HORAE, use of Rome, in Latin and French -- Hore beate marie virginis secundum usum Romanum totaliter ad longum sine require com multis suffragiis & orationibus de novo additis. Paris: for Germain Hardouin [n.d., almanac for 1528-1545].
PRINTED ON VELLUM. 8° (166 x 104mm). Collation: A-K8 M8 (A1r title with Hardouin device, A1v 4 quatrains beginning 'ung iuif mutilant iadis', A2r anatomical man [4 small cuts], A2v almanac for 1528-1545, A3r-8v calendar, B1r-3r Gospel sequence [Agony in the Garden, 3 small cuts], B3v-C1r Passion according to St. John, C1v-F4v Hours of the Virgin [Adam and Eve, Annunciation, Visitation, Nativity, Annunciation to the Shepherds, Adoration of the Magi, Presentation in the Temple, Flight into Egypt, Coronation of the Virgin], F5r-7v Hours of the Cross and of the Holy Ghost [Crucifixion, Pentecost], F8r-G3r Office of the Immaculate Conception [Virgin within mandorla], G3v-H2v Seven Penitential Psalms [Bathsheba], H3r-I8v Office of the Dead [Job], I8v-M1v Suffrages, Obsecro te and O Intemerata [15 small cuts], M1v-6v prayers to the Virgin for Saturday, Missus est Gabriel, to St. Roch, prayers of Pope Sixtus IV, etc. [one small cut], M6v-7v Hours of St. Barbara [one small cut], M7v-8v table of contents, M8v colophon). 88 leaves. 32 lines. Type: 76R. 16 large metalcuts, large Hardouin device, anatomical skeleton, and 25 smaller cuts, ILLUMINATED IN GOLD AND COLOURS BY A CONTEMPORARY HAND to a rectangular format, although the metalcuts beneath (some of which are only partly coloured) are within oval medallion, an armorial painted on device, red-ruled gold painted border to each page, liquid-gold initials and line-filler on alternate pink and blue ground, yellow capital strokes. Contemporary French calf tooled in blind with vertical rolls, edges with later gilding, spine repaired and with later gilt lettering, sides rubbed). Provenance: small passages deleted by crossing through; coat-of-arms painted on first leaf.
Although Davies described a copy of this edition, unusual by having painted, not metalcut, borders, he did not enumerate the woodcuts, perhaps owing to their invisibility beneath heavy overpainting. They clearly differ from Hardouin's previous sets, and, while following a similar cycle of subjects, they add cuts for the Agony in the Garden, Adam and Eve, the Virgin in a mandorla, and Job on his dungheap. In spite of the break in collation, the table of contents makes it clear that the book is complete without quire L. Davies, Murray German, 274. Not in Brunet or Lacombe.