USE OF ROME

109 x 81 mm. (4 1/4 x 3 1/8"). Single column, 14 lines in a gothic book hand. 161 leaves. COMPLETE. Contents: Calendar (f. 1r); Mass of the Holy Spirit (f. 14r); Mass of the Holy Cross (f. 23r); Requiem Mass (f. 30r); Prayer on the Seven Last Words of Christ by the Venerable Bede (f. 36v); Passion according to John (f. 40v); blank (f. 53); Hours of the Holy Cross (f. 55r); Mass of the Virgin Mary (f. 60r); Gospel Lessons (f. 66v); Hours of the Virgin (f. 73r); Penitential Psalms (f. 126r); Litany (f. 138r); Office of the Dead (f. 144r). PLEASING NEAR-CONTEMPORARY BLIND-ROLLED CALF (apparently with some old, skilled restoration to joints, spine, and corners), covers with rolled vine border surrounding a panel of three columns bearing a roll with parts of the inscription "AVE MARIA GRACIA PLENA," each word separated by one of four small motifs (a flower, a human profile, the lamb of god, and a sitting animal--perhaps a lion), raised bands, compartments with part of the same inscription roll. Lacking the original ties. Housed in a very attractive custom-made brown calf folding case with blind-stamped lettering on the spine, interior lined in suede, the whole within a calf-lipped, suede-lined matching slipcase. Rubrics in red, numerous one-line initials in blue with red penwork, or gold with dark blue penwork, many two-line initials in burnished gold on pink and blue ground with white embellishments, several larger "I" initials (between four and 11 lines) in burnished gold on pink and blue ground with white embellishments, 12 six- to seven-line initials, some painted pink or blue with white embellishments and filled with flowers and tendrils on a gold ground, or the initial in burnished gold on pink and blue ground with white embellishments, EIGHT LARGE MINIATURES, each inside a thin gold frame and with a three-quarter border of gilt leaves, hairline vines, and floral spays, each facing page with a similar three-quarter border, the subjects of the miniatures being: the Holy Spirit in the form of a dove (f. 13v); St. Helena and the True Cross (f. 22v); Raising of Lazarus (f. 29v); Crucifixion (f. 54v); Virgin and Child Enthroned (f. 59v); Annunciation (f. 72v); Last Judgment (f. 125v); Funeral Mass (f. 143v). Prickings visible in fore margins. See: Defoer, et. al, "The Golden Age of Dutch Manuscript Illumination," pp. 75-86. Just minor wear to the solid, very pleasing early binding. A little chipping (almost always mild) to four of the miniatures with square frames (the fifth, the Annunciation, somewhat rubbed and faded, the three domed miniatures perfectly intact), vellum with minor soiling and thumbing in places (especially in lower corners of leaves in second half), other trivial imperfections, but overall a very well-preserved manuscript with no major issues. This enchanting little prayer book features eight attractive miniatures, large gleaming burnished gold initials, and a pleasing period binding--all in an excellent state of preservation. The miniature program here can be attributed to the so-called Masters of Otto van Moerdrecht, the name given to a variety of Dutch artists active in the 1430s and '40s, all working in a similar mode (rather than to a specific master or workshop). According to Defoer et al., the work of these miniaturists "exhibit varied compositional formulas and bright, highly contrasting colors . . . . The small, somewhat doll-like figures appear rather wooden, but their expressive gestures give the scenes a varied and vivid character." Two artistic hands are responsible for the present miniatures. The artist behind the first three miniatures, all set within domed gilt frames (the Holy Spirit, St. Helena, and Raising of Lazarus), shows particular skill, with a very smooth application of color, figures with long, eloquent hands, and faces with subtle white highlighting. A second artist was responsible for the remaining five miniatures, set within square golden frames (Crucifixion, Virgin and Child Enthron.…