Illuminated fragment of a deluxe Gradual signed by the scribe for a female Benedictine convent with music specially adapted for female voices.

iii (modern paper) + 4 + iii (modern paper) leaves, paginated 1–2, 73–74, 111–112 [collation: four single leaves in a modern guard binding], watermark of a crowned double-headed eagle, ruled in light graphite for a single column of six staves (justification: 528 mm × 337 mm), stenciled lettering, staves, and notation in black and red ink, rubrics stenciled and heightened with hand-painted gold, red, and blue, THREE HISTORIATED INITIALS in burnished gold enclosing painted scenes within delicate rococo acanthus frames, ONE FULL TITLE PAGE in polychromy and burnished gold, framed within a gilt border with fleurs-de-lis at the corners entwined with flowering vines, text in large capitals alternating in gold, blue, and red above a rococo cartouche flanked by lush bouquets and ribbon swags enclosing the scribal inscription: “SCRIBEBAT / Franciscus Laurentius Gilbert / Parisiensis / 1751.” Modern protective binding in burgundy velvet over boards, plain and unadorned, with a flat spine and square edges, light soiling and creasing to the paper, else in good condition. Dimensions 640 mm × 470 mm;

Provenance
(1) Written and illuminated in 1751 in Paris for a female Benedictine community, possibly represented by the emblem of a bishop’s mitre, crozier, and a sword painted in gold at the opening of the Temporale on f. 2.

(2) Collection of Dr. Scott Schwartz, New York

Text
f. 1, Title Page; f. 2 (formerly pp. 1–2), Dominica Prima Adventus (incipit); f. 3 (formerly pp. 73–74), In Nativitate Domini (explicit) and In Festo Sancti Stephani (incipit); f. 4 (formerly pp. 111–112), In Epiphania Domini (incipit).

Illumination
This group of four leaves preserves part of the Temporale of a once splendidly illuminated Gradual produced for an affluent Benedictine community of nuns. Signed by the scribe François Laurent Gilbert, the leaves offer valuable witness to the continuing currency of manuscript illumination in an age increasingly dominated by mechanical reproduction. The manuscript adapts the 1749 Ballard edition of Guillaume-Gabriel Nivers’s Graduale monasticum (first published in 1687), employing a combination of stencil and hand-painted decoration. In the eighteenth century, stenciling was the most efficient method for producing large-format liturgical books for boutique commissions, a practice led in Paris by the Peaucellier family, and stencil studios often partnered with scribes and illuminators for embellishment. Little is known of the scribe Gilbert, who inscribed his name in the colophon of the title page, and it remains uncertain whether he was also responsible for the illumination and stenciling or whether these were executed by a collaborator. The vibrant decoration is of notably high quality, rendered in an energetic Rococo style characteristic of the period. The presence of a smaller historiated initial marking the Feast of Saint Stephen (f. 3v) further suggests that the original volume was a deluxe commission, likely containing numerous additional illuminated initials beyond the larger historiated openings.

These leaves also attest to the vital influence of Guillaume-Gabriel Nivers (1632–1714) on French liturgical music throughout the eighteenth century. Organist at Saint-Sulpice and music master to the Maison Royale de Saint-Louis at Saint-Cyr, an institution for the education of noble girls founded by Madame de Maintenon, Nivers developed a distinctive approach to plainchant for female voices. His style was refined and melodious, increasingly removed from the rugged modal complexities of the medieval tradition. Nivers’s reform of the Graduale monasticum aimed to correct what he perceived as corruptions in the ancient melodies. His editorial practice involved simplifying rhythms, eliminating certain archaic neumes such as the virga, and shaping the chant toward a clearer, almost tonal line. This polished quality aligned with eighteenth-century preferences for clarity and elegance over theological austerity. In the present Gradual, these aesthetic ideals find a parallel visual expression in the lively, fluid decoration, reflecting a broader effort to modernize the liturgy artistically as well as musically.

The subjects of the three historiated initials are: f. 2, the Journey to Bethlehem framing an initial ‘A’ (beginning the first Sunday of Advent), f. 3v, landscapes and architectural motifs framing an initial ‘S’ (beginning the Feast of Saint Stephen); f. 4, the Magi before Herod framing an initial ‘E’ (beginning the Feast of Epiphany).

LITERATURE
Unpublished; Related literature: Deborah A. Kauffman, “Chants et motets (1733): Nivers, Clérambault, and Changing Musical Style at the Maison Royale de Saint-Louis at Saint-Cyr,” PhD diss, Stanford University, 1994; Henry T. Drummond, “Guillaume-Gabriel Nivers and the Quest for Consistency in Counter-Reformation Chant,” Journal of Musicology 40 (2023), pp. 308–69; Laurent Guillo, “Liturgical Book Stencillers in Paris,” Typography Papers 10 (2025), pp. 11–61; Eric Kindel, “Stencil-Making in Paris in the Eighteenth Century,” Typography Papers 10 (2025), pp. 63–107.

We thank Senior Consultant Sandra Hindman and Peter Bovenmyer for their assistance in preparing this sale. 

Collection of Dr. Scott Schwartz