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The "contents of the breviary, in their essential parts, are derived from the early ages of Christianity", consisting of psalms, Scripture lessons, writings of the Church Fathers, as well as hymns and prayers.[6] From the time of the early Church, the practice of seven fixed prayer times, being attached to Psalm 119:164, have been taught; in Apostolic Tradition, Hippolytus instructed Christians to pray seven times a day "on rising, at the lighting of the evening lamp, at bedtime, at midnight" and "the third, sixth and ninth hours of the day, being hours associated with Christ's Passion."[7][8][9][10] The Apostles themselves gave significance to prayer times (e.g. Acts 3:1 and Acts 10:9).[11]

In the Catholic Church, Pope Nicholas III approved a Franciscan breviary, for use in that religious order, and this was the first text that bore the title of breviary.[2] The ancient breviary of the Bridgettines had been in use for more than 125 years before the Council of Trent and so was exempt from the Constitution of Pope Pius V which abolished the use of breviaries differing from that of Rome.[12]

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In Lutheranism, the Diakonie Neuendettelsau religious institute uses a breviary unique to the order; For All the Saints: A Prayer Book for and by the Church, among many other breviaries such as The Daily Office: Matins and Vespers, Based on Traditional Liturgical Patterns, with Scripture Readings, Hymns, Canticles, Litanies, Collects, and the Psalter, Designed for Private Devotion or Group Worship, are popular in Lutheran usage as well.[5]

In Oriental Orthodox Christianity, the canonical hours of the Syriac Orthodox Church and the Indian Orthodox Church are contained within the Shehimo breviary;[14][15] the Coptic Orthodox Church of Alexandria has the Agpeya breviary and the Armenian Apostolic Church has the Sharagnots or Zhamagirk (cf. Octoechos (liturgy)#Armenian araknoc').[16] The Assyrian Church of the East has its own 7 canonical hours.

As we sat together in their community room recently, I took notes as I listened to their animated conversations. They said that the desire for an inclusive companion to the breviary was initiated when newer members of their Carmelite community asked to change the sexist language in the Office books they were using.

As they honored this request, they created small inserts with changes that eventually evolved into completely rewriting the People's Companion, careful not to suggest this was a substitute for the breviary. It was meant simply as a "companion" to whatever Office book was in use.

Ms. Franciscan breviary for the use of Rome (Ordo breviarii, calendar, Hours of the Virgin, Office of the Dead); written and illuminated in Bruges, Belgium, ca. 1500.

Decoration: 25 full-page and 31 small miniatures, 11 continuous historiated borders, 34 border historiations, 51 calendar roundels, 2 calendar demi-roundels, numerous grisaille figures in calendar borders, numerous standing saints in architectural borders on fol. 1v, 140v, 189v, 190v, 375v, 532v, and 533.

Artist: Master of the Older Prayerbook of Maximilian I and the Master of James IV of Scotland, who some scholars identify with Gerard Horenbout.

Much remains to be discovered about the origins of the breviary. It is still not certain who commissioned the work, though it is known to have been procured for the cardinal by Antonio Siciliano, who acted as the Milanese ambassador to Flanders until ca. 1513/14. The authorship of the illumination is also still being investigated. Several different hands have been identified, and while the influence of earlier artists working in the Flemish courtly circle, such as Hugo van der Goes and Hans Memling, is evident, details of dress, iconography, and artistic style suggest that the breviary dates from the decades spanning the late fifteenth through the early sixteenth century. The quality of the work supports attribution to some of the finest Flemish miniaturists of the period, including Gerard Horenbout, Alexander and Simon Bening, and Gerard David.

According to the publishers, the project to reproduce this breviary took around ten years to complete, and entailed the creation of special equipment to photograph the manuscript as accurately as possible without compromising the condition of the fragile document. The accessibility of this facsimile will enable easier comparison of this key work of Flemish manuscript illumination with other stylistically related illuminated books, facilitating exploration of such issues as attribution and interrelationships among the arts of the period. Although in recent years online digital images of manuscripts have provided another means of close examination of unique items, a facsimile in the format of a printed book offers a more tactile experience, closer to the intention of the original, and may prove more permanent than a virtual copy.

After mastering the one volume Christian Prayer, you may be inclined to go the next step and purchase your own four volume breviary. Once again, praying with these leather-bound books can be daunting for someone who does not have any guidance and so that is why I hope to give you a firm foundation that will make it an easy transition.

This helps preserve the breviary and keeps it in good shape (besides losing one of my volumes, I have had the same set for over 10 years). An additional bonus to having a breviary cover is the ability to stuff it full of holy cards and supplements to the liturgy of the hours (supplements have texts for new saints).

This allows you to personalize your breviary and make it into a traveling devotional that is a summary of your spirituality. You can tell a lot about a person by what kind of holy cards they keep in their breviary.

Then Concordia Publishing House came out with their Treasury of Daily Prayer, another fine resource for daily liturgical prayer. Once again I was tempted to lay aside my work on the breviary. But once again I found myself dissatisfied. While a useful devotional tool, I found the TDP to be far too text-heavy and lacking in many of the elements of the Daily Office. There was much to read and think about, but not much to pray or sing in this volume. So I kept going, determined to produce a breviary that was faithful to the Western tradition, striking the proper balance between prayer, reading and devotion.

I've added a few votive offices to the breviary, but have never provided a full listing of them... Here's a link to a section at the bottom of this page that lists out the votive options that can be prayed instead of or in addition to your regular Offices: The Votives

A full Latin & English edition of the Day Hours (Prime, Lauds, Terce, Sext, None, Vespers, and Compline) of the traditional Benedictine breviary for the entire liturgical year, reprinted by the monks of Farnborough.

This manuscript was produced in Scotland in the late 13th century, probably sometime between 1285 and 1300 according to Hair and Knott. Borland, Frere and McRoberts have suggested that it may be of the early 14th century, but most scholars agree that it was written sometime around 1300.

The manuscript contains musical services as well as the text of Church services according to the Use of Sarum. The work is written in littera textualis in double columns of unequal length.

The contents are as follows:

At the start of the volume there is an unfoliated stub which has remnants of notation and text.

Temporale. Lacking the first quire and excluding the Corpus Christi. Also contains the rhymed Office for St. Kentigern on folios 35v-38v. Folios 1r-155v.

Calendar of Saints. Excludes St. Kentigern, but contains three later additions of Scottish saints: Baldred (6 March), Duthac (his translation, 26 June) and Blane (12 August). Folios 156r-158v.

Psalter. Folios 159r-192v.

Litany. There is a double invocation of St. Kentigern on folio 193r. Folios 192v-193v.

Sanctorale. Folios 194r-319v.

Commune Sanctorum, incomplete. Folios 320r-337v.

Borland notes that leaves are often misplaced, with leaves belonging to the 'Sanctorale' found in the 'Commune sanctorum'.

The breviary is decorated with coloured pen and brushwork filigree scrolls in blue and orange vermillion. There are some large litterae florissae and litterae notabiliores throughout, coloured blue and vermillion with branchwork extending into the margins. Vermillion is used for stave lines as well as for passages of text. In some cases the vermillion text has been erased or obscured. In the psalter and the litany the initials of passages and entries are coloured red and blue alternately.

There are marginal drawings of a horse and a man on folio 277v, possibily in a Scottish hand of the 14th century.

Many of the folios are soiled and damaged from use and from damp.

Extensive repairs to the vellum, both contemporary and modern, are evident throughout.

Occasionally folios have been cut causing a loss of text, and in some cases text has also been obscured due to the binding.

Each folio recto and verso has been lined and ruled.

This manuscript was owned, perhaps commissioned, by Marie de Saint Pol, Countess of Pembroke (c. 1304-1377) and wife of Aymer de Valence. Marie has a particular connection with the history of the University of Cambridge, being the foundress in 1347 of the Hall of Valence Mary - now known as Pembroke College. She was also responsible for the refounding of a priory near Waterbeach for the Franciscan Poor Clares, which subsequently became known as Denny Abbey, and where she was later buried.This book certainly dates to within Marie's lifetime. In addition to thirty-nine illuminated column miniatures, the manuscript is heavily ornamented with decorated borders, marginal grotesques and bas-de-page scenes. These have been identified as the work of a single artist, known as 'Mahiet' (a diminutive form of Matthieu), a professional illuminator who worked in Paris during the second quarter of the fourteenth century, in the circle of Jean Pucelle. Its contents clearly chime with Marie's personal devotional preferences and her attentive patronage of a number of religious foundations within the Franciscan order, primarily in England but also in France. A breviary contains the prayers, hymns, psalms and readings for everyday liturgical use and this example contains the summer and autumn offices of the Franciscan use from Pentecost until the week before the start of Advent. (Another volume, preceding this one, would have contained the winter and spring offices; it is not known to have survived). Iconographic evidence demonstrates indisputably Marie's ownership of the manuscript. Among the thirty-nine miniatures is one that shows a woman in her heraldic mantle kneeling in veneration before St Cecilia (see folio 388r). The arms shown - Chtillon-Saint Pol impaled with Valence - were Marie's own (and were adopted by Pembroke College) and are seen in numerous other places in the manuscript (see, for example, ff. 28v, 106r, 124v, 160r and elsewhere). Examination of these under a magnifying glass and ultraviolet light confirms that they were not painted over a previous coat of arms, establishing that the manuscript was made specifically for Marie.Whether it was Marie herself or a third party who ordered the production of the manuscript remains open to question, however. The precise origins and other provenance of this manuscript are much less clear, and in spite of promising documentary evidence all of the interpretations have so far relied on circumstantial, suggestive evidence. Debate has arisen in particular over whether this manuscript may be identified with one or other of the two breviaries recorded in Marie's will. One, which she described as 'mon petit breviaire que ma la Royne me dona' ('my little breviary which my Queen gave to me'), she gave in turn to her Franciscan confessor, William Morin. On the basis of similarities noted by Henry Bradshaw and reported by Paul Meyer between the script in the present manuscript and certain books written for Charles IV of France (1294-1328), Hilary Jenkinson conjectured that this breviary and MS Dd.5.5 are one and the same. Richard and Mary Rouse, while not endorsing this identification (see below), have by contrast suggested that Marie's intended meaning here was the Queen of England, "doubtless Philippa of Hainault" (rather than the Queen of France, presumably Jeanne d'vreux, third wife of Charles IV) - though Sean Field has since argued that Isabella of France, mother of Edward III, is "the more likely candidate", given the evidence of a longstanding relationship between these two women, and of Isabella's particular interest in book collecting as well as habitual borrowing from and lending to others.The other breviary recorded in Marie's will was gifted to Emma de Beauchamp, Abbess of the Franciscan abbey of nuns at Bruisyard in Suffolk, a book Marie noted as having previously belonged to the Sisters of Saint-Marcel (probably the Franciscan nuns of Lourcine-lez-Saint-Marcel near Paris). Disputing Jenkinson's interpretation, Richard and Mary Rouse proposed MS Dd.5.5 to be this breviary, pointing to the prominence given to the recipient and the breviary in Marie's will and the circumstantial connections that linked her to Emma (who had been a nun at Denny Abbey) and to the Franciscan nuns at Saint-Marcel (close neighbours to Marie's childhood and later residence at Bivre). The precise nature of the nuns' prior ownership of breviary is not clear from the text of the will, however, nor how a manuscript demonstrably made for Marie had belonged to them. The Rouses speculated that perhaps the nuns had been responsible for furnishing Marie with the text of a breviary she later had decorated in Paris, or had held the manuscript on deposit for Marie's use whenever she visited.As Sean Field has observed, it is also possible that MS Dd.5.5 is neither of these manuscripts, but a third breviary owned by Marie but donated prior to her death, perhaps (given its specifically Franciscan contents) to Denny Abbey - though there is very little evidence of the books that were held by this establishment.The manuscript was most recently displayed as part of the exhibition The Rising Tide: Women at Cambridge (14th October 2019-21 March 2020), illustrating the important role women have played from the earliest times in the development of the University. ff782bc1db