Yates Thompson MS 13

Contents:

ff. 1r-6v: Calendar, use of Sarum, with saints in blue, red, mauve and gold. Besides the usual Sarum saints are included the feasts of Dominic (30 May), Botolph (17 June), Mildred (13 July), Paulinus (10 October), Ethelburga of Barking (11 October), the Translation of Wilfred (12 October), Translation of Edward the Confessor (13 October; given incorrectly as the Translation of Edward, King and Martyr), Mildred (17 October), Justis (10 November), Machutus (15 November), and the Presentation of the Virgin in the Temple (21 November).

ff. 7r-17v: Anglo-Norman verse prayers, some introduced by Anglo-Norman rubrics.

ff. 17v-32v: Long Hours of the Holy Spirit in Latin, with the rubric ‘Hic incipient matutine de Sancto spiritu’.

ff. 32v-59v: Long Hours of the Trinity in Latin, with the rubric ‘Hic incipiu[n]t Matuti[n]e de t[ri]nit[e]’.

ff. 60r-118r: Hours of the Virgin in Latin, including Memoriae in Lauds (ff. 81r-88v): Holy Spirit, Trinity, Holy Cross, Michael, John the Baptist, John the Evangelist, Peter and Paul, Stephen, Andrew, Lawrence, Thomas à Becket, Nicholas, Katherine, Margaret, Mary Magdalene, All Saints, Peace.

ff. 119v-125r: Short Office of the Cross in Latin.

ff. 126r-138v: Penitential Psalms in Latin.

ff. 139r-142r: Gradual Psalms in Latin, with the rubric ‘Hid incipiu[n]t quindeci[m] psalmi’.

ff. 142v-150r: Litany of Saints (imperfect) in Latin, including Apostles, martyrs, confessors and virgins.

ff. 150v-151r: Anglo-Norman prose tale (imperfect) about a sinful merchant visited by Christ on his deathbed, with the incipit ‘Dieu vint a cist marcheant et ly-‘.

ff. 151r-195r: Office of the Dead in Latin. At some point during the late 14^th or early 15^th centuries, new parchment was pasted over the bottom two-thirds of f.195r, which had been sliced away, possibly to excise a personalized inscription. The last words of the Office of the Dead were rewritten on this new parchment, along with the words ‘Memento om[n]iu[m] a[n]i[m]aru[m]’.

f. 195v: Numbered list of events in the life of Christ, in rhymed verse and grouped under the headings of Vita, Passio, and Glorificatio, written in two columns by a late 15^th century hand.

Decoration:

24 calendar roundels, in colours and gold (ff. 1r-6v). 24 large and smaller miniatures, in colours and gold (ff. 7r, 16v, 18r, 33r, 59v, 60r, 71r, 89r [historiated initial], 94v, 98v, 112v, 118r, 118v, 119r, 120v, 121v, 122v, 123v, 124v, 125v, 126r, 139r, 150v, 151r). All pages with full foliate borders, bas-de-page scenes and grotesque decoration, in colours and gold. Large and smaller decorated foliate initials, in colours and gold. Small initials and line-fillers in gold on red and blue grounds.

Sandler identifies the main artist as that of Glasgow, University Library MS Hunter 231, made for Roger of Waltham (d. c. 1341), canon of St. Paul's, London. Michael 1987 identifies the main artist as that of a psalter made for Worcester diocese use, Oxford, Bodl. MS Lyell Empt. 4.

The subjects of the miniatures are:

In the calendar:

f. 1r: Calendar page for January, with medallions of a three-faced Janus feasting and Aquarius as a face in clouds, emitting water.

f. 1v: Calendar page for February with medallions of a man in hat and cloak, warming one foot, and Pisces as two green fish.

f. 2r: Calendar page for March with medallions of a man pruning vines and Aries, the ram, under a tree.

f. 2v: Calendar page for April with medallions of a youth holding two green plants, and Taurus, the bull, under a tree.

f. 3r: Calendar page for May with medallions of a young man with a glove and hawk, and Gemini as two heads on one body bearing the arms of Neville of Raby, a heraldic shield gules, a saltire argent (painted over the arms of St George, argent, a cross gules).

f. 3v: Calendar page for June with medallions of a man mowing grass with a long sickle, and Cancer as a red crab.

f. 4r: Calendar page for July with medallions of a man in a tunic cutting hay, and Leo, the lion.

f. 4v: Calendar page for August with medallions of a man threshing, and Virgo as a maiden holding a palm frond and flask.

f. 5r: Calendar page for September with medallions of a man eating grapes and treading in a large basket of grapes, and Libra as scales held by a hand emerging from a cloud.

f. 5v: Calendar page for October with medallions of a man sowing and holding a basket and a red six-legged, long-tailed Scorpio.

f. 6r: Calendar page for November with medallions of a man with a stick and hogs under an oak tree, and Sagittarius as a centaur shooting a bow.

f. 6v: Calendar page for December with medallions of a man killing a pig with a hatchet, and Capricorn as a hybrid goat, with the lower half as a blue curled tail.

In the Anglo-Norman verse prayers:

f. 7r: Miniature prefacing the prayers to be said at Mass of a crowned woman (probably the first owner of the manuscript) in a pink robe with furred lining, kneeling at a prie dieu underneath a canopy, while a priest raises the host. In the bas-de-page is Jerome writing, inspired by the dove of the Holy Spirit; on his book is scribbled 'Douz sire (al) comencement,' the beginning of the text above. In the right margin is a drawing of two hands holding a host labelled 'IHS'.

f. 7v: Bas-de-page scene of Sampson with long hair and a beard seated on a lion and pulling its upper jaw.

f. 8r: Bas-de-page scene of a maiden in blue with a unicorn in her lap, while a knight in plate armour, a blue surcoat, and a blue and red shield pierces the unicorn with a spear.

f. 8v: Bas-de-page scene of Josiane seated on a rock between two lions whilst the one on the left licks her shoulder, with a partial bar border.

f. 9r: Bas-de-page scene of two lions mauling the knight Bonefas, who holds a broken sword, with a partial bar border.

f. 9v: Bas-de-page scene of Josiane, seated, caressing two lions, and a decorated initial 'T' with a full bar border.

f. 10r: Bas-de-page scene of a knight, Bevis of Hampton, standing armed with a scarlet shield and blue surcoat, with a tree on the right.

f. 10v: Bas-de-page scene of Josiane holding a lion.

f. 11r: Bas-de-page scene of the knight Bevis of Hampton holding a scarlet shield, which is being attacked by a lion, with a tree to the right, with a decorated initial 'S'.

f. 11v: Bas-de-page scene of a kneeling Josiane, her arms raised in prayer, next to a tree, with a decorated initial 'M'.

f. 12r: Bas-de-page scene of the knight Bevis of Hampton spearing a lion, with another lying at his feet impaled on a sword.

f. 12v: Bas-de-page scene of the knight Guy of Warwick, in blue and scarlet, riding a white horse and drawing his sword, with a decorated initial 'S'.

f. 13r: Bas-de-page scene of a lion and a winged dragon fighting.

f. 13v: Bas-de-page scene of a standing lion.

f. 14r: Bas-de-page scene of Guy de Warwick, in plate armour and visor, piercing the dragon's head with his spear, killing him as he tramples him, with a decorated initial 'T'.

f. 14v: Bas-de-page scene of Guy of Warwick riding a horse and leading a lion behind him on a string.

f. 15r: Bas-de-page scene of a boar standing between two trees.

f. 15v: Bas-de-page scene of Guy de Warwick in chain mail, killing the boar with his sword, while a youth (the son of earl Florentin) holds his horse.

f. 16r: Bas-de-page scene of Guy de Warwick riding on horseback towards the gate of earl Florentin’s castle, being greeted by a man holding a staff.

f. 16v: Miniature of St Katherine, stripped to the waist, being scourged by two men; bas-de-page scene of three men carrying the shrouded coffin of earl Florentin’s son into the hall where a man (Guy of Warwick?) is feasting.

f. 17r: Bas-de-page scene of Guy de Warwick slaying five of earl Florentin’s best knights.

In the Long Hours of the Holy Spirit:

f. 17v: Bas-de-page scene of the Creation, with God, holding a book, and touching a globe with three divisions, a city, a tree, and water (‘In principio creav[it] d[eus] ce[um et] t[erram]’).

f. 18r: Miniature of a crowned woman and a bearded man kneeling in prayer, with the dove of the Holy Spirit above, at the beginning of the Matins of the Holy Ghost. Below is a bas-de-page scene of God creating the animals, including a crowned lion, two stags, an ass, a pig, a unicorn, an elephant and castle, a horse and an ox.

f. 18v: Bas-de-page scene of God labelled 'Ihesus' with a book, pointing towards a body of water with fish, for the creation of the fishes.

f. 19r: Bas-de-page scene of God creating Adam.

f. 19v: Bas-de-page scene of the Creation of Eve out of Adam's side.

f. 20r: Bas-de-page scene of God admonishing Adam and Eve about the Tree of Knowledge.

f. 20v: Bas-de-page scene of Adam and Eve eating the apple of the Tree of Knowledge, while a female-headed serpent coils round the tree.

f. 21r: Bas-de-page scene of God the Creator, holding a book, rebuking Adam, wearing a fig leaf, for eating of the Tree of Knowledge.

f. 21v: Bas-de-page scene of God the Creator, holding a book, rebuking Eve, with the Tree of Knowledge on the right.

f. 22: Bas-de-page scene of God the Creator rebuking the serpent. With an illuminated initial 'S'(piritus) in gold and colours.

f. 22v: Bas-de-page scene of an angel within the turreted gate of Paradise, and another angel with a raised sword (at the Explusion from Paradise).

f. 23r: Bas-de-page scene of Adam and Eve being expelled from the Garden of Eden.

f. 23v: Bas-de-page scene of Eve spinning and Adam delving, holding a shovel, both nude.

f. 24r: Bas-de-page scene of an angel with spread wings addressing Adam and Eve on the preceding folio.

f. 24v: Bas-de-page scene of Cain sacrificing a pile of burning sheaves; he stirs them with a pitchfork.

f. 25r: Bas-de-page scene of Abel sacrificing a pile of burning sheaves; he stirs them with a pitchfork.

f. 25v: Bas-de-page scene of Abraham with a raised sword, about to sacrifice Isaac, who is kneeling on an altar.

f. 26r: Bas-de-page scene of an angel with arm raised towards Abraham's sacrifice of Isaac on the opposite page; at the feet of the angel is the ram in the thicket.

f. 26v: Bas-de-page scene of Noah with his wife, two of his sons, and their wives in the ark, along with five beasts.

f. 27r: Bas-de-page scene of a dove with an olive branch in its beak returning to Noah’s ark, and below, a raven pecking at a skeleton under a tree.

f. 27v: Bas-de-page scene of David with a slingshot and rocks, surrounded by his flock of sheep on a hillside.

f. 28r: Bas-de-page scene of Cain slaying Abel with the jaw-bone of an ass.

f. 28v: Bas-de-page scene of David with a loaded slingshot, between two trees in the Valley of Elah.

f. 29r: Bas-de-page scene of Goliath in armor, with a shield and a spear, being struck by David’s stone in the Valley of Elah.

f. 29v: Bas-de-page scene of David being crowned and given a sceptre by two bishops.

f. 30r: Bas-de-page scene of a seated David playing the harp, with a standing prophet reading 'Salathiel p[ro]pheta'.

f. 30v: Bas-de-page scene of a seated Salomon holding an open book, and a standing prophet with a scroll labelled 'Iacob p[ro]pheta'.

f. 31r: Bas-de-page scene of the prophet Judas holding a scroll with the name 'Iudas'.

f. 31v: Bas-de-page scene of the prophet Esrom holding a scroll with the name 'esrom'.

f. 32r: Bas-de-page scene of the prophet Aram holding a scroll with the name 'aram'.

In the Long Hours of the Trinity:

f. 32v: Bas-de-page scene of the prophet Aminadab holding a scroll with the name 'Aminadab'.

f. 33r: Miniature of The Trinity (the Throne of Grace) surrounded by symbols of the Evangelists, each with a scroll naming the Evangelist, and in the bas-de-page, the prophet Naazon holding a scroll with the name 'naazon'.

f. 33v: Bas-de-page scene of the prophet Salmon holding a scroll with the name 'Salmon'.

f. 34r: Bas-de-page scene of the prophet Josaphat holding a scroll with the name 'Iosaphat'.

f. 34v: Bas-de-page scene of the prophet Jeremiah holding a scroll with the inscription 'patrem vocabis me dicit dominus'.

f. 35r: Bas-de-page scene of the standing tonsured figure of the Apostle Peter holding a scroll with the inscription 'Credo in deum patrem omnipotentem creatorem celi et terre'.

f. 35v: Bas-de-page scene of the prophet David g a scroll with the inscription 'filius meus es tu, ego hodie genui te'.

f. 36r: Bas-de-page scene of the Apostle Andrew holding a scroll with the inscription 'et in Ihesum Chrstum filium eius unicum dominum nostrum'.

f. 36v: Bas-de-page scene of the prophet Isaiah holding a scroll.

f. 37r: Bas-de-page scene of the Apostle James the Less holding a scroll.

f. 37v: Bas-de-page scene of the prophet Daniel holding a scroll.

f. 38r: Bas-de-page scene of the Apostle John holding a scroll.

f. 38v: Bas-de-page scene of the prophet Hosea holding a scroll.

f. 39r: Bas-de-page scene of the Apostle Thomas holding a scroll.

f. 39v: Bas-de-page scene of the prophet Amos holding a scroll.

f. 40r: Bas-de-page scene of the Apostle James the Greater holding a scroll.

f. 40v: Bas-de-page scene of the prophet Joel holding a scroll.

f. 41r: Bas-de-page scene of the Apostle Philip holding a scroll.

f. 41v: Bas-de-page scene of the prophet Ezechiel holding a scroll.

f. 42r: Bas-de-page scene of the Apostle Bartholemew holding a scroll.

f. 42v: Bas-de-page scene of the prophet Sophonias holding a scroll.

f. 43r: Bas-de-page scene of the Apostle Matthew holding a scroll.

f. 43v: Bas-de-page scene of the prophet Malachai holding a scroll.

f. 44r: Bas-de-page scene of the Apostle Simon holding a scroll.

f. 44v: Bas-de-page scene of the prophet Zacharias holding a scroll.

f. 45r: Bas-de-page scene of the Apostle Thaddeus holding a scroll.

f. 45v: Bas-de-page scene of the prophet Abdias holding a scroll.

f. 46r: Bas-de-page scene of the Apostle Mathias holding a scroll.

f. 46v: Bas-de-page scene of the prophet Eleazar holding a scroll.

f. 47r: Bas-de-page scene of the prophet Sadoch holding a scroll.

f. 47v: Bas-de-page scene of the Judgement of Solomon, with Solomon enthroned, pointing a sword towards the two women with babies on the facing folio.

f. 48r: Bas-de-page scene of two women holding swaddled babies, during the Judgement of Solomon on the facing folio.

f. 48v: Bas-de-page scene of the prophet Ezechias holding a scroll.

f. 49r: Bas-de-page scene of the prophet Ieconias holding a scroll.

f. 49v: Bas-de-page scene of a crowned Manasseh enthroned and ordering the death of Isaiah, pointing his sword towards the martyrdom of Isaiah on the following folio.

f. 50r: Bas-de-page scene of the martyrdom of Isaiah, who is lying nude on a bench and being sawn in half by two men.

f. 50v: Bas-de-page scene of the king Manasses holding a scroll.

f. 51r: Bas-de-page scene of the prophet Amon holding a scroll.

f. 51v: Bas-de-page scene of an unidentified crowned king enthroned.

f. 52r: Bas-de-page scene of the prophet Jehoahaz holding a scroll.

f. 52v: Bas-de-page scene of the prophet Josaphat holding a scroll.

f. 53r: Bas-de-page scene of the prophet Joram, holding an unfinished scroll. Beneath the border, the figure is identified as 'Ioram'.

f. 53v: Bas-de-page scene of the angel, from the Annunciation to Zachariah.

f. 54r: Bas-de-page scene of Zachariah, hands folded in prayer before an altar, from the Annunciation to Zachariah.

f. 54v: Bas-de-page scene of Elizabeth in bed, whilst a midwife holds a swaddled infant nearby, from the Nativity of John the Baptist.

f. 55r: Bas-de-page scene of Zacharias at a lectern, writing ‘iohannes est nomen’ (‘John is his name’) on a scroll, at the Naming of John the Baptist.

f. 55v: Bas-de-page scene of an angel holding an unfinished scroll, from the Annunciation to Joachim.

f. 56r: Bas-de-page scene of Joachim holding an unfinished scroll and standing between two trees, from the Annunciation to Joachim.

f. 56v: Bas-de-page scene of an angel holding an unfinished scroll, from the Annunciation to St Anne.

f. 57r: Bas-de-page scene of St Anne standing between two trees, from the Annunciation to St Anne.

f. 57v: Bas-de-page scene of the meeting of St Anne and Joachim at the Golden Gate.

f. 58r: Bas-de-page scene of the Birth of the Virgin, with St Anne in bed and a midwife nearby holding the swaddled infant Mary, while the hand of God emerges from the clouds above towards Mary’s halo.

f. 58v: Bas-de-page scene of the Presentation of the Virgin in the Temple, with Joachim gesturing towards St Anne, who points in the direction of the Virgin Mary on the facing folio.

f. 59r: Bas-de-page scene of the Presentation of the Virgin in the Temple, with Mary as a young girl with a candle in hand, ascending steps towards the altar.

f. 59v: Miniature of the Virgin Mary seated at a lectern, crowned by the hand of God, with a bas-de-page scene of the Annunciation at the Well.

In the Hours of the Virgin:

f. 60r: Full-page miniature of the Annunciation, at the beginning of Matins, with a bas-de-page scene of the prophet Isaiah, holding a scroll and pointing left.

f. 60v: Bas-de-page scene of a wild man, covered with hair, on all fours.

f. 61r: Bas-de-page scene of two women in a castle, observing the wild man from the battlements.

f. 61v: Bas-de-page scene of a lady and a youth (?) entering a wood, followed by a maid, holding their trains.

f. 62r: Bas-de-page scene of the wildman attempting to ravish the lady out collecting flowers, with a caption reading, 'et tient le wodewose & rauist un des damoyseles coillaint des fleurs'.

f. 62v: Bas-de-page scene of the wildman attempting to carry off the struggling lady, with a caption reading, 'Ei porte il la damoysele en les bras'.

f. 63r: Bas-de-page scene of the elderly knight Enyas rescuing the lady by thrusting a spear into the chest of the wildman, with a caption reading, 'Ei uient enyas un viel chival[er] & rescut la damoysele'.

f. 63v: Bas-de-page scene of the knight Enyas embracing the lady he has rescued, leading her away from the mortally wounded wildman on the left, with a caption reading, ‘Ci le viel chival[er] meyne ava[un]t la damoysele’.

f. 64r: Bas-de-page scene of Enyas and a young knight competing for the lady, with a caption reading, ‘Cy vie[n]t un ioene chivaler de chaleng[er] la damoysele'.

f. 64v: Bas-de-page scene of the lady between the young knight and Enyas, with a caption beneath reading, ‘Cy met le viel chival la damoysele en miluel chemyn ent[re] li & le ioene chival[er]'.

f. 65r: Bas-de-page scene of the lady and the young knight embracing, with a caption beneath reading, 'Cy refusa la damoysele le viel chival[er] a sen va au ioene chival[er]'.

f. 65v: Bas-de-page scene of the young knight challenging Enyas for his greyhound, with the lady standing at the right, with a caption reading ‘Cy vie[n]t le ioene chival[er] a challenge le leurer [for levrier] au viel chival[er]’.

f. 66r: Bas-de-page scene of Enyas and the young knight blowing their hunting horns, with the greyhound between them looking towards Enyas, with a caption reading ‘Cy est le leurer mys de suz un arbre en milu el chemin dentre li .ii cheval[er]s. et p[ar] covenaunt taille. si cornu[n]t li chivalers et au quell deaux le leurer sen va. Si en joyt le leurer’.

f. 66v: Bas-de-page scene of Enyas and the young knight on either side of a tree, with the greyhound leaping towards Enyas’ hand, with a caption reading 'Cy vie[n]t le leurer a viel chivaler su[n] mestre et li ioene chivaler irrouseme[n]t sen voet co[m]batre od le viel chival[er] et dit q’il voet avoir le leu[r]er od la damoysele '.

f. 67r: Bas-de-page scene of Enyas thrusting his sword through the head of the young knight, killing him, with a caption beneath reading, 'Cy sen co[m]batent li .ii chival[er]s et li viel chival[er] en ocist li iouene chivaler'.

f. 67v: Bas-de-page scene of the remorseful lady kneeling with hands folded in prayer, while Enyas, at the right, walks off with his greyhound, bidding her ‘good riddance’, with a caption beneath reading, 'Cy sen va li viel chival[er] od sun leurer et guerpist la damoysele soule pur sa desnaturesce'.

f. 68r: Bas-de-page scene of a lady with a bow and arrow, and a hare, with a caption beneath reading, 'Cy comence jeu de dames'.

f. 68v: Bas-de-page scene of a lady shooting an arrow at a rabbit.

f. 69r: Bas-de-page scene of a castle, with two ladies in the battlements, and another lady sending her hound after a rabbit, which scampers up a hill at the right.

f. 69v: Bas-de-page scene of a lady hunting, beating a bush for rabbits.

f. 70r: Bas-de-page scene of a lady setting a net over a rabbit warren to catch rabbits.

f. 70v: Bas-de-page scene of a lady sending a hound into a rabbit warren in order to flush out rabbits.

f. 71r: Miniature of the Visitation, with a bas-de-page scene of a lady feeding the entrails of a slaughtered rabbit to her hound.

f. 71v: Bas-de-page scene with a lady tying two or three rabbits she has caught.

f. 72r: Bas-de-page scene of a lady walking towards a tower, carrying rabbits on a stick in one hand, and leading two hounds from a leash in the other.

f. 72v: Bas-de-page scene of a lady hawking by a golden fountain, beating a gong to frighten two ducks.

f. 73r: Bas-de-page scene of a lady hawking by a stream, releasing her hawk to fly at a duck.

f. 73v: Bas-de-page scene of a lady hawking observing her hawk bringing down a duck.

f. 74r: Bas-de-page scene of a lady hawking, bringing in her hawk with a feathered lure, while a rabbit flees to the left.

f. 74v: Bas-de-page scene of a lady hawking, carrying a dead duck in one hand and her hawk in the other.

f. 75r: Bas-de-page scene of a lady hawking, perching her hawk.

f. 75v: Bas-de-page scene of a lady hawking, bringing her hawk to another lady.

f. 76r: Bas-de-page scene of a huntsman kneeling before the entrance to a castle to inform the nobles within that game has been sighted.

f. 76v: Bas-de-page scene of two ladies riding out of a castle gate, followed by another horse.

f. 77r: Bas-de-page scene of two hunting ladies dismounted ; one holds her horse whilst the other carries a boar spear.

f. 77v: Bas-de-page scene of a hunting lady, piercing a boar in the throat with her spear.

f. 78r: Bas-de-page scene of a hunting lady blowing the mort, carrying a boar’s head on her spear.

f. 78v: Bas-de-page scene of a hunting lady whipping her horse, urging it onwards.

f. 79r: Bas-de-page scene of a hunting lady mounted, stringing her bow as she rides.

f. 79v: Bas-de-page scene of a hunting lady shooting an arrow from horseback.

f. 80r: Bas-de-page scene of a stag rearing on its hind legs, having been just shot through the throat by a hunting lady.

f. 80v: Bas-de-page scene of a kneeling lady in the middle of a hunt, with two hounds on a leash and a bow in her hand.

f. 81r: Bas-de-page scene of a grazing stag (the prey of a hunting lady).

f. 81v: Bas-de-page scene of a kneeling lady in the middle of a hunt, having just shot an arrow towards her quarry.

f. 82r: Bas-de-page scene of a fleeing stag (the prey of a hunting lady).

f. 82v: Bas-de-page scene of a hunting lady holding back one of her hounds.

f. 83r: Bas-de-page scene of a hound leaping on a downed stag (during a lady’s hunt).

f. 83v: Bas-de-page scene of three ladies cutting up a stag they have hunted, whilst another lady blows the mort.

f. 84r: Bas-de-page scene of the martyrdom of St Peter, and the martyrdom of St Stephen by stoning, with Saul looking on and holding the clothes of the witnesses.

f. 84v: Bas-de-page scene of the martyrdom of St Andrew.

f. 85r: Bas-de-page scene of the martyrdom of St Lawrence.

f. 85v: Bas-de-page scene of the martyrdom of St Thomas à Becket.

f. 86r: Bas-de-page scene of St Nicholas rescuing the three boys pickled in a tub of brine; scene of St Katherine kneeling in prayer as an angel destroys the wheel of her torture.

f. 86v: Bas-de-page scene of St Margaret being put into prison, and on the right, bursting from the belly of the dragon.

f. 87r: Bas-de-page scene of St Mary Magdalene’s miraculous levitation, born aloft by four angels.

f. 87v: Bas-de-page scene of All Saints.

f. 88r: Bas-de-page scene a veiled and wimpled woman kneeling at a prie-dieu with a closed book, with a maid with plaits holding her veil, while a young man in fashionable dress walks away.

f. 88v: Bas-de-page scene of Mary and Joseph arriving at the house of Jurdan, greeted by Anastasia, with a caption reading, 'Cy vient marie et iospeh a la mesun Iurdan'.

f. 89r: Historiated initial ‘D’(eus) of the Nativity of Christ, at Prime, with a bas-de-page scene of the martyrdom of St Anastasia, with a caption below reading, 'Cy Jurdan decole anestace'.

f. 89v: Bas-de-page scene of the Annuciation to the Shepherds. A scroll emerges from a shepherd’s mouth, with the inscription, 'gloris i[n] excelsis deo', and a caption beneath reading , 'Cy vient laungel a les pastoris'.

f. 90r: Bas-de-page scene of the Adoration of the Shepherds, with a caption reading, 'Cy vient les pastours en bethleem a p[re]sepe de n[ot]re dame'.

f. 90v: Bas-de-page-scene of one of the three Magi on horseback, led by a servant holding a spear, with a caption reading, 'Cy vient un des .iii roys p[ar] le signe del esteyle'.

f. 91r: Bas-de-page scene of two Magi traveling on horseback, preceded by two guards with spears, with a caption reading, 'Cy encuntrerent ensemble li .ii roys p[ar] vertu del esteile'.

f. 91v: Bas-de-page scene of the three Magi joining together, accompanied by three servants, with a caption reading, 'Cy encuntreren[t] ense[m]ble li .iii roys par vertu del esteile'.

f. 92r: Bas-de-page scene of two shepherds directing the three Magi towards Bethlehem, with a caption reading, 'Cy les pastorels enseignent les roys le chemyn vers bethlehem'.

f. 92v: Bas-de-page scene of the three Magi arriving at Herod’s castle, with a caption reading, 'Cy vient les .iii roys au chastel de rodes p[ar] sun comaundement'.

f. 93r: Bas-de-page scene of the Three Magi before an enthroned Herod, with a caption reading, 'Cy vienent les .iii roys de vaunt herodes'.

f. 93v: Bas-de-page scene of an enthroned Herod giving a letter to a kneeling messenger, with a caption reading, 'Cy comau[n]da herodes p[ar] ses lettres de fere venyr le mestres de la ley'.

f. 94r: Bas-de-page scene of an enthroned Herod listening as six masters of the law show him the prophecies from an open book, with a caption reading ‘Cy vienent les mestres devaut herodes et disorient la p[ro]phecie de ih[es]u’.

f. 94v: Miniature of the Adoration of the Magi, with a bas-de-page scene of an angel warning the sleeping Magi of Herod's intentions, with a caption beneath reading ‘Cy vient laungel a les .iii roys de nuyt et les comaunde ret[ourn]er verse lour regions p[ar] autre chemyn.

f. 95r: Bas-de-page scene of an angel warning Mary and Joseph of Herod's intentions, with a caption reading, ‘Cy vient langle a iosep et li comaunde prendre la mere et lenfaunt daler e[n] egipte’.

f. 95v: Bas-de-page scene of Mary, Joseph and the Christ child during the Flight into Egypt, with a caption reading, 'Cy sen vount vers egypt'.

f. 96r: Bas-de-page scenes from the Flight into Egypt: at left, a man sowing seed (the Cornfield Miracle); and at right, and idols falling from their pedestals, with two demons flying away, at the beginning of Psalm 120. With a caption reading ‘Cy les ydoles chirent et ly userunt par vertu de ih[es]u’.

f. 96v: Bas-de-page scene of the Cornfield Miracle, with Herod questioning the peasant reaping the fully-grown corn, with a caption reading, 'Cy erodes demande au messeour novels de .iii roys a il oit quil su[n]t en lur t[er]es'.

f. 97r: Bas-de-page scene of a man setting fire to three ships (the Burning of the Ships of Tarsus), with a caption reading, 'Cy erodes comaunda darder toutes les neifs pur ire des .iii roys'.

f. 97v: Bas-de-page scene from the Massacre of the Innocents, of Herod commanding two knights, with a caption reading, 'Cy coma[n]de herodes ses gens doccire toutes les enfaunz'.

f. 98r: Bas-de-page scene of the Massacre of the Innocents, with three soldiers murdering children while one is attacked by a grieving mother, with a caption reading, 'Ci sount les innocens occeys'.

f. 98v: Miniature of the Purification of the Virgin and the Presentation of Christ in the Temple, at Sext, with a bas-de-page scene of Mary and Joseph finding the twelve-year-old Jesus in the Temple, with a caption reading, ‘Cy quergent marie et ioseph ih[esu]m en ih[e]r[usa]l[e]m’.

f. 99r: Bas-de-page scene of Christ Disputing among the Doctors, of the young Christ, holding an orb, disputing with two doctors, with a caption reading, 'Cy ihesu despute od les ieus en le temple'.

f. 99v: Bas-de-page scene of the Wedding at Cana, with servants filling three large jars, with a caption reading, ‘Cy sunt e[m]ples les ysidres dewe a la feste de architriclin’.

f. 100r: Bas-de-page scene of Christ and Mary at table with five others at the Wedding at Cana, with a caption reading, ‘Cy ih[es]u b[e]nquit les ysidres plein dewe si turna au vyn’.

f. 100v: Bas-de-page scene of Christ gesturing to the woman caught in adultery, who is held by two others, with a caption reading ‘Cy eminent les ieus la perscheresce devaut ih[es]u’.

f. 101r: Bas-de-page scene of Christ, bending to write with his finger on the ground, with the woman caught in adultery, and one of her captors turning to leave, with a caption reading, ‘Cy fist ih[es]u signes descripture en tere. Si q[e] chescu[n] des ieus si poeit veer sun pecche de meyne’.

f. 101v: Bas-de-page scene of Christ blessing the kneeling woman taken in adultery, with trees in the background, with a caption reading, ‘Cy ih[es]u b[e]nquit la peccheresce et la p[ar]dona ses pecchez’.

f. 102r: Miniature of Christ Feeding the Five Thousand at None, with Christ standing on the right blessing the crowd, with a bas-de-page scene of five large baskets of bread and an apostle giving bread to another man, with a caption reading, ‘Cy peust ih[es]u V.m. ho[m]mes en desert de .v. pains et de .ii peissons’.

f. 102v: Bas-de-page scene of Christ healing the woman with an issue of blood, with Peter placing his hand on the shoulder of the kneeling woman, with a caption reading, ‘Cy sana ih[es]u la fem[m]e que le siweyt dun prive maladie’.

f. 103r: Bas-de-page scene of Christ healing the blind man before a group of people, with a caption reading, ‘Cy doune ih[es]u al ho[m]me voegle la vewe’.

f. 103v: Bas-de-page scene of Christ preaching before a seated group of people, with a caption reading, ‘Cy presche n[ost]re seignour as iewes et l[e] comeun peuple’.

f. 104r: Bas-de-page scene of the Baptism of Christ by John the Baptist, while a wingless angel at right holds Christ’s garment, with a caption reading, ‘Cy seint iohan Baptist douz ihesu crist’.

f. 104v: Bas-de-page scene of John the Baptist, holding a disk, preaching to a seated group, with a caption reading, ‘Cy s[eint] iohan bapt[ist] prechoit au poeple et dit. Ecce agnus dei’.

f. 105r: Bas-de-page scene of John the Baptist reproaching an enthroned Herod Antipas, who is holding a sword, with a caption reading, ‘Cy seint iohan le baptist rep[ri]st herodes de sun pecche’.

f. 105v: Bas-de-page scene of John the Baptist being pushed into a prison tower by a blue- and green-skinned man holding a club, with a caption reading, ‘Cy est seint iohan en p[ri]sone p[ar] le coma[n]dem[en]t de herodes’.

f. 106r: Miniature of the Feast in the house of Simon, with Christ at table between a man and a woman, while Mary Magdalen, with a gold casket by her, kneels and washes Christ's feet, with a bas-de-page scene of John the Baptist being brought before Herod and Herodias, with a caption reading, ‘Cy est seint iohan mene devaunt le roy herodes’.

f. 106v: Bas-de-page scene of Salome dancing on her hands before the feasting Herod and Herodias, with a caption reading, ‘Cy la fille du roy demau[n]da a sun pere la teste seint iohan’.

f. 107r: Bas-de-page scene of a blue-faced executioner beheading St John the Baptist, who is kneeling in a tower doorway, with Salome behind him holding a golden bowl, with a caption reading, ‘Cy est seint iohan decollee’.

f. 107v: Bas-de-page scene of Salome presenting the head of John the Baptist in a golden bowl to Herodias, with a caption reading, ‘Cy porte la fille du roy la teste s[eint] ioh[a]n e[n] un esqu[e]le devaunt sa mere’.

f. 108r: Bas-de-page scene of Salome and Herodias burying the had of John the Baptist, with a caption reading, ‘Cy la royne od sa file ensevelie[n]t la teste seint Iohan en un erber desouz un perere’.

f. 108v: Bas-de-page scene of John's body being placed in a marble tomb by two men with pointed hats, with a caption reading, ‘Cy les servaunt deu ensevelient le cors seynt Iohan le bapt[ist]’.

f. 109r: Bas-de-page scene of two men removing the bones of John the Baptist from his sarcophagus, with a caption reading, ‘Cy les tyrauns quillent sus les os sei[n]t ioh[a]n horse de sepulcre’.

f. 109v: Bas-de-page scene of two men burning the bones of John the Baptist, with a caption reading, ‘Cy sunt les oos seint Ioh[a]n ars p[ar] les tyrauntz’.

f. 110r: Bas-de-page scene of a man scattering the ashes of the bones of John the Baptist, with a caption reading, ‘Cy sunt les cenderes les oos seint Ioh[a]n ve[n]tez et p[ar]pillez p[ar] les vens’.

f. 110v: Bas-de-page scene of Christ cleansing the Temple, striking a man with a twisted rope who is fleeing along with another man, with a caption reading, ‘Cy en chace ih[es]u les bochers hors du temple’.

f. 111r: Bas-de-page scene of Christ beginning his forty-day fast in the desert, standing by a heap of stones with reeds growing on them, with a caption reading, ‘Cy ih[es]u juna sa kareume en la roche’.

f. 111v: Bas-de-page scene of the First Temptation of Christ, with the devil approaching him, holding several stones, with a caption reading, ‘Cy vient le deable mein plein des pieres et dit. dit ut lapides istius panes fiant’.

f. 112r: Bas-de-page scene of the Second Temptation of Christ, with the devil gesturing to Christ who is seated on top of the Temple, with a caption reading, ‘Cy le deable te[m]pta n[ost]re seign[ur] et dit. mitte te de orsum’.

f. 112v: Miniature of Christ being ministered to by four angels, who surround him, swinging censers, at the beginning of Compline, with a bas-de-page scene of the Third Temptation of Christ, with Christ sitting on a hill with coins and gold scattered before him and the Devil approaching, with a caption reading, ‘Cy le deable tempta n[ost]re seignur [et] dit. hec o[mn]ia tibi dabo ci cadens adoraveris me’.

f. 113r: Bas-de-page scene of Christ taking the hand of John and commanding John and Peter to find an ass and its foal, with a caption reading, ‘Cy comau[n]da ih[es]u pieres et iohan q[ue]re lasne et dit. ite i[n] castellum quod [con]tra vos est et statim invenietis azinam alligatam et pullu[m] cu[m] ea’.

f. 113v: Bas-de-page scene of an Apostle and the Virgin Mary approaching a man who is leading an ass on a rope, with a caption reading, ‘Cy mene merie Cymu[n]d lasne a eaux et dit. Solvite et adducite michi quia mag[iste]r hic opus abet.’

f. 114r: Bas-de-page scene of Caipahas (in bishop’s robes and mitre) and counselors speaking to the Jews, with a caption reading, 'Cy caiphas et ces deciples cunceilleru[n]t od les ieus de iuger n[ost]re seign[ur]'.

f. 114v: Bas-de-page scene of Christ’s Entry into Jerusalem, with Christ on a donkey and the Apostles following, with a caption reading, 'Cy chemina n[ost]re seignur sur lasne a Iher[u]s[ale]m'.

f. 115r: Bas-de-page scene of two men honouring Christ during his Entry into Jersulaem by throwing a garment and flowers before him, with a caption reading, ‘Cy onurent le poeple n[ost]re seignur des draps et des fleurs'.

f. 115v: Bas-de-page scene of the Raising of Lazarus, with Christ reviving Lazarus from a marble sarcophagus with Mary Magdalene at the right, with a caption reading, ‘Cy resuscite ih[es]u lazar frere au maudeleyne'.

f. 116r: Bas-de-page scene of Judas accepting thirty pieces of silver, with a caption reading, ‘Cy reit iudas les .xxx deners Cest a dire plates dargent’.

f. 116v: Bas-de-page scene of the Last Supper, with a caption reading, ‘Cy fait n[ost]re seign[ur] sa maunde’.

f. 117r: Bas-de-page scene of Christ washing the feet of the disciples, with a caption reading, ‘Cy lave n[ost]re seignur les pies s. pere et les autres’.

f. 117v: Bas-de-page scene of Christ leading St James, St Peter, and St John to the Mount of Olives, with a caption reading, ‘Cy va n[ost]re seign[ur] au mound olivet od .iii de ces disciples’.

f. 118r: Miniature of Christ praying in the Garden of Gethsemene, at the end of Compline, with a bas-de-page scene of Christ waking his sleeping disciples, with a caption reading, ‘Cy dit n[ost]re seign[ur] a disciples veillez et orrez que v[ous] nentrez en te[m]ptacioun’.

In the Short Office of the Cross:

f. 118v: Miniature of the Agony in the garden of Gethsemene, with a bas-de-page scene of a crowned woman (probably the first owner of the manuscript, perhaps Philippa of Hainault) kneeling in prayer with a crowned and bearded man (perhaps Edward III.

f. 119r: Miniature of the Betrayal of Christ and the Arrest of Christ, at the beginning of Matins, with a bas-de-page scene of three male figures with weapons, dancing and celebrating the arrest of Christ.

f. 119v: Bas-de-page scene of Christ brought before an enthroned Caiaphas.

f. 120r: Bas-de-page scene of Christ, bound to a pillar, being beaten by two men holding scourges.

f. 120v: Miniature of Christ carrying the cross on the road to Calvary, with the Virgin Mary helping him carry the cross, at the beginning of Terce, with a bas-de-page scene of Christ being bound and struck, with a caption reading, ‘Cy les ieus baterent ih[es]u et diseient. aver ex iudeorum.’

f. 121r: Bas-de-page scene of Christ being nailed to the Cross.

f. 121v: Miniature of the Crucifixion of Christ between two thieves, at the beginning of Sext, with a bas-de-page scene of Judas returning the thirty pieces of silver to two men outside of the Temple.

f. 122r: Bas-de-page scene of the suicide of Judas, hanging from a tree, with a devilish figure floating beside.

f. 122v: Miniature depicting the Crucifixion with mourning figures including the Virgin Mary, with the Devil seated on the arm of the cross and Adam rising from a grave at the foot of the cross, at the beginning of None, with a bas-de-page scene of Christ and the Harrowing of Hell.

f. 123r: Bas-de-page scene of the Three Living and the Three Dead, with a caption reading, ‘les mors resusciterent et alerent en iherusalem et temoygnerent la mort de ih[es]u le fiz deu.’

f. 123v: Miniature of the Deposition of Christ, with Mary Magdalene, Joseph of Arimathea, John the Evangelist, and Nicodemus, at the beginning of Vespers, with a bas-de-page scene of the Pietà, with Mary holding the dead Christ in her arms, with a caption reading, ‘Cy embracea n[ost]re dame douz ih[es]u deposee (sic) de la croyz’.

f. 124r: Bas-de-page scene of Joseph of Arimathea purchasing winding cloth for the burial of Christ from the blind mother of Sidonia, who refuses payment, with a caption reading ‘Cy achate ioseph le sudarie dunt n[ost]re seignur feust volupe dedenz’.

f. 124v: Miniature of the Entombment, with Joseph of Arimathea and Nicodemus laying Christ in a sarcophagus, and Mary Magdalene and the Virgin Mary at centre, with a bas-de-page scene of Pilate instrucing soldiers to guard the tomb, with a caption reading, ‘Cy comaunda pilates ses chivalers de veiller le sepulcre’.

f. 125r: Bas-de-page scene of soldiers putting Joseph of Arimathea in prison, with a caption reading, ‘Cy mistrent les chivalers ioseph ab aremathia en prisun’.

f. 125v: Miniature of the Resurrection of Christ with a bas-de-page scene of Christ rescuing Joseph of Arimathea from prison, with a caption reading, ‘Cy vient n[ost]re seignour ap[re]s sa resurexion e deliver ioseph hors de p[ri]sun’.

In the Penitential Psalms:

f. 126r: Miniature of the Resurrected Christ, holding a staff with a banner, embracing the Virgin Mary, who holds a closed book, with a bas-de-page scene of an angel and the three Maries at the tomb, with a caption reading, ‘Cy visitant les .iii maries le sepulcre et lau[n]gel dit surrexit non est hic’.

f. 126v: Bas-de-page scene of the Noli Me Tangere, with a kneeling Mary Magdalene before Christ, with a caption reading, ‘Cy apiert n[ost]re seignur a la magdaleine et dit noli me tangere’.

f. 127r: Bas-de-page scene of the Archangel Michael freeing Longinus from prison, with a caption reading, ‘Cy deliver Mychael longis hors de prisun’.

f. 127v: Bas-de-page scene of Christ appearing to two pilgrims on the road to Emmaus, with a caption reading, ‘Cy apiert ihesu a les pilerins’.

f. 128r: Bas-de-page scene of the two disciples, seated at table in a building, with Christ appearing to them outside, behind a pillar holding a staff, with a caption reading, ‘Cy depescea n[ost]re seignur le payn as pilerins et senvanist’.

f. 128v: Bas-de-page scene of Mary Magdalene, holding a jar, bringing news of the Resurrection of Christ to three apostles standing in a doorway, with a caption reading, ‘Cy porte la magdeleyne noveles as apostles q[ue] n[ost]re seign[ur] est resuscitez’.

f. 129r: Bas-de-page scene of Peter and John visiting the sepulchre and removing the empty shroud, with a caption reading, ‘Cy visiterent pieres et iohan le sepulcre et ni troverent dedeinz fors le sudaire’.

f. 129v: Bas-de-page scene of two pilgrims informing the Apostles of the Resurrection of Christ, with a caption reading, ‘Cy nu[n]cierent le .ii. pilerins as apostles que n[ost]re seign[ur] aparust a eaus au chastel de aymaus et depesca au souper lur pain et sen vanist’.

f. 130r: Bas-de-page scene of the Doubting Thomas touching the wound in the side of Christ, with a caption reading, ‘Cy tocha Thomas dyn de ses deis denz la plaie du couste n[ost]re seignour’.

f. 130v: Bas-de-page scene of the Apparition at Galilee, with Christ appearing to St Peter and St John while they are fishing in the Sea of Tiberius, with a caption reading, ‘Cy apparut n[ost]re seignur et pieris et iohan come il peschierent sur la myer et rien ne pristrent. Et il dit a eaux. Mettez vos rays au destre part’.

f. 131r: Bas-de-page scene of Christ dining at Galilee with the apostles and the Virgin Mary.

f. 131v: Bas-de-page scene of the Ascension of Christ, with the Virgin Mary present, with a caption reading, ‘Cy est lascensioun n[ost]re seignour ih[es]u c[ri]st’.

f. 132r: Bas-de-page scene of the Pentecost, with the Virgin Mary surrounded by the apostles and the Holy Spirit as a dove above, with a caption reading, ‘Cy est le iour de pentecoste’.

f. 132v: Bas-de-page scene of the Annunciation of the Death of the Virgin, with the Archangel Gabriel speaking to an enthroned Virgin Mary, with a caption reading, ‘Cy annu[n]cie Gabriel a n[ost]re dame delimitacyon de sa fyn’.

f. 133r: Bas-de-page scene of the Dormition of the Virgin, with Christ holding her soul and apostles grieving at her bedside, with a caption reading, ‘Cy se lessa morir la virge marie’.

f. 133v: Bas-de-page scene of the funeral procession for the Virgin Mary, with the apostles carrying a covered tomb, with a caption reading, ‘Cy porterent les apostes la virge marie el val de iosaphath et li ieus vindrent cruelment encuntre eaux et afforcement en volunte davoir ravy le corps. Et si furent a meintenaunt les vus espontez sourdz evogletz muetz mahaignetz’.

f. 134r: Bas-de-page scene of St Peter baptizing a converted Jew, with a caption reading, ‘Cy baptiza seint piere un des ieus q[ui] voleit avoir ravi n[ost]re dame qui cruest en la resurexiun de n[ost]re seignur ih[es]u c[ri]st’.

f. 134v: Bas-de-page scene of the apostles placing the Virgin Mary in her tomb, with a caption reading, ‘Cy encevelient les decyples n[ost]re seignur la virge marie’.

f. 135r: Bas-de-page scene of the Virgin Mary ascending from her tomb into heaven in a cloth held by four angels, with a caption reading, ‘Cy ascendit la virge marie au ciel o la compaignie des a[ngles]’.

f. 135v: Bas-de-page scene of the Coronation of the Virgin, with angels holding censers, with a caption reading, ‘Cy ih[es]u corone sa douce mere el throne de visioun au septisme ciel’.

f. 136r: Bas-de-page scene of archangels blowing trumpets, while the dead emerge from their graves, with a caption reading, ‘Cy cornent les archaungles vers les signes de iours de iugement’.

f. 136v: Bas-de-page scene of the Risen Christ, standing upon a cloud and flanked by angels holding the instruments of the Passion, with a caption reading, ‘Cy vient n[ost]re seignur dedenz les nues vers ses iugem[ent]s tenir’.

f. 137r: Bas-de-page scene of two angels holding the crown of thorns and nails presenting the Virgin Mary and John the Evangelist to Christ on the following folio (f. 137v), with a caption reading, ‘Cy prie la virge marie sun fiz pur ces ameis’.

f. 137v: Bas-de-page scene of a group of risen souls praying as the Virgin presents herself to Christ (on the previous folio, f. 137r) , with a caption reading, ‘Cy est n[ost]re seignor en Jugement’.

f. 138r: Bas-de-page scene of a horned devil displaying a scroll to a group of sinners, while another devil holds a large chain, with a caption reading, ‘Cy monstre le deable en le iugement as peccheurs lur pecche’.

f. 138v: Bas-de-page scene of the souls of the Blessed being welcomed into the gates of Paradise by St Peter and ten angels, with a caption reading, ‘Cy vount les almes vers paradys’.

In the Gradual Psalms:

f. 139r: Miniature of a crowned royal woman (probably the first owner of the manuscript) being presented to an enthroned Christ by the Virgin Mary, and a bas-de-page scene of the Devil carrying souls off towards Hell, with a caption reading, ‘alas alas tristes dolenz allas alas’.

f. 139v: Bas-de-page scene of a devil pushing seven souls in a flaming wheelbarrow, with a caption reading, ‘Cy meine le deable humeine feture vers les…’

f. 140r: Bas-de-page scene of two prancing devils, one playing the bagpipes and the other a pipe and tabor, with a caption reading, ‘…peines que tut tenz dure’.

f. 140v: Bas-de-page scene of a devil with a stick carrying three souls on his back, while another devil is dragging a naked soul by a rope, with a caption reading, ‘Cy est un ipocrite traine vers les peines’.

f. 141r: Bas-de-page scene of two devils carrying the naked souls of a man and a woman, with a caption reading, ‘Meuz vaut poverte et pesaunce o bone esperaunce qui ioie et puissaunce od desperaunce’.

f. 141v: Bas-de-page scene of a devil riding a saddled, bridled woman, whipping her naked buttocks, while a second devil thrusts a grapple into her buttocks, with a caption reading, ‘avaunt leccheur avant’.

f. 142r: Bas-de-page scene of three devils thrusting naked, bound souls into a giant Hellmouth, while other devils escort souls to that place, with a caption reading, ‘alas nous dolenz unq[ue]s fumes [text missing] ffrir si grant peine enfern pur nos pecchez’.

In the Litany of Saints:

f. 142v: Illuminated initial ‘K’(yri eleyson) with a bas-de-page scene of two naked souls tied to a lever operated by a devil, suspended over flames, with a caption reading, ‘ensi sunt ilz penez que sunt [text missing] stumez a fere destractiuns et de g[ro]ndiller mals de lur promes’.

f. 143r: Bas-de-page scene of a soul (a userer) being boiled by two devils in a cauldron, with a caption reading, ‘ensi sunt li userers boillez’.

f. 143v: Bas-de-page scene of five naked souls standing in the river of Hell, with a caption reading, ‘ensi sunt les almes peinez el fluvie denfern’.

f. 144r: Bas-de-page scene of a soul on a spit over flames, with two devils turning him on the spit and stoking the flames, with a caption reading, ‘En tel manere sunt les eretikes penez’.

f. 144v: Bas-de-page scene of a dragon devouring the head of a naked soul bound on the ground, with a caption reading, ‘Ensi sunt li envyoz penez’.

f. 145r: Bas-de-page scene of a naked soul buried in the ground being attacked by a dragon, a toad, a snake, and a lizard, with a caption reading, ‘Ensi sunt les murdreurs penez’.

f. 145v: Bas-de-page scene of three bound, naked souls on a burning hill, with the flames stoked by devils, with a caption reading, ‘Ensi sunt il penez que un ioie quant lur…’.

f. 146r: Bas-de-page scene of a bound soul being torn apart by two devils, with a caption reading, ‘… promes receivent damage’.

f. 146v: Bas-de-page scene of a chthonic hunt, with a devil running behind a hunting dog, with a caption reading, ‘Ensi sunt il chacez enfern que tut te[n]s…’.

f. 147r: Bas-de-page scene of a chthonic hunt, with a fiendish hound chasing three souls, with a caption reading, ‘…enginerent lur cens en mauveiste [con]tre lur premes’.

f. 147v: Bas-de-page scene of a chthonic hunt, with a hound mauling two souls, observed by a devil, with a caption reading, ‘Ensi sunt robeurs delowez’.

f. 148r: Bas-de-page scene of a devil driving three souls into the Hellmouth, with a caption reading, ‘Ensi sunt les irrouz penez’.

f. 148v: Bas-de-page scene of two devils piercing the sides of a bound soul, standing in flames, with a caption reading, ‘Ensi sunt li quers orguilous penez’.

f. 149r: Bas-de-page scene of a devil forcing silver coins into the mouth of a bound soul, seated in a chair amid flames, with a caption reading, ‘Ensi sunt li coveitouz penez’.

f. 149v: Bas-de-page scene of two souls on a bench among flames, with piles of coins and a gaming board on the bench between them, with a caption reading, ‘Ensi sunt les hasardors penez’.

f. 150r: Bas-de-page scene of a soul in a pilgrim’s hat with staff and begging bowl among flames, while a devil scatters white stones or coins upon him.

In the Anglo-Norman prose tale:

f. 150v: Miniature from the Tale of the Sinful Merchant (?) of the merchant on his sickbed refusing the sacrament.

In the Office of the Dead:

f. 151r: Miniature of the Virgin Mary interceding on behalf of a dying man, at the beginning of the Office of the Dead, with St Michael holding scales and two devils vying for the soul of the man, with a bas-de-page scene of a lion passant guardant, holding a shield gules, a saltire argent (the arms of Neville of Raby), with a hood of the same arms, painted over the arms of St George, argent, a cross gules.

f. 151v: Bas-de-page scene of the devil trying to drown a monk who was walking on a bridge, with a caption reading, ‘Cy le deable noye un moyne’.

f. 152r: Bas-de-page scene of the Virgin Mary rescuing the monk whom the devil had tried to drown, with a caption reading, ‘Cy resuscite n[ost]re dame le moyne noye de mort a vye.

f. 152v: Bas-de-page scene of the Virgin Mary rescuing a woman whom the devil had tried to drown, with a caption reading, ‘Cy reconforte n[ost]re dame une pecheresce encu[m]bre du deable’.

f. 153r: Bas-de-page scene of the Virgin Mary offering her breast to heal a leprous cleric, with an angel standing nearby, with a caption reading, ‘Cy n[ost]re dame sana un soen clerc leprous’.

f. 153v: Bas-de-page scene of the Virgin Mary reviving and arming St George, with his arms emblazoned argent, a cross gules, with a caption reading, ‘Coment laungel mena un cheval a la monum[en]t de george’.

f. 154r: Bas-de-page scene of St George standing in a marble tomb, being handed a mail shirt by the Virgin Mary, with a caption reading, ‘Cy n[ost]re dame resuscite george’.

f. 154v: Bas-de-page scene of the Virgin Mary ridding a demon from a possessed woman, with a caption reading, ‘cy n[ost]re dame deliver une fe[m]me dun malveis spirit’.

f. 155r: Bas-de-page scene of an angel beating a demon with a club, with a caption reading, ‘cy laungel lenchace’.

f. 155v: Bas-de-page scene of the Virgin Mary pulling on the horns of a vanquished devil, while on the right, an angel holds a rescued soul, with a caption reading, ‘Cy n[ost]re dame tout le deable un alme’.

f. 156r: Bas-de-page scene of the Virgin Mary healing and attaching the severed limb of a woodsman who had chopped off his own leg, with a caption reading, ‘Cy un laborer decoupa sa iaumbe et n[ost]re dame le ioint ense[m]ble’.

f. 156v: Bas-de-page scene of the Abbess Delivered, of an abbess asleep before an altar, while the Virgin Mary takes the abbess’s child and gives it to an angel, with a caption reading, ‘Cy n[ost]re dame sana un abbesce enseinte’.

f. 157r: Bas-de-page scene of the Abbess Delivered, of the angel giving the abbess’s child to a hermit in his cell, with a caption reading, ‘Cy porte laung[e]l lenfaunt labbesce a un sei[n]t eremyte’.

f. 157v: Bas-de-page scene of the Abbess Delivered, of the abbess, held by a nun, raising her arms to the bishop can test her breast to see if it contains milk, while three nuns look on, with a caption reading, ‘Cy levesq[u]e p[ou]r escusem[en]t taste le mamales si il put trov[e]r du leet’.

f. 158r: Bas-de-page scene of the Abbess Delivered, of the Virgin Mary nursing the abbess’s child, held out to her by the hermit in his cell, with a caption reading, ‘Cy aleta n[ost]re dame lenfaunt a lermitore’.

f. 158v: Bas-de-page scene of a wizard bringing Theophilus before the Devil, who gives him a sealed charter or bond, with a caption reading, ‘Cy theofle fist sun omage a le deable’.

f. 159r: Bas-de-page scene of Theophilus opening a chest full of coins, with a caption reading, ‘Cy le deable dona tresor a theofle’.

f. 159v: Bas-de-page scene of a repentant Theophilus begging the Virgin and Child Enthroned for mercy ; the Virgin bears her breast to him, with a caption reading, ‘Cy est theofle repantau[n]t et crea mercy’.

f. 160r: Bas-de-page scene of the Virgin Mary holding the devil and flogging him, while the devil vomits up Theophilus’ charter, with a caption reading, ‘Cy tout n[ost]re dame la chartre du deable’.

f. 160v: Bas-de-page scene of the Virgin Mary returning the charter to Theophilus, who bows before her in gratitude while the devil flees through a nearby gate, with a caption reading, ‘Cy r[e]porte n[ost]re dame a teofle la charte’.

f. 161r: Bas-de-page scene of the Monk Who Knew Only the Ave Maria, with the monk in a white Cistercian habit, kneeling in prayer before the Virgin Mary, who hands him a scroll with the words of the Ave Maria, with a caption reading, ‘Cy n[ost]re dame enseine a un gris moyne lave marie’.

f. 161v: Bas-de-page scene of the Monk Who Knew Only the Ave Maria, with four Cistercians praying over the body of the illiterate monk, while a lily flower grows from his mouth, with a caption reading, ‘Cy crest un fleur de liz hors de sa bouche après sa mort’.

f. 162r: Bas-de-page scene of Amoras the knight conversing with the devil, with a caption reading, ‘Cy fist ameroys le che[va]l[e]r omage au deable et a celi p[ro]mist de fere venir a li sa fe[m]me cele iour en un an’.

f. 162v: Bas-de-page scene of Amoras opening a chest of coins, with a caption reading, ‘Cy le deable dona tresor a ameroise ap[re]s sun omage fere’.

f. 163r: Bas-de-page scene of Amoras and his wife out riding, with a caption reading, ‘Cy chevauche ameroyse et mene sa feme oue li ver le deable’.

f. 163v: Bas-de-page scene of the distraught wife of Amoras asleep before a large image of the Virgin and Child, with a caption reading, ‘Cy en g[ra]nt t[ri]stesce la fe[m]me ameroyse dort devaunt un ymage de n[ost]re dame’.

f. 164r: Bas-de-page scene of Amoras and the Virgin Mary riding, while two devils flee, with a caption reading, ‘Cy n[ost]re dame chevauche o amerois vers le deable en semblaunce de sa fe[m]me li noun sachaunt’.

f. 164v: Bas-de-page scene of the Virgin Mary reattaching the severed hand of a pope, who kneels before her, with a caption reading, ‘Cy n[ost]re dame b[e]nquit la mein dun apostoile et fu sane’.

f. 165r: Bas-de-page scene of a devil attacking a man while his wife lies dead beside him, with a caption reading, ‘Cy estrangle le deable un ho[m]me et sa fe[m]me’.

f. 165v: Bas-de-page scene of the Virgin Mary reviving the man and his wife and giving the man a cross, with a caption reading, ‘Ci sunt r[e]suscitez de mort a vie lo[m]me et sa fe[m]me p[ar] v[er]tu de la croiz q[ue] n[ost]re dame les bailla’.

f. 166r: Bas-de-page scene of a the husband holding up a cross, while two devils flee before his wife, with a caption reading, ‘Cy monster lo[m]me et sa fe[m]me la seinte croyz au deable cu[m] il les vient te[m]pt[er] et lenchacent’.

f. 166v: Bas-de-page scene of a woman falling from her horse, which stumbles, and the devil catching her wrist, but the Virgin Mary breaks the devil’s neck, with a caption reading, ‘Cy n[ost]re dame ru[m]pe le col dun deable q[ue] voleyt avoyt rumpu le col dune dame q[ue] fu sa servaunte’.

f. 167r: Bas-de-page scene of the Virgin Mary giving a scourge to a kneeling hermit, while a devil flees, with a caption reading, ‘Cy baile n[ost]re dame un verge a un soen ermite pur enchacer le deable q[ue] li vient tempt[er]’.

f. 167v: Bas-de-page scene from the Devil in the Stocks, of a monk embracing a woman, with a caption reading, ‘Cy p[ar] le un moyne oue une dame en p[ri]ve lu’.

f. 168r: Bas-de-page scene from the Devil in the Stocks, of a man taking another man (the woman’s husband) and gesturing, with a caption reading, ‘Cy sun barun un chev[a]l[er] ap[er]sut la p[ar]launte’.

f. 168v: Bas-de-page scene from the Devil in the Stocks, of the monk and the woman in the stocks, with a caption reading, ‘Cy est le moyne et la dame meis en ceps’.

f. 169r: Bas-de-page scene from the Devil in the Stocks, of the husband and another man looking at the monk and woman in the stocks on the facing folio, with a caption reading, ‘Cy le cheval[er] tense et despise sa fe[m]me [et] le moyne’.

f. 169v: Bas-de-page scene from the Devil in the Stocks, of the monk and woman in the stocks with unbound hands, while the Virgin Mary leads two devils on a cord, with a caption reading, ‘Cy delivre n[ost]re dame le moyne et la fe[m]me hors de ceps et remet .ii deabl[es] en lur lu’.

f. 170r: Bas-de-page scene from the Devil in the Stocks, of the woman entering her home while the monk enters a church, with a caption reading, ‘Cy entre le moyne en sa cloister et la dame en sa chau[m]b[re] sanz vylenie’.

f. 170v: Bas-de-page scene from the Devil in the Stocks, of two devils in the stocks, with a caption reading, ‘Cy sunt le deables en prisun’.

f. 171r: Bas-de-page scene from the Devil in the Stocks, of an abbot and the monk gazing towards the devils in the stocks on the facing folio, while a man flees to the right, with a caption reading, ‘Cy ce merveile labbe et sun covent de la merveile de deables’.

f. 171v: Bas-de-page scene of a monk carrying bags walking past a broken chest, with a caption reading, ‘Cy brusa un moyne le tresorie’.

f. 172r: Bas-de-page scene of a monk sitting on the ground with bound hands and feet, while another monk is addressing him, with a caption reading, ‘Cy est le moyne pris et lye’.

f. 172v: Bas-de-page scene of the Virgin Mary leading a devil by the paw and pointing to the right, with a caption reading, ‘Cy meyne n[ost]re dame un deable p[ar] le mein de li mettre liens en lu…’

f. 173r: Bas-de-page scene of a monk with bound hands and feet seated within a towered structure, with a caption reading, ‘…du moine liee’.

f. 173v: Bas-de-page scene of the Virgin Mary pulling a cord that binds the hands and feet of a devil sitting on a small hill, with a caption reading, ‘Cy delivre n[ost]re dame le moine hors des liens et relie en sun leu ly…’

f. 174r: Bas-de-page scene of two monks walking towards the right and looking surprised, with a caption reading, ‘…vils diables ensi fort destresce od la g[ra]ndesyme pier[e] au col portaunt q[ue] p[ar] sa hidouse et grou[n]dillouse crouler toutes les moynes senfuirent hors de lur habitatiun’.

f. 174v: Bas-de-page scene of the Virgin Mary forcing a devil’s head into a hole in the ground and flogging the devil, with a caption reading, ‘Cy flaele n[ost]re dame dun baleis le deable et puis le comaunde plunger au penz denfern’.

f. 175r: Bas-de-page scene of the Virgin Mary exorcising two demons from a possessed girl, with a caption reading, ‘Cy sana n[ost]re dame un damoysele’.

f. 175v: Bas-de-page scene of the Thrice-Sinning hermit, with Christ speaking to a hairy devil, with a caption reading, ‘Cy dona Ih[esu]s power au deable de tempt[er] le s[eint] h[er]mite’.

f. 176r: Bas-de-page scene of the Thrice-Sinning hermit, who has been struck by a large arrow thrown by the devil, with a caption reading, ‘Cy le deable tempta un se[i]nt hermyte’.

f. 176v: Bas-de-page scene of a miller exiting a windmill and carrying a mallet, with a caption reading, ' Ci le mover est ap[er]su de lermite a la fe[r]me. Le deable p[ar] pouer q[ui]l out tempta taunt lermyte que a force li covenoit elire a faire: un de n[euf] vices. c'est a savoir yve...

f. 177r: Bas-de-page scene of a hermit lewdly embracing a miller’s wife, with a caption reading, ‘…resc. lecherie. ou omidice. et enticiun du meindre…’

f. 177v: Bas-de-page scene of the hermit striking the miller over the head with the miller’s mallet, with a caption reading, ‘…crime il elut destre enpuree. p[ar] quey il fist totes les…’

f. 178r: Bas-de-page scene of the hermit, repenting of his crimes, and stripping himself of his garments, with a caption reading, ‘…pechez et puis se c[on]v[er]tist come laas t[ri]ste dolente captive’.

f. 178v: Bas-de-page scene of a sword-wielding angel leading the devil before the Virgin Mary, with a caption reading, ‘Cy comaunde n[ost]re dame a langle de fere venyr devaunt ly ly diables quout ensi menee lermite que solert estre sun servaunt a dolorouse hounte et ele ly comaunde sanz fin au plu fort et p[ar] fount peynes denfern’.

f. 179r: Bas-de-page scene of Dainties on a Foul Dish, of the Virgin Mary reprimanding and offering a dish to a bedridden cleric, with a caption reading, ‘Cy p[re]sente n[ost]re dame a un clerc malade lecheor preciouse et sanable viaunde en un orde puaunte vessel de q[u]I il nel poeyt gouster pur le mauveys odour’.

f. 179v: Bas-de-page scene of the Three Living, of three well-dressed men, one holding a falcon, with a caption reading, ‘þat Зond[er] stonde develen þre. Me þi[n]keþ ise. Ich am agast’.

f. 180r: Bas-de-page scene of the Three Dead, of three skeletal cadavers, two partially wrapped in shrouds, with a caption reading, ‘Y was wel fair. Scuch ssaltou be. For godes love be war be me’.

f. 180v: Bas-de-page scene of St Francis in layman’s clothes fashioning his plain habit, with a caption reading, ‘Cy seint fraunceis taille sun abite de meyne’.

f. 181r: Bas-de-page scene of a gated city with four basilicas within, and three pairs of cowled friars looking to the left, with a caption reading, ‘Cy comaunde seint fraunceys de p[ar]piller p[ar] le mou[n]de’.

f. 181v: Bas-de-page scene of St Francis carrying a cross-topped staff, preaching to five birds in a tree, with a caption reading, ‘Cy preachea seint fraunceis el desert as oysillouns’.

f. 182r: Bas-de-page scene of St Francis receiving the stigmata, with a crucified seraph at right, with a caption reading, ‘Cy dona n[ost]re seignur a seint fra[u]nceys signe et rememb[rau]nce de ces cink plaieses’.

f. 182v: Bas-de-page scene of St Dominic, holding a cross-topped staff, preaching to a group of laymen, with a caption reading, ‘Cy presche seint domenic au poeple’.

f. 183r: Bas-de-page scene of two rams butting heads.

f. 183v: Bas-de-page scene of an ape with her children, while a large brown bear runs towards the right.

f. 184r: Bas-de-page scene of an ape and her children, with the mother ape fleeing a bear, pushing her three children in a wheelbarrow.

f. 184v: Bas-de-page scene of an ape and her children being chased by a brown bear; she carries one child in her arms whilst the other clings to her back.

f. 185r: Bas-de-page scene of a bear menacing an ape and her children, now in a tree.

f. 185v: Bas-de-page scene of a male hybrid grotesque with basket and flail, menacing the hybrid on the facing folio.

f. 186r: Bas-de-page scene of a male hybrid grotesque with sieve and rake, menacing the hybrid on the facing folio.

f. 186v: Bas-de-page scene of a large green winged dragon, roaring and facing right.

f. 187r: Bas-de-page scene of a large green winged dragon, roaring and facing left.

f. 187v: Bas-de-page scene of a man with a bow and arrow aiming at a squirrel in a tree.

f. 188r: Bas-de-page scene of an elephant and castle, two lions, and a unicorn, the companions of St Mary of Egypt.

f. 188v: Bas-de-page scene of St Mary of Egypt, with her body covered in long hair, holding three loaves of bread, with a caption reading, 'Cy est marie gypcian en desert'.

f. 189r: Bas-de-page scene of a stag, a doe, and a bear, and a lewd ape and a blue monkey conversing (the companions of St Mary of Egypt).

f. 189v: Bas-de-page scene of a young man (the son of Napoleone Orsini) falling from a horse, with a caption reading, 'Cy un hom[m]e debrusa sun col'.

f. 190r: Bas-de-page scene of St Dominic reviving the man who fell from his horse, with a caption reading, 'Cy seint dominic resuscita de mort a vye'.

f. 190v: Bas-de-page scene of St Edward the Confessor giving a ring to John the Evangelist on the facing recto, with a caption reading, 'Cy seynt Edward dona un anel a Iohan le ewangelist'.

f. 191r: Bas-de-page scene of John the Evangelist gesturing towards St Edward the Confessor on the facing verso, with a caption reading, 'Cy sein Johan le ewangelist vient a seint edward p[ur] demaund[er] acun bien pur lam[ur] de deu'.

f. 191v: Bas-de-page scene of martyrdom of St Peter Martyr, with a caption reading, 'Seinte pere de melane est ici martir'.

f. 192r: Bas-de-page scene of the martyrdom of St Edmund, with a caption reading, 'S[t] edmund le roy'.

f. 192v: Bas-de-page scene of St Denis, holding a crozier, preaching to a group of contentious laymen at Montmartre, with a caption reading, ‘Cy precha S. denis de fr[au]nce a mou[n]tmartre’.

f. 193r: Bas-de-page scene of the martyrdom of St Denis, who has been beheaded adn kneels to pick up his mitred head from the ground, with a caption reading, ‘Cy est s. deneys decole’.

f. 193v: Bas-de-page scene of the beheaded St Denis carrying his head, with a caption reading, 'Cy seint denis ap[re]s sa decolaciun porte sa teste deuz sa menuz au lu ou sun cor[s] geyt'.

f. 194r: Bas-de-page scene of an image of the Virgin and Child on Mount Carmel, with the tonsured heads of six hermits emerging from caves to gaze upon the image, with a caption reading, 'le mount du carme'.

f. 194v: Bas-de-page scene of Christ appearing to St Christopher, with a caption reading, 'Cy n[ost]re seignur aparut a [Christo]fre e[n] se[m]blau[n]te denfaunt et crie [illegible] porter outre lewe'.