and sixth folios (fols. 83-88); Quire 13: 8, lacking third folio (fols. 89-95); Quire 14-17: 8 (fols. 96-127); Quire 18-23: 8 (fols. 128-175); Quire 24: 6, lacking the sixth folio (fols. 176-180); Quire 25-26: 8 (fols. 181-196); Quire 27: 6 (fols. 197-202) None One catchword in brown ink on fol. 188v, added in the sixteenth century

Text ruled in dark brown ink; layout different in calendar: 6.4 x 6.1 cm written surface; 5 columns; 16 lines Prayers written in sixteenth-century cursive minuscule; Roman capitals for the poetic composition Textura semiquadrata Drolleries in bottom margins One full-page initial; larger initials (3 lines) and smaller initials (1 line) for major and minor divisions of the text, respectively; drolleries throughout Drolleries on each folio; larger initials (3 lines) and smaller initials (1 line) for divisions of the text Drolleries on each folio; larger initials (3 lines) and smaller initials (1 line) for major and minor divisions of the text, respectively Drolleries on each folio; larger initials (3 lines) and smaller initials (1 line) for major and minor divisions of the text, respectively One full-page historiated initial, a single extant example at Compline of perhaps seven originally in Hours of the Virgin; marginal drolleries on each folio; enlarged decorated initials throughout, including "KL" in calendar and secondary text divisions, in gold, red, rose, and blue with white detailing (2-3 lines); smaller gold initials (1 line) for minor divisions throughout; rubrics in red; text in black ink Woman leads horse drawing harrow Calendar: September Marginal drolleries Man and woman baking Calendar: December Marginal drolleries Men playing ball and racket game Hours of the Virgin: Matins Marginal drolleries Men playing hockey Hours of the Virgin: Matins Marginal drolleries Monkeys singing Hours of the Virgin: Matins Marginal drolleries Tennis game Hours of the Virgin: Lauds Marginal drolleries

According to Heiner Gillmeister, this, and the other on fol. 70r, are the earliest known images of tennis being played.

 Tennis game Hours of the Virgin: Lauds Marginal drolleries

According to Heiner Gillmeister, this, and the other on fol. 59v, are the earliest known images of tennis being played.

 Initial "D" with the Resurrection Hours of the Virgin: Compline Historiated initial "D," 10 lines Men climbing Melodia beatae virginis Marginal drolleries Man and woman cooking Office of the Dead: Psalm 5 Marginal drolleries Dancing monkeys Office of the Dead: Job 10:1 Marginal drolleries Man playing harp and dog dancing Isaiah 38:12 Marginal drolleries Monkeys playing chess Melody of the Virgin written by Adam of Saint Victor Marginal drolleries Men playing tennis Sequence to the Virgin written by Guibert of Tournai Marginal drolleries Man pushing a chariot with dog Devotional sequence of Philip of Saint-Victor Marginal drolleries

Seventeenth-century brown morocco; front and back cover stamped with gilt armorial shield of Charles Emmanuel II, duke of Savoy, 1634-75, with collar of the Order of the Annunciation; gilt fillet frame with fleurons at corners; spine near-flat with gilt fleurons; gilt edges

 First quarter 14th century CE French Flanders (Cambrai?) Made for the use of diocese of Cambrai, ca. 1300-10; female owner suggested by portrait of a woman praying before Christ resurrected on fol. 100v Philippe Boudard, canon regular at Augustinian foundation of Saint-Pierre, Tarentaise, Savoy 1543; signed on fols. 1v and 3r: "Johannes boudardus canonicus regularis sancti Petri Tarentasiensis Iohan(?) philippe boudard"; the same name is repeated throughout fols. 197-202r: "Johannes Philippe Boudard"; on fol. 201r, beside signature of Philippe Boudard: date "1543" Jehan Cedati, Cathedral of Notre-Dame in Grenoble, sixteenth century; his request to return the book if lost written in code assigning the numbers 1 to 5 to the vowels a to u on fols. 1v-2r: "Ces presentes heures sont a messir Jehan Cedati prestre de noustre Dame de Grenoble et qui les trouvea leu rende" Owned by a member of the ducal house of Savoy, seventeenth century; cross of Savoy in shield on fol. 198r; armorial shield of Charles Emmanuel II, duke of Savoy, 1634-75, on binding Rebound by Léon Gruel, Paris, end of the nineteenth-early twentieth century; Gruel's slip on front pastedown: "No. 1300" 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. 783, cat. no. 165. Chaucer's World, compiled by E. Rickert and edited by C.C. Olson and M.M. Crowillus. New York, 1948; illustration opposite p. 27, after p. 28, 346. Janson, H.W. Apes and Ape Lore in the Middle Ages and Renaissance. London: Studies of the Warburg Institute, 1952; pp. 171, 187, 188 (n. 10), 189 (n. 23, 25), 190 (n. 32), 192 (n. 46), 193 (n. 60), Pl. XXXIXc. Randall, Lillian M.C. Images in the Margins of Gothic Manuscripts. Berkeley and Los Angeles: Berkeley University Press, 1966; p. 38 and pasisim, figs. 138, 189, 237, 343, 450, 469, 476. Verdier, P. "Woman in the Marginalia of Gothic Manuscripts." In The Role of Women in the Middle Ages, 121-160. Papers of the Sixth Annual Conference for Medieval and Early Renaissance Studies, State University of New York at Binghamton, 6-7 May 1972. Albany, NY, 1975; p.134 (n. 76). Schulize-Busacker, E. "Eléments de culture populaire dans la littérature courtoise." La culture populaire au moyen âge. Etudes présentés au quatrième colloque de l'Institut d'études médiévales de l'Université de Montréal 2-3 April 1977. Montreal, 1979; p. 93, illustration. Smith, S. "'Game in myn Hood': The Tradition of a Comic Proverb." Studies in Iconography 9 (1983); p. 5, fig 2. Davidson, Clifford, ed. Early Drama, Art, and Music: Word, Picture, and Spectacle. Kalamazoo: Medieval Institute Publications. 1984 (fols. 39r, 86v, 106r, 157r; pp. 2, 7, cover, cat. 3, 7, 21) Randall, Lillian M.C. Illuminated Manuscripts: Masterpieces in Miniature, Highlights from the Collection of the Walters Art Gallery. Baltimore: Trustees of the Walters Art Gallery, 1984; PL. 17. Wendersdorf, K.P. "The Symbolic Significance of Figurae Scatologicae in Gothic Manuscripts." Word, Literature, and Picture, edited by C. David. Kalamazoo, 1984; p. 7, fig. 21, cover. 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; p. 368. Oliver, J.H. Gothic Manuscript Illumination in the Diocese of Liège (c. 1250-1350), Vol. 1. Louvain, 1988; p. 94 (n. 14). Wieck, Roger S. Time Sanctified: The Book of Hours in Medieval Art and Life, exhibition catalogue. Baltimore, MD: Trustees of the Walters Art Gallery, 1988; pp. 51, 54, 158, 208: cat. no. 80, figs. 21, 25. Gillmeister, H. Kulturgeschichte des Tennis. Sonderausgabe fur den Deutschen Tennis-Bund. Munich, 1990; pp. 25-26, figs. 11a, b. Neaman, Judith S. "The Mystery of the Ghent Bird and the Invention of the Spectacles". Viator Medieval and Renaissance Studies 24 (1993):189-214; pp. 208-209, fig. 4. Śnież-Stolot, E. "Das Ptolemäische Weltbild und die Mittelalterliche Ikonographie." Winer Jahrbuch für Kunstgeschichte 46.47 (1993/1994: 669-713; pp. 879-880, figs. 1, 4. Gillmeister, Heiner. Tennis: A Cultural History. London: Leicester University Press, 1997; pp. 15-16 (fig. 10), 67, 76, 436. Randall, Lillian, M.C. Medieval and Renaissance Manuscripts in the Walters Art Gallery. Vol. 3, Belgium, 1250-1350. Baltimore and London: Johns Hopkins University Press in association with the Walters Art Gallery, 1997; pp. 67-72, cat. no. 222. Henisch, Bridget Ann. The Medieval Calendar Year. University Park, PA: The Pennsylvania State University Press, 1999; pp. 29 (as fig. 8-4), 33 (as fig. 7-12), 34 (as fig. 7-1), 43 (as fig. 7-12), 45 (as fig. 7-12), 115 (as fig. 7-1), 170 (fig. 7-1), 177 (as fig. 7-8) , 179 (fig. 7-8), 184 (as fig. 7-1), 185 (as fig. 7-12), 186 (fig. 7-12), 200 (as fig. 7-8), 203, (as fig. 8-4), 204 (fig. 8-4), 221 (as fig. 7-8). Noel, William. "Medieval charades and the visual syntax of the Utrecht Psalter." In Studies in the Illuminated Psalter. Edited by Brendan Cassidy and Rosemary Wright, 34-54. Stamford: Shaun Tyas, 2000; p. 35. Joslin, Mary Coker, and Carolyn Coker Joslin Watson. The Egerton Genesis. Toronto: University of Toronto Press, 2001; pp. 69, 86, 173, 175, 177, 242. Śnieżyńska-Stolotowa, Ewa. Astrological Iconography in the Middle Ages: The Decanal Planets. Krakow: Jagiellonian University Press, 2003; pp. 38, 76. Mellinkoff, Ruth. Averting Demons. Los Angeles: Mellinkoff Publications, 2004; p. 151 (fig. VII.7). Willemsen, Annemarieke. The Game of the Month: Playful Calenders in Ghent-Bruges Books of Hours. In Manuscripts in Transition. Proceedings of the International Congres Held in Brussels (5-9 November 2002). Edited by Brigitte Dekeyzer and Jan Van der Stock, 419-430. Lueven: Uitgeverij Peeters, 2005; pp. 427, 430 (n. 26). Dillon, Emma. "Representing Obscene Sound." In Medieval Obscenities, edited by Nicola McDonald, 55-84. Woodbridge, Suffolk: York Medieval Press, 2006; p. 71. Mellinkoff, Ruth. "Break a Leg!" In Tributes in Honor of Jonathan J.G. Alexander: The Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art, and Architecture. Edited by Susan L’Engle and Gerald B. Gest, 233-248. Turnhout, Belgium: Harvey Miller Publishers, 2006; p. 243. Newman, Paul B. Growing Up in the Middle Ages. Jefferson, NC: McFarland and Company, 2007; p. 89, fig. 22. Vanwijnsberghe, Dominique. "Moult bons et notables": l'enluminure tournaisienne à l'époque de Robert Campin (1380-1430). Leuven: Peeters, 2007; p. 169 (n. 499 for p. 150). Wirth, Jean, and Isabelle Engammare. Les marges à drôleries des manuscrits gothiques, 1250-1350. Geneva: Librairie Droz, 2008; 133, 134, 207, 212, 215, 219, 233, 246-247, 273, 298, 300, 310, 324, 344, 361. Dillon, Emma. The Sense of Sound: Musical Meaning in France, 1260-1330. Oxford: Oxford University Press, 2012; pp. 228-231, fig. 6.23 236-239, fig. 6.27. Leo, Dominic. Images, Texts, and Marginalia in a "Vows of the Peacock" Manuscript (New York, Pierpont Morgan Library MS G24). Leiden, Netherlands: Brill Publishers, 2013; p. 344. 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