Add MS 37049

The contents of the manuscript are as follows:

(References to 'Boffey' are to: Julia Boffey and A. S. G. Edwards, A New Index of Middle English Verse (2005)).

f. 1r: A fragment, imperfect at the beginning, of a legenda or apocryphal gospel, in Latin on the recto of the first of two vellum leaves, explicit: 'a patria sua ad eum veniebant'.

ff. 1v-2r: Two full-page miniatures.

f. 2v: A diagram of the earth divided into the three continents, with a note beginning, 'The thre son[n]es of Noe dyuyded þe warld in þre p[ar]tes....' (f. 2v).

ff. 3r-9r: Mandeville's Travels, an abridgement of the 'defective' English version (sub-group E, see Seymour, Mandeville’s Travels (1967), p. 275); incipit: 'The cyte of Ierusalem standes fayr emange hylles'; explicit: ‘bot if any man hafe any special grace gyfen of God.’ In the incorrect order: begins with Jerusalem and Judea (f. 2r) returns to the beginning (f. 6v, at ‘Also if a man cu[m] fro þe Weste....’) and concludes with the far East (f. 7v, at ‘Her is dyvysed of þe holy lande..’ ).

ff. 9v-10v: Excerpts from the Chronicon pontificum et imperatorum by Martinus Polonus or Oppaviensis (see Embree, ‘The Fragmentary Chronicle', Manuscripta 1993, vol. 2, pp.193-200, (p. 193)); incipit: 'þe cronykyls tels þat the cyte of Babylon'.

ff. 11r-16v: ‘In no[m]i[n]e Ch[rist]i i[n]cipit liber Methodii ep[iscop]i eccl[es]ie Patere[n]sis martiris Ch[rist]i. This tretys is drawen oute of Latyn i[n]to Ynglysche, þe whilk a holy bischop and m[ar]tyr drewe oute of Hebrew and Greeke i[n]to Latyn, and it tretys of þe begy[nn]yng of þe warld and of þe endyng and also of þinges þ[a]t has fallen and sal falle’: a translation from the Latin version of the Revelations of the Pseudo-Methodius (for another copy see Royal MS 8 F VIII, f. 170). Incipit: ‘It is to be knawen to us, dere breþ[er]’; explicit '..god by infynyte warldes of warlds. amen.’

ff. 16v-18r: Meditation or prayer on the Last Judgement, incipit: ‘Almyghty God for þi gret godenes hafe mercy of cristen pepyll and graunte þai[m] grace to stande strongly’; explicit: ‘.. safe us alle Ame[n]’.

ff. 18r-v, A short text on the time of Doomsday ‘Of the cu[m]ym (sic) of þe day of dome’ incipit: ‘The ordyr of the dome sal be swylk,’; explicit: ‘sal se before þe day of dome’.

f. 18v. Non est vestrum nosse tempora, forty-two lines, incipit: ‘When þe day of dome sall be / It is in gods þryuyte’ (Boffey: 4030).

f. 19r: The Wilfridus dialogue between the Soul, Death, the Devil, an Angel, St. Mary, Christ and God the Father on scrolls in a drawing of a death bed; e.g., Soul: ‘O hope in nede þou helpe me’ (Boffey: 2463; for other copies see Cotton MS Faustina B VI, Part II, f. 2, and Stowe MS 39, f. 32 v).

f. 19v: Verse allegory of a man pursued by a unicorn from Barlaam and Josaphat incipit, ‘Behalde here as þou may se /A man standyng in a tree’ (Boffey: 491).

f. 20r: Querela divina and Responsio humana, a religious lyric (6 x 6 lines) incipit: ‘O man unkynde hafe i[n] mynde my paynes smert’ (Boffey: 2504), with another verse in a scroll, incipit: ‘þies woundes smert bere i[n] þi hert and luf god aye’ (Boffey 3560.5).

f. 20v, The Ten Commandments in English verse, each preceded by the Latin text; this is usually part of Speculum Christiani, but here it is a separate text, incipit ‘Thow sal luf god with hert intere With al þi saule and al þi myght’ (Boffey: 3687). A short Latin note follows, incipit: ‘Ista sunt omino credenda’.

f. 21r: A prose tract entitled’ ‘Of þe fayrnes of saynt Mary gods moder o[u]r lady’, incipit: ‘Oof þe fayrhed of saynt Mary Alexander says þ[a]t thre fayrnesses is’.

f. 21v: A prose tract on the name of Mary, incipit, ‘Frebertus says A Mary a þ[ou] gret’.

f. 21v: A miracle-tale of sloth on Sunday punished, incipit, ‘þer was a seruand of saynt Ancelme’.

ff. 22r-v: A poem on the founding of the Carthusian order (29 couplets), incipit:’At þe begynyng of þe chartirhows god dyd schewe To þe byschop of Gracionapolitane saynt Hewe’; explicit: ‘ Upon þe liif of J[es]u crist god almyghty’ (Boffey: 435.1).

f. 23r: Verse couplets entitled The Charter of Human Redemption or Short Charter of Christ, incipit: ‘Sciant presentes et futuri. Wets now al þat ar here and after sal be lefe and der’ (Boffey: 4184: the charter is also in Add MS 24143, f. 6v and Harley MS 6840, f. 239v).

ff. 23v-24r: Jesus Nazarenus, 4 couplets, incipit: ‘Our lord Jh[es]u Crist did appere / To saynt Edmunde þe archebishop clere’ (Boffey: 2721), followed by a prose passage incipit: ‘It is written þ[at] þ[er] was i[n] gret paynes a saule’.

f. 24r: Verses on the wounds of Christ, 6 lines incipit: ‘O man kynde hafe in þi minde my passion smert’ (Boffey: 2507); 3 lines, incipit: ‘The nowmier of Jhesu Cristes wowndes / Ar fyve þowsande foure hondreth sexty and fyftene’ (Boffey: 3443, though this manuscript is not listed); 6 lines, incipit: ‘Jhesu my luf my ioy my reste þi perfite luf close in my breste’(Boffey: 1735); 4 lines at the lower edge of the folio, incipit: ‘Fyfe hundreth thowsande for to say’ (Boffey: 807.22).

f. 24v: ‘Of þe relefyng of saules i[n] p[ur]gatory’,15 couplets, incipit: ‘þe saules þat to p[ur]gatory wendes’ (Boffey: 3476).

f. 25r: Forty-five lines from the end of a poem describing the appearance of Christ with a drawing of the Arbor Amoris, incipit: ‘If þai do so, he wil þai[m] safe / As walnot barke his hare is yalowe’ (Boffey: 1426.8).

ff. 25v-26r: Quia amore langueo, 11 stanzas, incipit: ‘In a tabernakil of a towre’, explicit: ‘þat I was ordand to helpe þe fro hell’. A twelve-stanza version is in Harley MS 1706, f. 9v (Boffey: 1460). Followed by a note on the name Mary, incipit: ‘Luf well þis blyssed name Maria’.

ff. 26v-27r: Indulgences, written in a different hand, incipit ‘This pope sant Clement þe fyrst granted a yer and xl. days to p[ar]don’.

f. 27r: Miracle-tale of a clerk whose devotion to Our Lady diminished after seeing her image at Rome (a similar story occurs in Wynkyn de Worde's Miracles of Our Lady) incipit: ‘It is red in the myrakils of our lady þat a clerk luffed wele’.

f. 27v: ‘Ave maris stella dei mater alma’, verses (nine couplets), incipit: ‘Hayle se sterne gods modyr holy / Pray þ[o]u þi swete son safe us fro foly’ (Boffey: 1079).

f. 28r: Four couplets quoting the Horologium Sapientiæ, incipit: ‘Who so rememors Cristes passion devoutely’ (Boffey: 4140) followed by fifteen couplets on self-crucifixion, incipit: ‘Also take hede to þis insawmpyl here þat is lykend unto þe fawconnere’ (Boffey: 269.1).

ff. 28v-29r: ‘Of þe seven ages note wele þe saying of þe gode angel and þe yll’ a dialogue between the man, the good angel and the fiend (50 lines), incipit: ‘þe childe spekes to hym selfe and says as is written beneth Nakyd into þis warlde borne am I. (Boffey: 2282).

f. 29v: Salve regina, verses (5 x 8 lines, rhymes ababbcbc), incipit: ‘Hayl oure patron and lady of erthe / Qwhene of heven and emprys of helle’ (Boffey: 1073); verse dialogue on scrolls in an image of a cleric kneeling before the Virgin and child, ‘O svete lady mayden mylde / p[ra]y for me’ (Boffey: 2562.5).

f. 30r: The wounds of Christ and the seven sins they remedy, 16 couplets in a different hand, in a more Southern dialect, incipit: ‘Wyth scharp þornes þat beth kene Mye hede was crowned ye may sene’ (Boffey: 4200).

ff. 30v-31r: Two verse couplets on scrolls in an image of a man lying down; the couplets are: ‘I slepe and my hert wakes to þe’(Boffey: 1367.8) and ‘If þou my trewe lufer wil be’ (Boffey: 1431.5), followed by four prose paragraphs Ego dormio et cor meum uigilat, incipit: ‘I slepe and my hert wakes’ of which the second only appears to be abridged from the tract of the same title by Richard Rolle (see: English Writings, ed. by Hope E. Allen, paperback edition (1988), pp. 61-72).

f. 31v: The Dawnce of Makabre, verses (12 x 7 lines) incipit: ‘O ye al whilk þat by me cum[m]es and gothe’ (Boffey: 2589).

f. 32v: An 8-line verse, rhyming alternately, incipit: ‘Take hede unto my fygure here abowne’, (Boffey: 3252.5), followed by two macaronic couplets in English and Latin, incipit ‘Wen tho lest wenis / veniet mors te superare’(Boffey: 4049.6).

ff. 33r-35r: 'A disputacion betwyx þe body and wormes’ verses, (31 x 7-lines), incipit: ‘In þe ceson of huge mortalite Of sondre disseses with þe pestilence’ (Boffey: 1563).

f. 35v: ‘Note þis wele of dispisy[n]g of þe warld’, a prose note, 'incipit: ‘Werely I knawe no þinge þ[at] so i[n]wardly sal take þi hert’.

f. 36r: Apostolus dicit Civitatem hic manentem non habentus, verses (23 couplets) incipit: ‘Behold how in þe wilderness of þis warld men gase Bot therin place of abydynge none hase’, which includes an extract from ‘The Pricke of Conscience’ (see Boffey: 3428.101). Accompanied by three drawings each with a scroll bearing a dialogue between a king, a knight and an archbishop, incipit: ‘I wende to dede a kyng y wys. What helps honour or warlds blys’ (Boffey: 1387; also in Cotton Faustina MS B VII, ff. 1v-2 and Stowe MS 39, f. 32).

f. 36v: Ihesus est amor meus, a prose meditation on the passion (45 lines) incipit: ‘þe luf of god who so will lere’ (Boffey: 3416).f. 37r, Ihesus est amor meus, another version of the above text, differently arranged, with preface, incipit: ‘Whils I satte in a chapel in my prayere’, the poem (52 lines) incipit: ‘I knaw no þinge þ[a]t so i[n]wardly þi luf to god wyl brynge’ (Boffey: 4076).

ff. 37v-38r: ‘Of þe state of religion’, verses (45 couplets), with drawings of the steps to the ‘Mounte of Perfeccion’ and of the tree of religion, incipit: ‘The state of religioune: Suld be þorow right i[n]tencione’ (Boffey: 3478).

f. 38v: ‘I have sought the many a day’, one of the verses added in a drawing of a man on his deathbed (Boffey: 1312.55).

ff. 39r-43v: Chapter 5 of the English abridged version of the dialogue Horologium Sapientiæ with the rubric,‘It is written i[n] þe boke þat is cald horologiu[m] divine sapie[ntie] how a man sal lerne for to dye and desyre for to dye for þe luf of Jh[es]u, lyke as ye may fynde here fylowyng’. A version in a different dialect has been edited from a Douce manuscript (K. Horstmann, ‘Orologium Sapientiae or the Seven Poyntes of Trewe Wisdom, aus MS Douce 114’, Anglia, 10 (1866), 323-89 (p. 357)) and this chapter also occurs separately in Harley MS 1706, f. 20 (for a full digitised version of this manuscript, see http://www.bl.uk/manuscripts/FullDisplay.aspx?ref=Harley_MS_1706) . The Latin original is by the Dominican St. Amandus (Heinrich von Berg von Seuss). The French version usually names the author Jehan de Soushavie or Souhaube (as in Harley MS 4386). Incipit: ‘Sen it is so þat deth gyfes noght to man’, explicit ‘felicite and hapynes. Amen’.

ff. 43v-44v: Formula compendiosa vite spiritualis: part of chapter 4 of the same treatise as the above, Horologium Sapientiæ (Horstman, Anglia, 10 (1886, pp. 353-55, l. 37), incipit: ‘In þe felischip of saints’, explicit: ‘of gostly hele. H[ec] i[n] horologio di[vi]ne sapie[ntie]. deo gra[tia]s’.

f. 45r: A prayer, perhaps imperfect (5 x 9 line stanzas, with a refrain, introductory and concluding stanza of 7 lines), incipit: ‘Thy myghty mercy kyng of blis’ (Boffey: 3732).

f. 45v: The Complaint of Christ on the Cross, continued from f. 67v (12 out of 23 x 7 lines); the title ‘On galows . . .’ is partly cut off; incipit: ‘Yit stand a while and þi[n]k no lange’ (Boffey: 1119).

f. 45v: A verse dialogue between St. Peter, the Dominican martyr, and the Crucifix, preceded by a prose note (5 ½ lines), incipit: ‘It is sayd of saynt Petyr of þe ordyr of prech[oir]s þat when he was emange gret p[er]secuc[i]on’. The dialogue incipit (line 6): ‘Jh[es]u Criste gods sone þ[at] on þe rode wald be done’ (Boffey: 1673).

ff. 46r-66v: The Desert of Religion (Elongaui fugiens et mansi in solitudine), a poem in about 470 couplets, with additional verses attached to the drawings. Other copies are in Cotton MS Faustina B VI, ff. 3r-23v (where it is attributed to Walter Hilton), and Stowe MS 39, ff. 10v-31v. There are variations in the list and order of hermits and other persons represented. St. Hilda appears only in the Cotton manuscript, St. Godric in the Cotton and Stowe manuscripts but Richard of Hampole appears in all three. Incipit: ‘Davyd þ[a]t prophet was ay In þe sawter boke þ[us] we here say’ (Boffey: 672).

f. 52v: 2 lines from a ‘Song of Love-longing to Jesus’ by Richard Rolle (Boffey: 1715), incipit: ‘ I sytte and synge’; explicit: ‘to þe ledde’, followed by the red rubric, ‘Richard Hampole’ (see: English Writings, ed. by Hope E. Allen, paperback edition (1988), pp. 41-43, lines 29-30).

f. 67r: Two verses, the first consisting of 5 couplets, incipit: ‘The cyte of heven is set on so hye a hylle’ (Boffey: 3322.1), the second, an 8-line stanza on moral counsel, incipit: ‘Thoghts ar so sotell and so slee’ (Boffey: 3707.7).

f. 67v: ‘Take gode hede wele of pis ineditacyon’, The Complaint of Christ on the Cross (8 out of 23 x 7 lines; continues on f. 45v, col. 1), incipit: ‘Herkyn wordes swete and goode’, (Boffey: 1119: also in Arundel MS 285, ff. 164v-168r).

f. 68r: The Fifteen Joys of the Virgin, a poem, imperfect at the beginning (21 couplets: a line wanting in the third), incipit, ‘þe tent ioy had o[ur] lady at þe feste of Architriclyne’ (Boffey: 3483.5).

f. 68v: ‘Here begyn[n]es a devowte meditac[i]on of þe passione of Ih[es]u Criste aft[er] þe seuen howres of þ[e] day ordand in holy kirke how a ma[n] sal reme[m]byr þa[im]’: 16 couplets on the hours of the passion, incipit: ‘Man take hede on þe day or on þe nyght’(Boffey: 2075); with a parallel series of 16 couplets on the five senses, consent and free will, incipit: ‘Take hede man how þ[e] Iewes dyd cry’ (Boffey: 3251).

f. 69r: A poem on death, In omnibus operibus tuis memorare novissima, (23 couplets), incipit: ‘þat is on Ynglysche þus to say / He says thynke on þine endyng days’; includes an extract from The Pricke of Conscience (see Boffey: 3428.101).

f. 69v: The Apple of Solace: a short prose tract, incipit: ‘Nowe gode angel telle me what yonder pepyl menes þat plays and has þair solace with yon appyll’.

f. 70v: The Aungeles Songe, from Cantus peregrinorum or Pélérinage de l’ âme (5 x 7 + 5 x 7 + 7 X 7 lines), with a brief prose preface, incipit: ‘þies sygnyfies þe saules þat aftyr þaire iugement and delyverance’. Three songs: f. 70v, incipit: ‘Honourd be blyssed lord on hy þat of þe blyssed niayndyn was borne’ (Boffey: 1247); ff. 70v-71, incipit: ‘Allmyghti lord oure blistful lord Ih[es]u’ (Boffey: 263).

ff. 71r-v: ‘Al worshippe wisdom welthe and worthynes’ (Boffey: 233).

f. 72r: A poem comparing the world to a sea, a wilderness and a forest (28 couplets: the last line is cut off), incipit: ‘Alle þe warld wyde and brade Oure lord specyally for man made’; includes an extract from ‘The Pricke of Conscience’ (see Boffey: 3428.101).

ff. 72v-73r: A two-page image entitled ‘þis sygnyfyes heven and [earth ]...’ with explanatory notes in banners.

f. 73v: Part of a dialogue between the soul and an angel, in prose, with the title mostly cut off, incipit: ‘Nowe gode angel telle me whedyr’; explicit ‘payne p[er]durabyl everlastyngly’.

f. 74r: ‘Here folows a vysion of saules þ[at] war da[m]pned’, partly in prose, partly (9 quatrains) in verse, incipit: ‘Cu[m] folow me my frendes vnto helle’ (Boffey: 637).

ff. 74v-75r: ‘Here is a sawle led with myrthe and melody of angels to heuen’, (5 x 7 lines) incipit: ‘Honord be þ[o]u blyssed Ih[es]u / And praysed mot þou be i[n] euere place’ (Boffey: 1246).

f. 75v: A vision of St. Antony, in prose, incipit: ‘Opon a nyght a voyce come to saynt Anton and sayd’.

f. 76r: The Aungeles Songe (continued from f. 70v), entitled ‘þe songe and lofyng of angels on twelfe day’ (4 x 7 lines), incipit: ‘Honourd be þis holy feste day / In worship of þe swete welle of lyfe’ (Boffey: 1242); and ‘þe songe and lofyng of angels on pase day’ (5 x 7 lines), incipit: ‘Honourde be p[o]u Ih[es]u saveoure / þat for man kynde was done on þe rode’ (Boffey: 1249).

ff. 76v-77r: A verse entitled ‘þe sang of graces of al holy sayiites on pase day’ (4 x 7 lines), incipit: ‘Honourd be þou blyssedful lord abofe / þ[a]t vowchest safe þis iornay for to take’ (Boffey: 1244).

f. 77v: The Aungeles Songe (continued from ff. 70v, 76r), entitled ‘þe songe of angels and oþer saynts on wliyssonday’ (3 x 7 lines), incipit ‘Honourd be be (sic) þ[o]u holy goste i[n] hye / þat unto þe pepyl of so pore estate’ (Boffey: 1248).

ff. 77v-79r: Te deu[m] laudam[us] and Ego su[m] ostiu[m], followed by prose notes, incipit ‘Saynt Dynnes says þ[at] þ[er] ar neyne ordyrs’ (f. 78r).

f. 79v: Benedicamus patrem at filium cum sancto spiritu: the prose explanation of an image, incipit: ‘Saynt Austyn says q[uod] regnu[m] celor[um]’.

f. 80v: The Joys of heaven, forty lines, incipit: ‘Behald man and þi þoght up lede / To heven with al þi spede’ (Boffey: 493); the prose explanation of an image, incipit: 'The kyngdom of hevens is lykkyng to ten vvrgyns’.

f. 81r: An image entitled ‘þe cart of þe fayth’ with prose notes, incipit ‘When god made a pales to hym selfe þe walle slyded downe’.

f. 81v: Ascendens Crist[us] i[n] alt[um] dedit dona, prose notes, incipit ‘þat is Cryste ascending into hyght’.

f. 82r-84r: ‘A dysputaciou[n] betwyx þ[e] saulee and þe body whe[n] it is past oute of þe body’ a short prose dialogue incipit: 'þe saule sayd to þe body þus / Art þou þere þou wretchyd body so horribill’; explicit: ‘togged[er] i[n] euerlastyng ioy’.

f. 84v: Versa est in luctum cithera mea et organum meum in voce flencium: forty-eight line verse, incipit: ‘Allas ful warly for wo may I synge For into sorow turned is my harpe’ (Boffey: 149).

ff. 85r-86r: Moral distichs or rhyming couplets with a prefatory quatrain: ‘Fyrst þou sal luf ood and drede And hym seryf with al þi spede And lerne to kepe þies wisdomes clere þat folows in wrytyng here’. The first is ‘Bot witt pas wylle / Vyce wil vertewe spylle’ (Boffey: 558), and they include ‘Ryse up arely/seryf god devoutly’(Boffey: 324), Abuses of the age,‘Gif hys mad domesman / gyle is mad chapman (Boffey: 906.11) and ‘Set and save if þou wil hafe (Boffey: 3088), ‘Whos conscians be comeryde and be not clene’ (Boffey: 4117) and a stanza from Chaucer’s ‘Lak of Stedfastnesse’, incipit: ‘Some tyme this world’ (Boffey: 3190).

f. 86v: ‘þis is þe a.b.c. of Arystotyll of gode doctrine’ (also in Add MS 36983), incipit: ‘To amoros to awnteros / Ne angyr not þi selfe’ (Boffey: 3793).

ff. 86v-87r: Dialogue of the emperor ‘Antionchenus’ and his dead father, in Latin with narrative, incipit: ‘Vincenci[us] in speculo historiali’, with English version in 4 couplets, incipit: ‘ffader su[m] tyme what was þou’ (Boffey: 789).

f. 87v: ‘Of actyfe lyfe and co[n]te[m]platyfe’, a declaracion, part prose, part verse, incipit:’ I beseke þe reverent doctour to informe me þe way Of goode lyfydg’.

ff. 87v-88r: Forms of confession, the Ten Commandments, works of mercy, the fourteen articles of faith and the seven principal virtues, incipit: ‘Fyrst þu sal make knowledge to god of heven’(Boffey: 804).

The following texts are incomplete as the folios are damaged at the lower corners:

ff. 89v-94r: ‘Agayne despayre’ a tract in prose, incipit: ‘Worthy doctour I beseke þe to declare’.

ff. 94r-95v: Miracles of the Virgin, with a prologue, incipit: ‘Also it is gode for to hafe a special luf’. The 7 miracles are ‘The Drowned Sacristan’ (here called a Canon), see H.L.D. Ward, Catalogue of Romances in the Department of Manuscripts, 3 vols (1883-1910), II (1893), p. 604) (f. 94r); a clerk at a university has his sins weighed against his good deeds (f. 94v); a compact with the devil rescinded (f. 94v); a monk of Cluny rescued from despair. (f. 95r); Love gained by the dark arts, a story of the ‘Marienbräutigam’ type (see Ward, Catalogue of Romances, II (1893), p. 621) (f. 95r); The Virgin bares her Breast (see Ward, Catalogue of Romances, II (1893), p. 635). (f. 95v); A knight ‘in diocesi Leodiensi besyde Floraunce’ (f. 95v).

ff. 96r-v: Of God's justice, incipit: ‘Mykil folkes þer is þat hopes þat god wil dampne no man’.

Decoration:

Scott dates this manuscript to after 1460-70 on the basis of costume, e.g., 'Pride' on f. 47v (Scott, Later Gothic Manuscripts (1996), p. 193).

7 full-page tinted drawings in colours with highlighting (ff. 1v, 2r, 19r, 38v, 72v, 73r, 77v).

27 large tinted drawings in colours with highlighting, accompanying the texts, as follows: 2 three-quarter-page miniatures (ff. 2v, 17r); 6 two-thirds-page miniatures (ff. 22r, 27v, 32v, 36v, 79v, 87r); 4 half-page-miniatures (ff. 3r, 23r, 29v, 74v); 15 one-third-page miniatures (ff. 11r-16v, 45r, 69v, 74r).

22 column-width miniatures, all but the first on versos and 20 full-page diagrams of trees on rectos in ‘The Desert of Religion’ (ff. 46r-66v).

Smaller miniatures inserted in the text or in margins, accompanying the text. Rubrics and initials in red.

The subjects of the drawings and miniatures are:

ff. 1v-2r: A bust of the Virgin, surrounded by radiant beams of light; the upper body of Christ on the cross with folded arms, and the inscription ‘I[E]SO[US] ‘O BASILOUS ‘IOUDON [T]ON CH[RI]S[TOS]’ both images showing Byzantine influence.

f. 2v: A circular map or diagram showing the elements: fire as a crescent at the top, air a zone beneath it, then earth divided by water (in the shape of a T) into the three continents, with an explanatory note below.

f. 3r: View of Jerusalem showing mostly churches, with the inscription ‘Ierusalem civitas sancta’.

f. 9v: 2 separate images of Babylon and Rome labelled ‘turris babilonis’ and ‘roma caput mundi’ inserted in the text.

The following images accompany the Revelations of the Pseudo-Methodius and are in 2 or 3 parts (ff. 11r-16v):

f. 11r: God speaking to Eve in the Garden of Eden; Adam and Eve expelled from the Garden; Cain beating Abel on the head with a sharp weapon;

f. 11v: Seth and his descendants in the East; Noah’s ark;

f. 12r: Death of Noah; Noah’s sons build a tower in ‘þe lande of Sennarr’; Ionitus, son of Noah;

ff. 12v-13r: Battle scenes from the Old Testament;

ff. 13v-15r: Scenes of warfare between Christians and non-believers;

f. 15v: Wedding scenes; Gog and Magog;

f. 16r: The events leading up to the second coming of Christ;

f. 16v: The end of the world.

f. 17r: The Last Judgement: Christ seated with saints and angels while the Just rise from their graves and the Damned enter the gaping mouth of Hell.

f.19r: Deathbed scene with the Soul, God, Jesus, the Virgin Mary, Death and Satan accompanied by scrolls containing their words.

f. 19v: Emblematic drawing of a man in a tree (man's life) pursued by a unicorn (death), taking honey (worldly vanities), while a white mouse (day) and a black mouse (night) gnaw at the trunk. Four serpents beneath represent the four elements, and a dragon’s open mouth awaits victims.

f. 20r: Christ with dripping wounds, addressing a kneeling man, above whom is a large image of the wounded Sacred Heart.

f. 20v: God with a horned Moses on the mountain accompanying the text of the Ten Commandments.

f. 21r: The Virgin Mary carrying a sceptre and holding the Infant Jesus.

f. 22r: A four-part image of the founding of the Carthusian Order by St Hugh.

f. 22v: A Carthusian monk at the Grande Chartreuse, mother house of the Order.

f. 23r: The wounded Christ on the Cross with the symbols of the Passion, holding the ‘Charter of Human Redemption’ across his body.

f. 23v: Decorated inscription: ‘JESUS NAZARENUS'.

f. 24r: Christ with wounds, the wounded Sacred Heart, dripping blood and a kneeling monk; the inscription ‘j[es]u mercy’ is on either side of the Heart.

f. 24v: Christ in the fortress of heaven with the blessed, while a basket of people is drawn up from the fire of purgatory by priests celebrating communion, and a man gives alms to two beggars.

f. 25r: The Arbor Amoris or ‘þe tre of luf’ with three groups of branches each displaying mottos and an angel addressing a young man beneath.

f. 25v: The Virgin Mary with Christ and a monk praying below.

f. 26r: On the upper right of the page a tree with the inscription ‘Maria’ in large gothic initials, and two side branches bearing the inscriptions ‘LUF’ and ‘MARIA’; on the lower right an image of Christ with wounds in a round frame.

f. 26v: Large display script in colours with key words from the accompanying text.

f. 27r: On the upper right, a cross formed of tree trunks; in the left margin the Virgin Mary ministering to a sick man.

f. 27v: In the upper half of the page a round frame with Christ on a throne blessing the Virgin Mary, who kneels before him; in the lower right margin a man immersed in water up to his waist. The scrolls which should contain their words are blank.

ff. 28v-29r: Stages in the temptation of man accompanying a dialogue between the child, the angel and the demon. The last image shows the triumph of the good angel as the man lies on his deathbed.

f. 29v: The Virgin and Child, with a monk kneeling before them.

f. 30r: Christ on the cross with wounds.

f. 30v: A man (perhaps Richard Rolle) lying with his eyes open and holding a scroll, while the Virgin and Child look down from an embellished circle with radiant beams.

ff. 31v-32r: Marginal images of grinning skeletons waving and wearing first a crown and then a tall hat, illustrating ‘The Dawnce of Makabre’.

f. 32v: A sumptuously-dressed noble lady in a tomb with coats of arms, while below her skeleton is devoured by worms and insects.

f. 33r: Marginal images of the wounded Christ on the cross with a Carthusian lay brother kneeling before him, hands joined in prayer.

ff. 33v-35r: Four similar marginal images of four worms conversing with a skeleton who has his right hand raised, illustrating ‘A disputacion betwyx þe body and wormes’.

f. 36r: Three scenes of Death, represented by a skeleton with a spear, behind the shoulder of a king, a bishop and a knight.

f. 36v: Large initials ‘IH[ES]U’ with Jesus on the cross forming part of the ‘H’, Mary on the left and John the Evangelist on the right. Beneath is a heart with a banner containing the words ‘est amor meus’ and a Carthusian monk kneeling on the left.

f. 37r: Christ with his wounds on the cross, a heart below and three angels with wings, singing ‘Sanctus’ while a Carthusian monk, perhaps Richard Rolle, beneath sits with an open book on his lap.

f. 37v: An image of ‘þe mounte of perfection’, with Christ holding seven saved souls in heaven, which is at the top of a ladder, to the left of which are three monks in brown robes and two in white robes on the right.

f. 38r: Diagram of a Tree of Religion with the virtues of the religious life on the branches.

f. 38v: A monk beside the deathbed of a man being speared by the skeleton of death, with Christ watching from above.

ff. 39v-43v: Marginal images in the Horologium Sapientiae; on each folio is a monk in the left hand margin, first standing, then kneeling before Christ, and in the right margin an image of a man confronting death (a skeleton with a spear) and hell (except on f. 43v). In the lower part of f. 42r is two-part image of death and the damned in hell.

f.45r: The Crucifixion: Christ with wounds, with Mary and a Carthusian monk kneeling on the left and John the Evangelist on the right.

ff. 46r-66v: 22 miniatures illustrating the Desert of Religion with verses attached (on f. 46 recto and the remainder on the verso of each folio), depicting angels, hermits, religious figures and beasts. On f. 52v the bearded man in a cloak with a brown beret is identified as Richard Rolle; 20 diagrams of trees, each with 12 to 14 leaves representing aspects of religion such as the Commandments, virtues and vices, confession, etc.

f. 67r: On the upper left, the city of heaven; on the lower left a monogram of ‘Ihesu crist’;

f. 67r: On the upper left, the city of heaven; on the lower left a monogram of ‘Ihesu crist’; on the upper right, Christ giving his benediction; on the lower right a hermit holding a red heart.

f. 67v: Christ nailed to a tree with instruments of torture around him and a monk kneeling below.

f. 68v: Seven images accompanying a meditation on the Passion according to the ‘seven howres of þe day’.

f. 69r: A faceless skeleton carrying arrows stands below a richly-dressed man.

f. 69v: Eight monks examining an apple, with Mary on the left, Christ crucified on the right and an inquisitor and angel beneath, illustrating The Apple of Solace.

f. 70v: Marginal image of four angels, each holding a man in his arms.

f. 71r: Marginal image of four angels kneeling before a castle with the four men inside, presided over by Christ.

f. 71v: Christ with angels and the saved, who are naked.

ff. 72v-73r: A 2-page image on the theme of salvation, with paradise, redemption, sacraments, heaven and hell containing banners explaining the contents.

f. 73v: On the upper left a soul and on the upper right an angel.

f. 74r: The entry of the damned into the gaping jaws of hell.

f. 74v: Four angels, two playing music and two leading a naked man.

f. 75r: Outline drawing of Christ seated on the throne of heaven.

f. 75v: St Anthony with his vision of a winged monster attacking angelic souls.

f. 76r: Christ’s baptism above; the Resurrection below.

f. 76v: Christ enthroned with angels and apostles representing the sacrament of Maundy Thursday in the accompanying text.

f. 77r: Pentecost, with the dove descending while the apostles kneel, St Peter with the key.

f. 77v: Christ on the throne of heaven with the celestial hierarchy; beneath is a high wall decorated with the 12 gems described in Revelations 21:19-20.

f. 79v: Jesus in the castle of heaven surrounded by angels and the symbols of the four Evangelists.

f. 80v: Christ with Mary in the castle of heaven, approached by the 5 wise virgins on the left and the 5 foolish virgins on the right.

f. 81r: A group of priests with a banner walking in front of a cart carrying the souls of the faithful, while two devils with grappling hooks are pulling people off into the jaws of hell.

f. 82r: A soul standing over a buried corpse with an angel looking down.

ff. 82v-83r: On the left, a soul dancing and on the right, a skeleton in a grave.

f. 83v: A soul and an angel with a corpse beneath.

f. 84r: A king in a tower looks down on a crippled man in a tree giving fruit to a blind man.

f. 84v: On the left, a man playing a harp and on the right, a skeleton with a bow and arrow.

ff. 85r, 85v, 89v, 96r: A teacher and a scholar in disputation.

f. 86v: A teacher seated in a cathedra.

f. 87r: The Emperor Antiochenus in a tomb with a rotting corpse beneath, while a steward shows his son what his fate will be.

f. 87v: On the upper left, a scholar; on the upper right, a teacher; beneath, a priest granting absolution to a man.

f. 88r: A six-part image of the virtues of religion.

f. 91r: A Carthusian monk kneeling before Christ on the cross, depicted with blood dripping from his hands and feet.

f. 95r: A young woman praying for protection to the Virgin, who takes away a written page from a young man who is using magic to seduce her.