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![KYRIALE (a fragment), in Latin, illuminated manuscript on vellum [Bologna, or possibly Padua c.1300]](https://www.christies.com/img/LotImages/2018/CKS/2018_CKS_16018_0046_000(kyriale_in_latin_illuminated_manuscript_on_vellum_bologna_or_possibly045731).jpg?w=1)
![KYRIALE (a fragment), in Latin, illuminated manuscript on vellum [Bologna, or possibly Padua c.1300]](https://www.christies.com/img/LotImages/2018/CKS/2018_CKS_16018_0046_001(kyriale_in_latin_illuminated_manuscript_on_vellum_bologna_or_possibly045731).jpg?w=1)
Details
KYRIALE (a fragment), in Latin, illuminated manuscript on vellum [Bologna, or possibly Padua c.1300]
330 x 230mm. i + 18 + i leaves, each on a stub, six lines of text and music, ruled space: 262 x 180mm, large puzzle initials of red and blue with flourishing of both colours, one illuminated foliate initial and two historiated initials (illumination rubbed and cropped, foliate initial on f.4v supplied from elsewhere in original manuscript, repair to top and bottom edges of f.1, some smudging and spotting). 20th-century panelled diced russia tooled in blind by Silvio Zini, Florence.
Content: These leaves contain chants for the Ordinary of the Mass – the Kyrie, Gloria, Sanctus and Agnus Dei – they may once have been part of a Gradual, containing all the sung elements of the Mass, or perhaps more likely, they were part of a separate volume. They are not in their original order; the first four leaves, given the title ‘In Festis B.V.M.' in brown ink in a later hand have traces of a roman foliation showing they were once ff.25-28; the fifth leaf has a heading ‘in Simp; maj: & Fest: Apost:’ in the later hand and continues the Kyrie pasted on to the bottom of f.4v. This section, ff.5-15v, is continuous and has corresponding roman numerals; the original rubrics survive as ‘In semiduplicibus maioribus’ f. 8v, ‘in semiduplicibus minoribus’ f.12 and ‘In simplicibus maioribus’ f.15v, ending imperfectly in the Kyrie. The final three leaves, ff.16-18v, although in a similar format to the others have flourished initials in a different and more flamboyant style; they seem likely to come from a separate volume, a Gradual, and carry the chants for a Mass in Eastertide, with a rubric ‘tempore pascali’, they carry the Kyrie, followed by the Antiphon for Asperging , ‘Vidi aquam egredientem’, the incipit for Psalm 11, ‘Salvum me fac’, the Gloria, and the beginning of the Sanctus.
Illumination: The opening initial with its elegant and fluid figures set against etiolated buildings clearly depends on the so-called Second Style of Bolognese illumination, the style best exemplified by the Girona Master (active c.1260 to c.1290), the single most important source for the diffusion in Italy of features of contemporary Byzantine art.
The historiated initials are: The Annunciation f.1, and an Evangelist f.8v.
330 x 230mm. i + 18 + i leaves, each on a stub, six lines of text and music, ruled space: 262 x 180mm, large puzzle initials of red and blue with flourishing of both colours, one illuminated foliate initial and two historiated initials (illumination rubbed and cropped, foliate initial on f.4v supplied from elsewhere in original manuscript, repair to top and bottom edges of f.1, some smudging and spotting). 20th-century panelled diced russia tooled in blind by Silvio Zini, Florence.
Content: These leaves contain chants for the Ordinary of the Mass – the Kyrie, Gloria, Sanctus and Agnus Dei – they may once have been part of a Gradual, containing all the sung elements of the Mass, or perhaps more likely, they were part of a separate volume. They are not in their original order; the first four leaves, given the title ‘In Festis B.V.M.' in brown ink in a later hand have traces of a roman foliation showing they were once ff.25-28; the fifth leaf has a heading ‘in Simp; maj: & Fest: Apost:’ in the later hand and continues the Kyrie pasted on to the bottom of f.4v. This section, ff.5-15v, is continuous and has corresponding roman numerals; the original rubrics survive as ‘In semiduplicibus maioribus’ f. 8v, ‘in semiduplicibus minoribus’ f.12 and ‘In simplicibus maioribus’ f.15v, ending imperfectly in the Kyrie. The final three leaves, ff.16-18v, although in a similar format to the others have flourished initials in a different and more flamboyant style; they seem likely to come from a separate volume, a Gradual, and carry the chants for a Mass in Eastertide, with a rubric ‘tempore pascali’, they carry the Kyrie, followed by the Antiphon for Asperging , ‘Vidi aquam egredientem’, the incipit for Psalm 11, ‘Salvum me fac’, the Gloria, and the beginning of the Sanctus.
Illumination: The opening initial with its elegant and fluid figures set against etiolated buildings clearly depends on the so-called Second Style of Bolognese illumination, the style best exemplified by the Girona Master (active c.1260 to c.1290), the single most important source for the diffusion in Italy of features of contemporary Byzantine art.
The historiated initials are: The Annunciation f.1, and an Evangelist f.8v.
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