HORAE, use of Rome -- Hore intemerate Virginis Marie secundum usum Romanum. Paris: Thielman Kerver for Gilles Remacle, 10 January 1503. 8° (182 x 121mm). PRINTED ON VELLUM in red and black, batarde type. Large printer's device on title, metalcut anatomical man, 18 large metalcuts from the Master of the Apocalypse Rose, 36 small metalcuts, full multi-part historiated and ornamental border to each page, initials and line-filler in liquid gold on red or blue ground, yellow capital strokes. (Lacks text leaf D1, light stain and tiny hole in title, occasional faint stain elsewhere.) 19th-century brown morocco tooled in blind to a Renaissance design by Chambolle-Duru, vellum flyleaves, gilt edges (light wear at extremities).

HORAE, use of Rome -- Hore intemerate Virginis Marie secundum usum Romanum. Paris: Thielman Kerver for Gilles Remacle, 10 January 1503. 8° (182 x 121mm). PRINTED ON VELLUM in red and black, batarde type. Large printer's device on title, metalcut anatomical man, 18 large metalcuts from the Master of the Apocalypse Rose, 36 small metalcuts, full multi-part historiated and ornamental border to each page, initials and line-filler in liquid gold on red or blue ground, yellow capital strokes. (Lacks text leaf D1, light stain and tiny hole in title, occasional faint stain elsewhere.) 19th-century brown morocco tooled in blind to a Renaissance design by Chambolle-Duru, vellum flyleaves, gilt edges (light wear at extremities).

Kerver's full set of 'small' full-page metalcuts attributed to the Master of the Apocalypse Rose include the newest and last addition, 'Maria Immaculata'. Adams L-1011; Bohatta 690; Brunet V, 174; Tenschert-Nettekoven Horae 36.