Deathbed
Souls Tormented in Purgatory
Purchased on the Belle da Costa Greene Fund with the assistance of the Fellows, 1963; purchased on the Belle da Costa Greene Fund with the assistance of the Fellows and with special assistance of Mrs. Frederick B. Adams, Sr., Mrs. Robert Charles, Mr. Laurens M. Hamilton, The Heineman Foundation, Mrs. Donald F. Hyde, Mrs. Jacob M. Kaplan, Mrs. John Kean, Mr. Paul Mellon, Mr. and Mrs. Charles F. Morgan, Mr. Lessing J. Rosenwald, Mr. and Mrs. August H. Schilling, Mrs. Herbert N. Straus, Mrs. Landon K. Thorne, Mrs. Alan Valentine, Mr. and Mrs. Arnold Whitridge, and Miss Julia P. Wightman, 1970
The Monday Hours of the Dead open with one of the most famous images from Catherine's manuscript. The deathbed scene is as packed with as much lively action as Puccini's opera Gianni Schicchi. As a man dies, his wife offers him a candle, a doctor examines his urine, and his son conspires against him. This mercenary heir is shown again, raiding his father's coffers in the bottom border. On the right is purgatory, the place to which the dying man hopes to go. There his soul, like those depicted, will be cleansed of sin in expiating, if painful, fire.
Hours and Masses for the Seven Days of the Week
The most unusual texts in Catherine's manuscript are the series of Hours and Masses for every day of the week. Medieval Christian tradition associated certain figures or themes with different days. Thus Sunday, the day of the Resurrection, was the Lord's Day; Thursday was connected with the Eucharist since that sacrament was instituted on Holy Thursday; and Monday was the day of the dead, since their torments were suspended on Sunday but recommenced the following day. In Catherine's prayer book, the themes for the Hours and Masses of the seven days of the week are:
Sunday | the Trinity |
Monday | the Dead |
Tuesday | the Holy Spirit |
Wednesday | All Saints |
Thursday | the Blessed Sacrament |
Friday | the Compassion of God |
Saturday | the Virgin. |
Image courtesy of Faksimile Verlag Luzern