A book of hours by Anthoine Vérard in the University of Melbourne Library Hilary Maddocks In 1996, a small illustrated prayer were the most popular and widely of editions of books of hours issued book, or book of hours, printed owned book of the late Middle Ages. from the presses of Paris, for both in Paris in the early 16th century, They are usually small, portable and domestic and export markets. These was purchased by the University of liberally illustrated with devotional printed volumes were undoubtedly Melbourne Library under the terms of images. The core text is the office or more affordable than those in the Ivy M. Pendlebury Bequest (shelf hours of the Virgin, which includes manuscript and, although books of no. SC RB 39A/16).1 The book is not prayers to be recited at the eight any sort were still too expensive for complete; it lacks the first three quires canonical hours of the day (matins, most people, moderately wealthy and three other leaves (c1, c8 and l7). lauds, prime, terce, sext, none, vespers individuals such as merchants could Information that might identify the and compline), each of which is now acquire their own book of hours. publisher, printer and approximate introduced by a large devotional Many practitioners in the book trade date of publication, often found in the illustration relating to the life of the made their livelihood substantially first few pages of a book of hours, is Virgin or Christ. Content varies (or, in the case of the brothers Gillet missing from this copy. Because of the considerably between versions, and Germain Hardouyn, almost difficulty in determining publication but some texts are standard. These entirely) by printing books of hours. details, the book was described include the calendar, gospel readings, These included Simon Vostre, in the library catalogue only as a the litany and the penitential psalms, Philippe Pigouchet, Thielman Kerver, Parisian book of hours, c. 1520. After Office of the Dead, Suffrages of Jean Du Pré, the Hardouyn brothers, researching the book, however, I have the saints, and prayers to the Virgin and the bookseller and publisher identified it as the work of the great such as O intemerata and Obsecro te. Anthoine Vérard, for whom Jean Du Parisian publisher Anthoine Vérard These texts are usually illustrated, Pré printed France’s very first printed (died c. 1513), from around 1507–08. and borders were often similarly book of hours, on 2 September 1485.4 Furthermore, it belongs to a previously adorned with religious and sometimes Unlike manuscript books of unrecorded edition and is extremely secular subjects. Many examples in hours, which often included special rare, being one of only two known manuscript survive, some of which prayers and devotions specific to copies, and not included in any of the are justifiably famous for the beauty the commissioning patron, printed standard references. The book is also of their painted illustrations, or books of hours were usually made for of particular significance because, with illuminations.3 the open market. This meant they the exception of two detached leaves In the late Middle Ages, Paris was were not personalised at the time of in the State Library of Victoria, it a major centre for the production manufacture—although coats of arms, appears to be the only Vérard imprint and illumination of manuscript inscriptions and special illuminations in an Australian public collection.2 books of hours. Demand did not were sometimes added later by the abate, and indeed probably increased, purchaser. The technology of print Books of hours and printing when printing was introduced there imposed a level of standardisation Books of hours were personal prayer in 1470. In the late 15th and early on copies of an edition (although books, used mainly by the laity, and 16th centuries, literally hundreds minor variations within editions were Hilary Maddocks, ‘A book of hours by Anthoine Vérard’ 15 common). But the efficiency and numerous woodcut and metalcut Grandes heures for Charles VIII, speed of printing also meant that illustrations include two metalcut Anne de Beaujeu and Charles many different editions could be border sequences representing biblical d’Angoulême,9 but most, such as the published. These varied in format, typological scenes and the Dance Melbourne book, were less lavish typeface, contents and decorative of Death. These are characteristic examples destined for the broader programs, in order to appeal to of illustrations used by Anthoine market. a range of potential buyers. One Vérard, and their presence indicates Vérard probably did not print his way publishers made their books that the book was printed in late 1507 books himself, but over his career distinctive, as well as competitive or shortly after. The leather binding subcontracted an increasing number in the marketplace, was to adorn with stamped gilt decoration on the of printers to carry out the work, them with newly commissioned spine dates from the 20th century. using typographical material that woodcut and metalcut programs Anthoine Vérard was one of he owned, including the woodcuts of illustration. The main subjects the major figures of early French and metalcuts. The printer of the in the hours of the Virgin were publishing: a Paris-based book Melbourne book of hours has not largely fixed, but the borders gave entrepreneur who dominated the been identified, but is surely among publishers the opportunity to industry in the city from 1485 those Vérard employed for these introduce new themes, such as the to 1512, issuing more than 300 books, who include Felix Baligault, Destruction of Jerusalem or the editions of various historical, Jean Du Pré, Guillaume Godard, Dance of Death. These borders must classical and devotional texts. An Etienne Jehannot, Pierre Le Dru, have been attractive to purchasers, adept businessman, he exploited Pierre Le Rouge, Guy Marchand, for they were frequently promoted the traditional patronage system by Phillipe Pigouchet, Jean Poitevin and alongside the publisher’s device on offering finely illuminated books Simon Vostre.10 Vérard’s editions the first page of the book.5 printed on parchment to eminent of books of hours vary in format figures such as Charles VIII of France (quarto, octavo and sextodecimo) The University of and Henry VII of England, as well and support (parchment and paper). Melbourne book of hours as operating on more commercial They were also issued for use in and Anthoine Vérard principles by printing books for a various dioceses, such as Sarum The University of Melbourne’s general market.7 Vérard astutely (Salisbury—for export to England), book of hours, now fully described exploited the enthusiasm for printed Chartres, Bourges, Tours, Rouen, in the library catalogue,6 is a books of hours. As well as printing Amiens, Paris, Orléans, Metz and characteristic example of an early the first in France, over the following Le Mans, in addition to the standard 16th-century Parisian printed 25 years he was responsible for over Roman use.11 book of hours. It consists of 93 80 editions, which constituted a The university’s book of hours pages in 12 quires (a–m8) and is sizeable proportion of his business.8 is for the use of Rouen. This is printed on parchment in 22 lines Some individual books were intended indicated by the abbreviation Ro. of Gothic bastarda type. The for distinguished patrons, such as the on all signed leaves, as well as 16 University of Melbourne Collections, issue 16, June 2015 Master of the Apocalypse Rose (designer), The Crucifixion, folios b4v.–b5, woodcut, from book of hours, use of Rouen, Paris: Anthoine Vérard, not before late 1507. Purchased 1996 by the Ivy M. Pendlebury Bequest in memory of Gerard Frederic Pendlebury, Rare Books, Baillieu Library, University of Melbourne. characteristic responses for use of St Romanus, a seventh-century Four editions of books of hours Rouen in the Office of the Virgin bishop and the patron saint of by Vérard for the use of Rouen have and the Office of the Dead, and Rouen, whose feast is celebrated been recorded, none of which can various saints in the litany honoured there on 23 October, is also included be identified with the university’s in that diocese. A special prayer to (folio i4v.). example. They include two quarto Hilary Maddocks, ‘A book of hours by Anthoine Vérard’ 17 Master of the Apocalypse Rose (designer), Christ blessing and dragon grotesque, lower border illustration, folio g4, metalcut. editions or Grandes heures from with the more complete Marian In the early 16th century there c. 1490,12 and two octavo editions Library copy suggests that the was no copyright protection for with almanacs of 1503–20. One of book originally included 19 large designers of illustrations. Publishers these octavo editions has 28 lines of illustrations and at least 27 small and printers frequently borrowed and text13 and the other—which, like the illustrations. copied designs and consequently it university’s book, has 22 lines—was Some illustrations are metalcuts can be very difficult to identify an issued by Vérard in conjunction and others woodcuts, but all are edition or publisher solely from the with Rouen-based stationers Jacques relief prints, the plates of which woodcuts or metalcuts. In recent Cousin and Pierre Huvin and printer were placed in the forme and years Ina Nettekoven and Caroline Jean le Burges.14 The quire that printed at the same time as the type. Zöhl have done much to elucidate included the almanac (showing the The arrangement of plates could be our understanding of the illustrations dates of Easter over a span of years) quite elaborate; for example, up to in printed books of hours, and Mary is lacking in the university’s book, eight small plates were assembled Beth Winn has examined Vérard’s although the discovery of another, in order to print the borders on a books of hours and their illustrative complete copy of the same edition, single page.