12- to 15-line parted red and blue initials with red and blue flourishing; 2-line initials outside the written space in red with blue flourishing or in blue with red; 1-line initials alternating red and blue; 2-line unornamented initials in red and 1-line initials touched in red in the Interpretationes. Running headlines, chapter numbers placed in the margins, and paragraph marks alternating red and blue. Rubrics frequently omitted.

Seventy-five historiated initials, usually 9-line, opening most books of the Bible and a few of the prologues, in Bolognese style, with dark tones of blue, olive green, maroon, red, beige and ochre; stylized acanthus leaf extensions into the margins; frequent, but mostly illegible, notes to the illuminator in the margins. The initials are: f. 5v (prologue to Gen.), 7-line, bust of Jerome; f. 6 (Gen.), the length of the text, 7 roundels of the Creation and in a large compartment at the bottom, the Crucifixion with Mary and John the Evangelist; f. 33v (Ex.), Moses and the burning bush with the face of God; f. 55v (Lev.), 8-line, 2 men, one holding a lamb for the offering; f. 71v (Num.), 16-line, Moses kneeling in prayer, as the hand of God reaches down to him; note in the margin, ?moyses in oratione coram deo?; f. 91v (Deut.), 7-line, Moses holding a book and preaching; f. 110 (Jos.), death of Moses; f. 122v (Jud.), death of Joshua; f. 135v (Ruth), 28-line letter I, Elimelech, Naomi and 2 children; f. 140 (1 Reg.), Elcana and wives kneeling in front of an altar with a cross; f. 157v (2 Reg.), 10-line, the Amalekite offering Saul's crown to David; f. 172 (3 Reg.), attendants bringing Abishag to David; f. 187v (4 Reg.), Ahaziah falling from stairs on outside of a tower; note in the margin, ?rex cadens de scalis palatii cum capite <?>?; f. 204v (1 Par.), 11-line, Adam standing in front of his descendants; f. 219v (2 Par.), Solomon praying before an altar with a cross, his crown on the steps beside him; note in the margin, ?Salomon orans <?>?; f. 240 (1 Ezra), 15-line letter I, a tonsured, hooded figure; f. 260 (Tob.), 8-line, Tobit in bed and the swallow perching on her nest; f. 265 (Judith), Judith beheading Holofernes as he sleeps; note in the margin, ?Iudith truncat capud oloferni dorm[ientis?] in lecto?; f. 271v (Esther), 25-line letter I, Esther receiving the scepter from Ahasuerus; note in the margin, ?<?> virga regale?; f. 278 (Job), 10-line, Job covered with sores on the dunghill, with his wife and crowned men standing nearby; note in the margin, ?sedens <?> tres reges <?>?; f. 292 (Prov.), Solomon flogging Rehoboam; f. 304v (Ecclesiastes), Solomon, holding a round object and lecturing to a group of people from an elevated wooden pulpit; f. 308v (Cant.), Virgin and Child; f. 311 (Sap.), 7-line, Solomon with sword; f. 319v (Ecclesiasticus), Christ blessing; note in the margin, ?christus [?] in maiestate?; f. 342 (Is.), 10-line, Isaiah being sawn in two; f. 369v (Jer.), 8-line, Jeremiah and the boiling cauldron; note in the margin, ?<?> ollam <?> ex alto?; f. 402v (Lam.), 8-line, Jeremiah sits by Jerusalem falling into ruin; note in the margin, ?<?> destructionem [civi]tatis iherusalem?; f. 405v (Bar.), 6-line, the prophet holding a scroll; note in the margin, ?<?> in manus?; f. 409v (Ezek.), 7-line, a bust of the prophet; note in the margin, ?propheta?; f. 435v (Dan.), Daniel in the lions' den; note in the margin, ?daniel iuvenis <?> cum leonibus?; f. 446v (Hos.), 8-line, Hosea and Gomer; note in the margin, ?<?> meretricem uxorem?; f. 450 (Joel), the prophet seated under a fruited tree; note in the margin, ?propheta cum arbore <?> a brucis rugis et locust[is]?; f. 452 (Amos), Amos with his sheep; note in the margin, ?pastor propheta <?>?; f. 455 (Obad.), the standing prophet looking up at Edom; f. 455v (Jon.), Jonah emerging from the mouth of the whale; f. 456v (Mich.), an older man with horns (?) touching the face of a younger man; f. 459 (Nah.), the prophet before Nineveh; note in the margin, ?propheta prophetans de civitate?; f. 460v (Hab.), an angel carrying Habakkuk by his hair to Babylon; f. 462 (Zeph.), the prophet standing looking at Nineveh with a ram in a building, and the cormorant and the bittern above the initial; f. 463v (Hagg.), 17-line letter I, the prophet standing; note in the margin, ?unus propheta?; initial for Zechariah not historiated; f. 469 (Mal.), 2 tonsured men before an altar with a cross, holding a bundle of sticks (?); note in the margin, ?duo sacerdotes offerentes super <?>?; f. 470v (1 Macc.), 2 knights on horseback fighting; note in the margin, ?duo milites <?>?; f. 486v (2 Macc.), 10-line, delivery of a letter; f. 498v (prologue to the New Testament), Damasus blessing; note in the margin, ?unus papa?; f. 500 (prologue to Mt.), 5-line, Matthew's angel holding a scroll; f. 500 (Mt.), 26-line, tree of Jesse with 3 kings and the Virgin at the top; f. 518 (prologue to Mk.), 5-line, Mark's winged lion, dressed, holding a scroll; f. 518v (Mk.), 28-line letter I, John the Baptist standing on a mountain, holding a scroll; note in the margin, ?sanctus iohannes batista?; f. 530 (prologue to Lk.), 6-line, Luke's winged ox, dressed, holding a scroll; note in the margin, ?luca cum <?> bov<?>?; f. 530 (Lk.), 10-line, Zechariah, tonsured, censing an altar with a cross on it, as an angel appears to him from above; note in the margin, ?sacerdos stans ante <?> cum turibulo et angelus <?> ei?; f. 549v (prologue to John), 6-line, John's eagle, dressed; note in the margin, ?iohannis <?> cum <?>?; f. 550 (John), 29-line letter I, John the Evangelist at the feet of the blessing Christ; note in the margin ?<?> apostolus?; f. 564 (prologue to the Pauline epistles), bust of Paul holding a book, by a second, less competent artist; f. 565v (Rom.), bust of Paul, holding a book, by the second artist; 1 and 2 Cor. introduced by painted, not historiated, initials; Gal. through Philem. beginning with 5-line initials historiated with a bust of Paul by the main artist; Hebrews with a painted initial; f. 601v (Acts), 6-line, bust of an apostle; f. 617v (James), 16-line letter I, James standing holding a book, and, outside the initial, his staff with the pilgrim's pouch hanging from it; note in the margin, ?sanctus iacobus apostolus?; remaining Catholic epistles, 1 Pet. through Jude, introduced by 7- or 6-line initials historiated with busts of the apostles; f. 625 (Apoc.), 7-line, John, as an old man, sleeping as the angel appears to him.

Initials to the prologues, 8- to 3-line (usually 4-line), as stylized vegetation in the same colors; 2-line initials outside the written space, alternating blue with good red flourishing or red with purple; on ff. 234-258, 2-line initials with hurried flourishing in blue on red initials or vice versa; unornamented 1-line initials alternating red and blue in the Interpretationes; 1-line initials within the text touched in red. Paragraph marks, chapter numbers and running headlines alternating red and blue, except on ff. 234-258, where they are all in red. Most rubrics supplied by the same later, disorderly hand as in the running headlines on these leaves.

Twenty-three full page miniatures on the versos of inserted singletons (rectos are blank) by a somewhat more competent artist than the person who did the smaller miniatures. The miniatures are surrounded by heavy frames of pink or blue segments with gold quatrefoils at the corners; the outer borders around the miniature and those around the text on the facing page are in the same style and hand of black ink spray, with blue and gold acanthus at the corners and centers, and with flowers, strawberries and gold trilobe leaves; in the margins above the miniatures a series of small holes suggests that a protective covering was once sewn in (one piece of silk remains loose in the manuscript, also with a series of holes across one end). The miniatures are: f. 7v (15 O's of St. Bridget), Salvator Mundi; a coat of arms in lower margins of ff. 7v-8 (see below); f. 14v (Trinity), Gnadenstuhl; f. 17v, John the Baptist holding the Lamb on a book; f. 19v, Thomas of Canterbury being assassinated before the altar; f. 21v, George slaying the dragon; f. 23v, Christopher; f. 25v, Anne holding a diminutive Mary on her lap, who, in turn, holds the baby Jesus; f. 27v, Mary Magdalene; f. 29v, Catherine of Alexandria with wheel, sword and Maxentius; f. 31v, Barbara; f. 33v, Margaret; f. 35v (Hours of the Virgin), Jesus at Gethsemane, and on f. 36, above 7 lines of text, Annunciation; f. 43v (Lauds), Betrayal of Christ, and on f. 44, Visitation; f. 57v (Prime), Pilate washing his hands, and on f. 58, Nativity; f. 62v (Terce), Scourging at the pillar, and on f. 63, Annunciation to the shepherds; full page illumination presumably once present before f. 66 (Sext) now missing; on f. 66, Adoration of the Magi; f. 69v (None), Crucifixion, and on f. 70, Presentation in the temple; f. 73v (Vespers), Deposition from the Cross, and on f. 74, Massacre of the Innocents; f. 77v (Compline), Entombment, and on f. 78, Flight into Egypt; f. 103v (Penitential psalms), Last Judgment, with Christ sitting on a rainbow, Mary and John on either side, and the dead rising from their graves; f. 121v (Office of the Dead), burial in a churchyard; f. 143v (Commendation of souls), angels lifting 2 souls in a sheet to God the Father; f. 157v (Psalms of the Passion), Man of Sorrows, with the emblems of the Passion; f. 164v (Psalter of St. Jerome), Jerome in his study with the lion at his knees, the wounded paw raised.

Historiated initials, 7-line, with black ink spray extensions including blue and gold acanthus, flowers, strawberries and gold trilobe leaves and dots: f. 51 (Holy Spirit), the Dove, its feet on the globe; f. 52, Michael; f. 52v, Peter and Paul; f. 53, Andrew; also on f. 53, Lawrence; f. 53v, Stephen; f. 54, Nicholas; f. 55v, All Saints; f. 82 (7 Joys), the Virgin, kneeling before Christ in Majesty; f. 84, Anthony abbot with 2 pigs; f. 85 (Salve virgo virginum), Mary in glory holding the Child; f. 89 (O Intemerata), Pietà; f. 93 (Virgo templum trinitatis), the child Mary on the steps of the temple; f. 95v (Omnibus consideratis), Jesus being nailed to the cross; f. 96 (Omnibus consideratis, to the cross), the 3 crosses, tau-shaped, and empty; also on f. 96 (Omnibus consideratis, to the head of Jesus), Jesus, with blood dripping on his forehead; f. 96v (idem, to the wound on his right hand), the hand, floating on blue clouds, with the wound; f. 97 (idem, to the wound on his left hand); also on f. 97 (idem, to the wound on his side), four small flesh-colored circles, bleeding, surrounding a flesh-colored bleeding heart; f. 97v (idem, to the wound on his right foot), a foot, with clouds at the leg, and the wound; also on f. 97v (idem, to the wound on his left foot); f. 98 (idem, to John the Evangelist), John holding the poisoned chalice; f. 99 (7 Words from the Cross), Crucifixion with the thieves on either side; f. 102v (Domine ihesu christe qui hanc sacratissimam carnem), a priest and others praying before an altar.

Major initials, occuring across from full page illuminations, 7-line, white-patterned blue against pink and gold backgrounds, infilled with lush multicolored acanthus leaves, some trilobe leaves and flowers in a style reminiscent of English work. Secondary initials, 3- and 1-line, in gold on patterned pink and blue grounds; initials within the text washed in yellow; ribbon line fillers in pink, blue and gold. Rubrics in red.

Twenty-nine large miniatures above 7 or 8 lines of text in arched compartments with serrated tops, with borders of black vine spray, thin multicolored acanthus leaves, flowers and gold motifs; another manuscript by the same artist and with the same style borders is Brussels, Bibl. Royale, MS IV 1085 (for which see , n. 41).1 The miniatures in HM 1087 are: f. 9 (the 15 O's of St. Bridget), Salvator Mundi against a diapered ground; f. 15 (Domine... da michi famulo tuo N. victoriam), Gnadenstuhl; f. 17, John the Baptist holding the Agnus Dei on a book; f. 18, John the Evangelist holding the snaky chalice; f. 19, George; f. 20, Christopher; f. 21, Thomas of Canterbury, possibly retouched, against gold-scroll background; f. 22v, Anne sitting in a large chair, the Virgin at her feet, in turn holding the infant Jesus, against a gold-scroll background; f. 23v, Mary Magdalene, against a diapered ground; f. 24v, Margaret, with gold-scroll background; f. 25v, Catherine of Alexandria, standing on the emperor Maxentius; f. 26v, Barbara, her hand resting on a tower of her own height, against a gold-scroll background; f. 28 (Hours of the Virgin), Annunciation, with shelves of books to the right, an enclosed garden behind the Virgin, the angel with multicolored wings; f. 34 (Lauds), Visitation, before a receding landscape of a river, towers and hills; f. 46v (Prime), Nativity, with Joseph holding a candle; f. 50 (Terce), Annunciation to the shepherds, with an angel holding a scroll, and a windmill in the background; f. 52v (Sext), Adoration of the Magi in a shed which occupies exactly the 3 U-shape sides of the picture space; f. 55 (None), Presentation in the temple; f. 57v (Vespers), Massacre of the Innocents before Herod in his throne, against a gold-scroll background; f. 59v (Compline), Flight into Egypt with elaborate towers in the background; f. 64 (farcing of the Salve Regina), Coronation of the Virgin by Jesus, with 4 small angels blowing horns, holding her dress, and worshipping; f. 72 (the 7 Joys), Presentation of the Virgin to the temple; f. 75 (Omnibus consideratis), Adam and Eve on either side of the fruit tree, around which is coiled a female-headed snake with a crucifix in the tree; f. 80 (Ave domine ihesu christe verbum patris), a group of ladies and gentlemen kneeling before a monstrance on an altar; f. 82 (Penitential psalms), Last Judgment, with Christ sitting on a rainbow, Mary on his right, and a pink-robed John on his left, two pink angels above blowing horns and the dead rising from their graves below, against a burnished gold background painted with scroll-work; f. 98 (Office of the Dead), Funeral service in a church with monks and priest in the foreground on one side of the draped coffin, and 4 mourners in black behind it; f. 117v (Commendation of souls), two angels with multicolored wings carry 3 naked souls to heaven in a sheet, while Jesus blesses from a ruffled cloud aperture above; diapered background; f. 129 (Psalms of the Passion), Man of Sorrows and the emblems of the Passion; f. 135 (Psalter of St. Jerome), St. Jerome in his study; close to the painting by Jan van Eyck and Petrus Christus in the Detroit Institute of Arts (see plate, for example, in E. Panofsky, ?A Letter to St. Jerome: A Note on the Relationship between Petrus Christus and Jan van Eyck,? , ed. D. Miner, Princeton University Press 1954, pp. 102-08, fig. 49); here Jerome writes in the book, the window is omitted, and the lion is reversed. Historiated initials, 6-line, with bracket borders and narrow gold and color strip along the length of the text, often with gold-scroll backgrounds, for the suffrages and the Hours of the Cross: f. 40 (Holy Spirit), Pentecost, and (Trinity), Gnadenstuhl, similar to the large one on f. 15; f. 40v (Holy Cross), Helen holding a tau-cross; f. 41, Michael; f. 41v, John the Baptist, generally similar to that on f. 17; also on f. 41v, Peter and Paul; f. 42, Andrew; f. 42v, Lawrence; also on f. 42v, Stephen; f. 43, Thomas of Canterbury; f. 43v, Nicholas; f. 44, Mary Magdalene; also on f. 44, Catherine of Alexandria, generally similar to that on f. 25v; f. 44v, Margaret, similar to that on f. 24v; f. 45, All Saints, in the front row: Anthony abbot, Peter, a bishop, Andrew and one other; f. 45v (for peace), a man kneels before the emperor and the pope while God the Father looks on from a blue ruffled cloud aperture; also on f. 45v (Hours of the Cross), Betrayal, with Judas standing to Christ's right, and Peter and Malchus towards the foreground; f. 49v (Hours of the Cross, prime), Betrayal, with only slight variation from that on f. 45v; f. 52 (Hours of the Cross, terce), Scourging at the pillar; f. 54v (Hours of the Cross, sext), Road to Calvary; f. 57 (Hours of the Cross, none), Crucifixion; f. 59 (Hours of the Cross, vespers), Deposition; f. 62 (Hours of the Cross, compline), Entombment.

6- and 5-line initials in white-patterned blue or pink against a ground of the other color, infilled with colored trilobe leaves against a burnished gold ground; 2-line initials in gold against pink ground and blue infilling; 1-line initials in blue with red penwork, or in gold with black penwork; initials within the text washed in yellow. Blue and gold jigsaw line fillers. Rubrics in pink. The text has been corrected in dark black ink, with a leafy pen flourish as line filler when the correction was shorter than the original text.

Thirty-seven full page illuminations in painted gold architectural frames, with 3 lines of text as if imposed by means of a label, in a style influenced by Bourdichon by possibly more than one artist. The miniatures are: f. 14 (Gospel of John), with 5 lines of text, John on Patmos; f. 20 (Aperi domine os meum), with 5 lines of text, Gnadenstuhl before a choir of angels; f. 28 (Accuso me coram domino meo), the owner kneeling before Christ, the Virgin and the apostles; f. 33v (O crux gloriosa), with no text, the emblems of the passion; f. 36v (O domina glorie regina leticie fons pietatis), Assumption of the Virgin; f. 39 (Omnes sancti angeli et archangeli), rows of the orders of angels, each wearing a different color and labeled; f. 40 (Succurrite michi queso omnes sancti dei), All Saints; f. 42 (Obsecro te angele mei custos), the owner being presented by his guardian angel to God in a landscape; f. 55v (Hours of the Virgin), Annunciation; f. 66 (Lauds), the Tiburtine Sibyl showing Caesar the vision of the Virgin and Child; f. 77v (Matins of the hours of the Cross), Crucifixion with the thieves behind Christ, while Mary and John are on his right, the soldiers on his left; f. 79v (Matins of the hours of the Holy Spirit), Pentecost; f. 81 (Prime), Nativity; f. 88 (Terce), Annunciation to the shepherds; f. 95 (Sext), Adoration of the Magi; f. 102 (None), Presentation in the temple; f. 108v (Vespers), Flight into Egypt, with 2 angels following the Holy Family (by a different artist?); f. 118v (Compline), Coronation of the Virgin; f. 128 (Orayssons tres devotes a nostre seigneur, nostre dame et aux anges), with 5 lines of text, enclosed by a simple painted gold rectangular frame, the miniature, on a smaller scale, is restricted to the width of the written space, and may be by a third artist; it represents the owner in prayer before the enthroned Virgin and Child; f. 128v (O Summa deitas), the 3 persons of the Trinity as identical yound men, except that the Holy Spirit, in the center, is dressed in white and has large white wings; f. 134v (Christe qui lux es), God the Father, wearing a papal tiara, creating the sun and the moon; f. 169 (Comme i estoy iadis), above 8 lines of text, a skeleton pointing to himself, while behind him lies a corpse; f. 169v (Sy despourueu), above 8 lines of text, the owner kneeling before Christ; f. 170 (Ensuyvent les dix commandemens de la loy), above 5 lines of text, Moses and the Burning Bush; f. 170v (Ung seul dieu tu adoreras), Moses, horned, receiving the tables of the Law; f. 175v (Premierement en la mort), Death brandishing an arrow and carrying an empty coffin rides a black bull over the bodies of men, including a pope, a bishop and a king; f. 179 (Secondement pense au iugement final), Last Judgment with Christ on a rainbow showing his wounds, the Virgin and John the Baptist on either side and the resurrecting dead below; f. 180v (Tiercement tu doys penser en enfer), a vision of Hell with devils pushing people into a burning cauldron; f. 182v (Quartement il te fault mediter et penser es ioyes de paradis), the elect in heaven before God the Father who sits on a rainbow with the Virgin and Christ on either side; f. 193v (Homme mortel tourne vers moy ta face), above 8 lines of text, Death with wings and brandishing a large arrow galloping his black horse over a prostrate man; f. 194 (Homme insense orguilleux et pervers), above 8 lines of text, dessicated corpses amid bones and open coffins near a wayside cross; f. 194v (Miserable homme et povre creature), above 8 lines of text, devils carrying the condemned, including a baby, towards a flaming hell-mouth; f. 195v (Tu autem cum oraveris), above 4 lines of text, the owner kneeling before Christ and an angel with a book; f. 196 (Gens enim et regum), above 6 lines of text, Christ appealing to God the Father; f. 196v (Se les vrais amis du malade), a clergyman and relatives around the bed of a sick man; f. 206 (Fuit quidem papa), a dying pope in bed surrounded by a priest, a bishop and 4 cardinals; ff. 225v-226 (Soustenes bien chascun de vous), in a simple gold frame above 4 lines of text, Christ carrying the cross with the help of a cripple, a sick man, a leper, a prisoner, a worker, a nun, a child, mendicant friars (for a similar miniature, see Sotheby's, 9 December 1974, lot 63, with pl. of ff. 205v-206). Smaller miniatures, occupying the width of the page but of varying height, serve as fillers for the space at the end of texts and often pertain iconographically to the following larger miniature; they are enclosed by simple painted gold frames. These smaller miniatures are: f. 15v, 2-line, John the Evangelist (?) in a landscape; f. 17, 6-line, a money changer with scales and coins; f. 18v, 2-line, a turbaned saint (?); f. 27v, 9-line, God the Father with tiara and orb in glory; f. 33, 8-line, an empty sepulchre and a jar of ointment in a landscape; f. 35v, 5-line, Pietà; f. 38v, 4-line, an angel in a landscape; f. 39v, 5-line, Peter (?) and Paul (?) in a landscape; f. 41v, 3-line, an angel in a landscape; f. 47v, 4-line, the hermit with his lantern showing the way to Christopher; f. 55, 7-line, a group of men kneeling before Christ; f. 65v, 9-line, in a bone-strewn landscape, Death with his arrow standing over a corpse while the soul flies to heaven; f. 79, 8-line, God the Father on a cloud while the Dove descends to Earth; f. 80v, 3-line, a landscape; f. 87v, 5-line, a shepherd in a field with sheep; f. 94v, 12-line, the attendants and horses of the Magi waiting at the side of the stable; f. 101v, 13-line, Mary holding the Child, Joseph and friends walking to the temple; f. 118, 3-line, an angel in a landscape; f. 134, 2-line, two men in a landscape, and, 5-line, God the Father wearing a papal tiara blessing the land; f. 168v, 9-line, Christ holding an orb in a landscape; f. 174, 6-line, the Seven Virtues represented allegorically as women with attributes; f. 175, 6-line, Death with a spear rushing upon a man; f. 178v, 3-line, three resurrecting figures; f. 182, 4-line, two angels; f. 193, 8-line, the owner kneeling before a saint (Peter?); f. 205v, 8-line, a pope followed by 2 cardinals; f. 217, 5-line, the owner in prayer at a prie-dieu; f. 220v, 6-line, again, the owner in prayer at a prie-dieu. Other miniatures, 9-line, in rectangular gold frames: f. 16, Luke; f. 17v, Matthew; f. 19, Mark; f. 32, Christ in a field; f. 44, Michael; f. 46, John the Baptist; f. 47, James the Greater; f. 48, Christopher; f. 49, Claude; f. 50v, Anne; f. 51, Catherine of Alexandria; f. 52, Barbara; f. 53, Mary Magdalene; f. 54, All Saints; f. 143v, Saints and an angel; f. 164v, Ecce Homo; f. 174v, Virgin enthroned and Child; f. 217v, God the Father on a throne with an orb, blessing; f. 221, Christ with an orb and blessing, in a mandorla surrounded by angels. The decoration of the calendar consists of gold architectural frames around miniatures of the monthly occupation, the zodiac symbol and two saints on the recto, and around miniatures of four saints on the verso.

The initials of the full page miniatures, 3-line, either as white leaves or in blue with white shading, both types infilled in gold with naturalistic flowers or strawberries, the whole against a gold-decorated rust-colored ground; 2- and 1-line initials in painted gold on alternating rust or blue grounds; initials within the text washed in yellow. Ribbon line fillers either in rust or blue with gold decoration, or as gold logs. Rubrics in blue or, less frequently, in pink; the first word of prayers or of subsections of the text often in burnished gold.

major headings in red and black ink; minor headings in an italic script using black ink. 2- and 1-line plain red initials. In vol. IV, running headlines of the names of the months in red.

Text framed in narrow bands of patterned color (or laurel leaves) outlined with narrow strips of silver or gold, each table beginning with scroll lettered in alternating red and blue square capitals; opening initials 3- or 2-line gold on white-patterned blue ground with parted green and pink infilling. Alternating red and blue 1-line initials placed outside written space; rubrics in red or blue.

Maps are mainly trapezoidal in shape, all maps have rectilinear meridians (except for the engraved world map, which is curvilinear), outside borders are bands of gold leaf. Contemporary arabic numbering of the maps at the top center of the page preceding each map, omitting the engraved world map and counting the British Isles map as number 1, which may indicate that the engraved map was added somewhat later. Heawood (see below, p. 240) suggests it may have been an early proof impression on parchment of Berlinghieri's printed volume. Possibly grouped for binding according to the numbers 1 to 16 written, s. XV/XVI on ff. 1, 7, 11, 15, 19, 21, 23, 27, 31, 35, 39, 41, 43, 47, 49, 51 (thus including the engraved world map).

Nomenclature of maps in black or red ink, with area names in gold, blue or red, and scholia in black or purple ink; cursive noting hand and some use of square capitals; no compass directions or rhumb lines; borders of maps formed by the numbered latitude and longitude scales; no distance scales; sea areas covered with purple wash, cities indicated by small gold circles and mountain ranges with wide ocher bands; no decoration except scrollwork at tops of maps and wind-heads on the engraved world map.

Full page miniature on p. 1 (the verso of the first leaf, an added singleton) of Lawrence, with face badly rubbed, holding a book and his gridiron, on a gold and red background with a mosaic border.

Opening initial, 55 × 60 mm., in patterned blue and yellow on a gold ground with infilling and C-shaped border of acanthus leaves in blue, pink, green, orange and gold. On p. 74, historiated initial, 58 × 58 mm., in pink and yellow, depicting an insect-covered skeleton with a snake crawling through it; C-shaped border as above. On f. 16, similar initial, 34 × 38 mm.

Secondary initials on pp. 2-19, 74-85 alternating in blue with careful red beading and harping or in red with blue; 1-line initials within the text washed in yellow. Secondary initials on pp. 20-69 in plain red.

Twelve large minitures by 2 artists above 3 or 4 lines of text, in arched compartments; the more competent work by the Master of Sir John Fastolf.1 Borders usually consist of a wide gold bar with blue and vermillion leaf patterns in a U-shape around text and miniature, the bars themselves terminating at the 4 corners in multicolored acanthus leaves. The outer border usually contains black ink sprays with colored flowers and gold trilobe leves, the latter arranged as a row along the outermost edges. The miniatures are: f. 21 (Hours of the Virgin), by the Master, Annuciation, outside the frame of the miniature God, as a Jesus-figure, sends the Dove to Mary; the border, entirely of multicolored acanthus leaves, includes 2 small medallions of an angel with a pitcher and a basket, and of Mary weaving; in the historiated initial, Joseph making a table; f. 32v (Lauds), by the Master, Visitation, with Joseph standing behind Mary; f. 44 (Prime), by the Master, Nativity, against a deep blue starry sky; f. 50v (Terce), by the second, less capable artist, Annuciation to the shepherds; the top of the arched compartment is serrated; f. 55 (Sext), by the second artist, Adoration of the Magi, in a serrated compartment; f. 59v (None), by the Master, Presentation in the temple; f. 64 (Vespers), by the Master, Flight into Egypt and, in the background, the Massacre of the Innocents, against a tessellated ground; f. 71 (Compline), by the Master, Coronation of the Virgin by Jesus, against a tessellated ground; f. 85 (Penitential psalms), by the Master, David praying to God, shown above in a deep blue starry sky; in the background, David as the young shepherd who has just slain Goliath, while in the historiated initial David is shown writing; the entire border of multicolored acanthus leaves; f. 103 (Hours of the Cross), by the second artist, Crucifixion with Mary and John on either side, in a serrated compartment; f. 111 (Hours of the Holy Spirit), by the second artist, Pentecost, in a serrated compartment; f. 127 (Office of the Dead), by the Master, burial scene in a churchyard.

Black ink spray band borders with flowers and gold trilobe leaves, traced through, the length of the text in all outer margins and in the inner margins of rectos at the presence of a 2-line initial. On ff. 13 and 77 this type of border surrounds the text on all four sides; on f. 172v, an offset of what was apparently a bracket border of this style, with a 4-line initial [D?]. Major initials, 4- or 3-line, in white-patterned pink or blue on a cusped gold ground infilled with colored trilobe leaves; 2- and 1-line initials in gold against white-patterned pink or blue grounds with infilling of the other color; initials in the text slashed in yellow. Ribbon line fillers of white-patterned red and blue segments. Rubrics in red.

Nineteen large miniatures usually in arched compartments above 4 lines of text; most borders consist of a decorated wide gold band in a U-shape around both text and miniature, with an outer border of ivy vine and regularly arranged, brightly colored acanthus leaves and flowers. The miniatures, by several artists of the workshop of the Master of the Duke of Bedford, are: f. 13 (Gospel of John), in a square compartment above 5 lines of text, John on Patmos with his eagle holding one end of the scroll, and the devil stealing his inkwell; the acanthus leaves of the outer border in lush, dense foliage form the U-shape frame, and are surrounded by an ivy design of thin, swirling pink or blue branches; f. 15 (Luke), in the same configuration and border as f. 13, the evangelist is shown painting a picture of the Virgin; f. 17 (Mark), configuration and border as on f. 13, Mark sits at his desk writing, with the lion on the floor in front of him; f. 18v (Matthew), configuration and border as on f. 13, Matthew writes while the angel kneels before him; f. 28 (Hours of the Virgin), Annunciation, seen through 3 pale pink arches enclosing respectively the angel, the lilies (within another ?frame? of gold curtains), and Mary; the U-shape border consists solely of lush, dense acanthus leaves of bright orange, olive green, rose, red, golden brown and blue, which form spaces for 6 medallions of angels playing musical instruments against burnished gold grounds; the normal ivy leaf decoration has mainly been crowded out, and is reduced to a few gold motifs; f. 52 (Lauds), Visitation, including a young girl accompanying Mary; in the background against a high horizon are 3 islands or peninsulas, and a galleon floating on the river; border as on f. 28; f. 63v (Prime), Nativity, with the Baby lying in the manger on a corner of the Virgin's cloak; behind Mary is an orange and white bed; in the medallions of a border as on f. 28 are angels, men, dogs and sheep, all growing from flowers (reproduced in Meiss, fig. 53); f. 69v (Terce), Annunciation to the shepherds and a shepherdess with a distaff; f. 74v (Sext), Adoration of the Magi; f. 79 (None), Presentation in the temple seen through pale pink architecture; f. 83v (Vespers), Flight into Egypt, with an angel accompanying the Holy Family and a broad river in the background; f. 91 (Compline), Coronation of the Virgin by an angel flying above her together with other angels, as she kneels in prayer before God the Father; f. 98 (Penitential psalms), David on a parapet of his castle above a river praying to God who appears in a circle of gold rays among monochrome blue angels; the background is reminiscent of that in Jan van Eyck's portrait of Chancellor Rolin before the Madonna, reproduced, for example, by M. Meiss, (New York 1968) fig. 493; f. 119 (Hours of the Cross), with Mary, John and Mary Magdalene on Christ's right along with the 2 Longinus': the soldier who pierces Christ's side and the Longinus who cures his blindness by placing a drop of Christ's blood in his eye; on Christ's left are the soldiers and the converted centurion who holds a scroll bearing the legend ?Vere filius dei erat iste?; the border has the same thin swirling pink and blue branches as the borders of the Evangelist portraits; f. 127 (Hours of the Holy Spirit), Pentecost, with Mary centered between 2 columns and exactly below the dome and the Dove; diapered background; f. 134 (Office of the Dead), Burial scene in a churchyard, with 2 men lowering the shrouded corpse into the grave while the small naked soul, aided by the archangel Michael, escapes from the claws of a black devil and is pulled up through an aperture in the sky into heaven where God the Father awaits him; f. 182 (Doulce dame de misericorde), the Virgin standing, holding the Child who has his right arm around her neck and clutches a string of coral beads with the other; 2 angels support a cloth of honor behind them; the pose is directly related to Jan van Eyck's Madonna at the Fountain (dated 1439) in the Musee Royale in Antwerp; in the manuscript, however, there is a canopy above the Virgin, and the fountain has been omitted; see, for example, E. Panofsky, (Harvard University Press 1953) fig. 255; f. 188 (the 5 Wounds), Man of Sorrows with Mary and John sitting respectively in front and in back of the tomb, while two angels stand behind holding the instruments of the Passion, and a host of orange angels frames the arch; this same scene in Keble College MS 39 , f. 164, reproduced in Parkes, Keble College , fig. 91; f. 192 (suffrage to the Trinity), God the Father in a brocade and jewelled robe supports the dying Christ, while the Dove perches on Christ's shoulder, with angels at the 4 corners holding the instruments of the Passion; a ruffled gold-starred blue cloud frames the miniature. Small miniatures in the margins, unframed and based on green grass, approximately 40 × 20 mm.: f. 193 (All Saints), placed tightly against the bar frame of the text, a group of male saints among which are identifiable Stephen, James the Greater, Andrew and Lawrence; f. 193v (Assumption of Mary), the Virgin wearing a gold dress, and being supported by 2 angels within a blue cloud; f. 194 (Cross), 2 angels supporting the cross with the INRI legend at the top; f. 195, Michael in full armour, vanquishing the devil; f. 195v, John the Baptist pointing to the nimbed Lamb he holds in his arms; f. 196, Peter with the keys and Paul holding an open book and leaning on the sword; f. 196v, Andrew with open book and his cross; f. 197, John the Evangelist blessing the snake-filled chalice he holds in his left hand together with a palm leaf; f. 197v, James the Greater with staff and open book; f. 198, Thomas the Apostle with lance and open book; f. 198v, Bartholomew with flaying knife and open book; f. 199, Matthew with open book; f. 199v, Jude with the bludgeon and Simon holding an open book; f. 200v, Matthias holding a quill and an open book, evidently through confusion with Matthew the Evangelist; f. 201, Luke with quill and open book; f. 201v, Mark with quill and open book; f. 202v, Stephen with a rock on his head; f. 203, Lawrence with his grate; f. 203v, Vincent dressed in a dalmatic; f. 204, Denis holding his head; f. 205, Christopher, the Christ Child on his shoulders; f. 205v, George on his horse, killing the dragon; f. 206, Martin cutting his cloak; f. 206v, Nicholas blessing the three children, one of whom is stepping out of the barrel; f. 207, Maurus in Benedictine robes with an abbot's crozier; f. 207v, Anthony abbot with the pig and flames; f. 208, Fiacre holding a shovel; f. 208v, Catherine of Alexandria with broken wheel and sword; f. 209, Margaret emerging from the dragon's back; f. 209v, Genevieve with the angel lighting her candle as the devil, using bellows, tries to blow it out; f. 210, Mary Magdalene holding the jar of ointment; f. 211, Anne standing next to the child Mary with one arm protectively around her shoulder, and holding an open book with the other hand.

4-line initials for the first 3 Gospel extracts, and 3-, 2-, and 1-line initials in white-patterned blue on burnished gold grounds with trilobe leaf infilling; the 3-line initials on ff. 52, 98, 119 and 182 against rose-colored grounds; ribbon line fillers in the same colors and in many designs; initials within the text touched in yellow. Blue rubrics for the Gospel sequences and the 2 prayers to the Virgin, thereafter in red. Full borders on every page, consisting of a gold and color U-shaped frame around the text, often terminating in an orange and blue grotesque; outer border of black ivy vine and gold motifs. Similar borders in the calendar, which also include in the lower margin of the recto a miniature of the monthly occupation, and in the middle of the outer margin of the recto a roundel with the zodiac sign. Erased inscription on f. 211v below the text.

Nine full page miniatures by the Master of Philippe of Guelders 1; see Plummer, Last Flowering , n. 91 and 92; of the 9, 6 are on the versos of inserted singletons, usually blank on the recto: ff. 8v, 19v, 52v, 61v, 64v and 66v; they are enclosed by painted gold architectural frames decorated with Renaissance ornaments and set against a dark background. The miniatures are: f. 8v (Gospel of John), Eve rising from the sleeping Adam's rib, while God, depicted as Jesus, blesses them and water flows from a fountain in the background; f. 19v (Hours of the Virgyin), the Cardinal Virtues: Justice (holding a sword), Temperance (holding tablets), Prudence (holding a mirror) and Fortitude (holding an anvil), with an angel standing behing them and the Trinity above; f. 20 (Hours of the Virgin), with 4 lines of text set on a scroll over the architectural frame, the Annunciation; f. 52v (Penitential psalms), David sending Uriah into battle; f. 53 (Penitential psalms), with 4 lines of text set on a scroll, David watching Bathsheba as she bathes in a fountain decorated with 2 gold cupids; f. 61v (Hours of the Cross), Road to Calvary; f. 64v (Hours of the Holy Spirit), the Apostles preaching and the Separation of the Apostles; f. 66v (Office of the Dead), the Rich Man at dinner, with a boy setting dogs on the begging Lazarus; f. 67 (Office of the Dead), the Raising of Lazarus. Smaller miniatures, with ruling visible under the painting, usually 11-line: f. 9, John writing with the eagle holding his inkwell; f. 9v, Luke; f. 10, Matthew; f. 10v, Mark, 10-line; f. 11v (Passion according to John), 20 line, Betrayal with Jesus holding Malchus' bloody ear in his hand; f. 16 (Obsecrote), 18-line, the Virgin holding the baby Jesus on her lap, with an angel at either side; f. 17v (O Intemerata), Pietà; f. 25 (Lauds), 18-line, Visitation; f. 30 (Prime), 18-line, Nativity; f. 32 (Terce), 18-line, Annunciation to the shepherds; f. 34 (Sext), 18-line, Adoration of the Magi; f. 36 (None), 18-line, Presentatin in the temple; f. 38 (Vespers), 18-line, Flight into Egypt with the miracles of the corn field and the falling idol in the background; f. 41v (Compline), 18-line, Coronation of the Virgin by an angel as Jesus blesses her, with swirling blue clouds at the lower edge of the picture; f. 60 (Hours of the Cross), 18-line, Crucifixion with Mary, John and others on Christ's right, and the soldiers on his left; f. 65 (Hours of the Holy Spirit), 18-line, Pentecost; f. 85v (Trinity), the Father, as a bearded young man, and the Son with stigmata sit together holding a book while the Dove hovers between them, and (idem, to the Father), God the Father as a young man, sitting, with the orb and gesture of benediction; f. 86 (idem, to the Son), same figure as above, but standing; f. 86v (idem, to the Holy Spirit), Pentecost without the Virgin; f. 86v (prayer to the Holy Face), Veronica holding the cloth with a black image of Christ's face; f. 87v, Michael fighting the devil; f. 87v, John the Baptist pointing to the Agnus Dei which sits on a book; f. 88, John the Evangelist pointing to the poisoned chalice; f. 88, Peter and Paul; f. 88v, James the Greater, with staff and book; f. 89, Stephen; f. 89v, Lawrence; f. 89v, Christopher; f. 90, Sebastian; f. 91, Nicholas; f. 91, Anthony abbot; f. 91v, Anne teaching Mary to read; f. 91v, Mary Magdalene; f. 92, Catherine of Alexandria; f. 92v, Margaret; f. 92v, Barbara; f. 93, Apollonia.

In the calendar a narrow strip at the top of the folio, 15 × 90 mm., encloses the 2 signs of the zodiac, while the monthly occupations are below, 35 × 90 mm. On every page, except where there are full page illuminations, traced geometric borders with acanthus leaves, naturalistic flowers, and occasional birds or insects against painted gold, brick-red or blur grounds. 4-, 3- and 2-line initials in painted gold on white-decorated blue grounds; 1-line initials in gold alternate blue or brick-red grounds; line fillers in these 2 colors with gold decoration, or as gold logs. Rubrics in pink.

On both pastedowns and on the front and back flyleaves (foliated as ff. 1-4 and 94-98) are miniatures cut from a French book of hours, s. XVmed , in arched compartments above 4 lines of text, 100 × 75 mm. The miniatures, attributed by E. König, (Berlin 1982) 254 to the artist of Paris, B.N. fr. 135-136 (by typographical error, this manuscript given as HM 1141), are: f. 1v (the front pastedown; Hours of the Virgin), Annunciation with text and miniature surrounded by a wide U-shaped frame of dark blue decorated with alternating white and orange roses; the outer border consists of white daisy-like flowers and smaller blue ones, growing from yellow-green leafy stems against a gold ground; f. 2v (Lauds), Visitation, in front of lavender city walls; the border is of blue or gold flowers, gold trumpets and yellow-green leaves; f. 3v (Prime), Nativity in the stable, with the Virgin lying on a red-draped pallet, the baby Jesus in a wattle manger; the border is of rather sparse black ink spray vines, gold trilobe leaves and, at regular intervals, a gold log, a rooster, a yellow-green log, a clump of violets, a gold pot of orange carnations; f. 4v (Terce), Annunciation to the shepherds among spiky hills; the U-shaped frame around text and miniature with continuously alternating blue carnations and pink flowers; the ivy spray outer border contains a peacock. On the back flyleaves, f. 94 (Sext), Adoration of the Magi, with the baby Jesus reaching for the gift; red cloth of honor and green wattle in the background; in the ivy spray border a bird and strawberries; f. 95 (None), Presentation in the temple, the interior of which is pale green with orange and blue vaulting; a band of gold and colors forms a U-shape around text and miniature; ivy spray outer border; f. 96 (Vespers), Flight into Egypt, with a similar gold and color U-shaped frame; a gold pot of flowers in the outer border; f. 97 (Hours of the Cross), Crucifixion with Mary and John against a tessellated background; gold U-shaped frame with red and green ivy leaves; in the outer border ivy spray and a clump of growing pink and blue flowers with yellow-green leaves; f. 98 (the back pastedown; Hours of the Holy Spirit), Pentecost, in a lavender building, with some of the apostles' cloaks in bright yellow-green or orange; U-shaped gold frame with blue vine twisted about a red bar; outer border of black ivy spray.

Decorated with 24 almost full page illustrations in bistre: f. 1v, coat of arms (see below); f. 2, an altar for sacrifice; f. 2v, Janus; f. 5v, Mars; f. 10v, Europa and the bull; f. 12v, Pluto and Persephone; f. 14v, Vulcan; f. 16v, Bacchus; f. 19v, the Temple of Vesta; f. 29v (Matins), Annunciation; f. 35 (Lauds), Visitation; f. 41 (Prime), Nativity; f. 43v (Terce), Annunciation to the shepherds; f. 45v (Sext), Adoration of the Magi; f. 47v (None), Circumcision; f. 49v (Vespers), Flight into Egypt; f. 53v (Compline), Coronation of the Virgin; f. 56v (Penitential psalms), Nathan exhorting David to penitence; f. 62v (Litany), Castel Sant'Angelo, with the angel sheathing his sword, and a pope, presumably Gregory the Great, although he may be wearing the Medici arms, kneeling before the propitious vision, while the procession crosses the bridge; f. 68v (Office of the Dead, Vespers), Raising of Lazarus; f. 72v (Office of the Dead, Matins), Pietà; f. 77 (Office of the Dead, Lauds), Last Judgment; f. 80 (Hours of the Cross), Crucifixion; f. 82v (Hours of the Holy Spirit), Pentecost. The four Evangelist portraits and the miniature of Jesus in Gethsemane for the Passion gospel, ff. 21v, 22, 22v, 23v, 24, are 6-line water color.

Initials, 6- to 2-line, in painted gold on gold-flourished grounds of blue, purple, green, brown, yellow, rose; 1-line initials in painted gold. Full borders on every page, consisting of narrow purple bands with silver leafy tendrils; in ovals set within the top and bottom band are landscapes or ruins; in the ovals in the bands on the two sides are blue tendrils on a gold ground; square insets of color at the four corners. See Dorez, op. cit., pl. 30-32, for similar borders, which he tentatively attributes to Wydon himself. Rubrics throughout in red.

Twenty-two large miniatures,1 the majority executed, s. XVin , in the style of the Master of Lucon 2; a second artist, contemporary to the first, worked on the supplemental materials; his work coincides with that of the second scribe. At the end of the fifteenth century, part 2 was added to the book with its 3 miniatures by an artist working in the style of Jean Colombe; this artist also retouched the illustration of Part 1 in varying degrees. The miniatures of part 1 occur on the first recto of the quires, except for those on ff. 32, 56 and 65, which are positioned on one of the two rectos of the center bifolium. On f. 14 (Pericopes of the Gospels), John on Patmos with an eagle and a devil, completely done in the ca. 1490 period with continuous painting around the original text and initial, which now appears as if on a scroll; the original spray border is faintly visible below the later painting. On f. 21 (Matins), Annunciation; the faces, angel's wings and the Virgin's hair are retouched ca. 1490; U-shape border around the miniature of acanthus leaves spiraled around a rod; outer border of black ink sprays with gold leaves, flowers, birds and grotesques. The border has been repainted, ca. 1490, in the lower and outer sides, with a narrative sequence: Joachim ejected from the temple by the priests; he prays in the fields; he meets Anne at the Golden Gate; they bring the Virgin to the temple; the Virgin weaving. On f. 32 (Lauds), Visitation; the trees, landscape, hair and faces have been repainted; U-shape inner border of grotesque masks strung along a gold bar; outer border of black ink sprays with gold leaves and putti. On f. 45 (Prime), Nativity; the faces, Joseph's mantle and probably the blue cherubim appear over-painted; U-shape inner border formed by a gold bar and flowers; in the black ink spray outer border, the animal grotesques seem to be retouched in silver. On f. 51 (Terce), Annunciation to the shepherds; comparatively little retouching, only on the angel's face, the trees and grass; U-shape inner border of a gold bar with leaves; grotesques in the usual black ink spray outer border. On f. 56 (Sext), Adoration of the Magi; the faces, trees and the dark blue garments have been retouched, as have the wild men in the border, wherever dark blue or silver occur; U-shape inner border consists of a string of blue flowers. On f. 61 (None), Presentation in the Temple; faces and the areas in dark blue or silver are retouched; U-shape inner border in the form of a gold band with geometric designs; birds in the outer border, some of which were overpainted in silver. On f. 65 (Vespers), Flight into Egypt; faces, trees and Joseph's deep blue mantle are retouched; U-shape inner border of a string of gold crowns; battling cupids in the outer black ink spray border may be unfinished. On f. 73 (Compline), Coronation of the Virgin; the faces, hair and probably the dark blue are added (although some of the dark blue may be the original undercoat, lacking the final modelling); U-shape inner border as a gold bar decorated with leaves; figures of the prophets in the outer border. On f. 97 (Penitential psalms), Last Judgment; Christ showing his wounds sits on the curved rainbow with Mary and John on each side; Christ's hair and beard have been repainted to represent God the Father; the faces are also retouched; U-shape inner border consists of a gold bar of trumpet and leaf patterns; the outer border of oak leaves and acorns (repainted in silver) and hybrids battling, also retouched. On f. 117 (Office of the Dead), a funeral scene; the faces are retouched; U-shaped gold bar with leaves and berries around the miniature; in the outer border are 4 hooded figures, reading, whose faces appear unfinished with only the green-tinged underpainting applied; the dark blue garments also seem to lack the final modelling. On f. 161 (Hours of the Trinity), Gnadenstuhl, without the Dove; corresponding to the change of script at this point is a change of artist; also changed are the borders: the inner bar border is reduced to a simple 2-segmented strip to the right of the illustration; the black ink sprays are more sparse, and may have been traced over in a heavier black. On f. 165 (Hours of the Dead), Raising of Lazarus; done by the same painter as the Trinity; same simpler and more sparse border, with its black ink sprays probably reinforced later. On f. 169 (Hours of the Holy Spirit), Pentecost, by the first artist and scribe; the faces and hair are apparently retouched; U-shape inner border formed of a gold bar with a stream of blue trumpet blossoms; birds in the outer border. On f. 175 (Hours of All Saints), Coronation of the Virgin, as she holds the Child, by the second artist and scribe; a frame surrounds the miniature; sparse black ink spray in the border, perhaps retraced; a green parrot in the lower margin. On f. 179 (Hours of the Eucharist), completely repainted, ca. 1490, over what was probably the second artist's work, as the sparse spray remains visible under the paint, and the script is that common to sections illustrated by him. The miniature depicts a bishop and a deacon kneeling before an altar with a monstrance which shows the image of the Crucifixion on the Host; across the lower margin, a woman receives the consecrated Host from a priest, and then exchanges it with a turbaned Jew for a tunic; in the last scene the Jew kneels before the bleeding Host which has been stabbed by a dagger; see M. A. Lavin, ?The Altar of Corpus Domini in Urbino,? 49 (1967) 3-10. As on f. 14, the text has been incorporated into a later scroll, held by 2 angels. On f. 183 (Hours of the Cross), Crucifixion, done by the first artist, and the text by the first scribe; the faces, body of Christ and hair were retouched ca. 1490; U-shape inner border as a gold bar decorated with colored leaves; the outer border includes soldiers, somewhat retouched in silver. On f. 191 (Hours of the Virgin), Creation of Adam and Eve, completely in the overpainted style of ca. 1490; it originally would have had the decoration of the second artist, with whom are associated the sparse black ink sprays, visible under the repainting, and the script of the second copyist; the text space has been transformed into a scroll held by 2 angels. The scene shows Adam and Eve kneeling before God while the Devil looks on from behind rocky hills; in the vignettes below, the snake with a female head. On f. 195 (Hours of St. Catherine), completely in the ca. 1490 style, presumably with the work of the second artist underneath; the text is set onto a scroll held by 2 angels; the continuous series of scenes show Catherine praying as angels break the wheel into pieces, a large crowd of people, and a number of slain youths in the lower margin. On f. 203 (prayer to the Trinity); this introduces Part 2, copied ca. 1490, and illustrated by the painter who retouched or repainted the preceding Part 1. In the Trinity depicted here, God the Father sits on a throne, a dove flies from his mouth to the Host set on a chalice and bearing the same shadow image of the Crucifixion as on f. 179; the border is of acanthus leaves, strawberries, grotesques and 2 angels supporting a coat of arms (see below). On f. 213 (prayer), Man of Sorrows with the emblems of the Passion and Mary and John on either side; in the continuous border, the scenes of Noli me tangere, the Crucifixion, Christ before Pilate, and the Road to Calvary; all are by the ca. 1490 painter. On f. 222 (Obsecro te), Virgin nursing the Child; an acanthus border, which includes a pelican; done ca. 1490 by the painter of Part 2.

Major initials, 4- and 2-line, in white-patterned blue or pink against a colored ground (for the 4-line initials) or against a gold ground (for the 2-line initials), both infilled in gold with trilobe leaves; secondary initials, 1-line, gold with purple or black penwork, or blue with red. In Part 2, 2-line initials, painted gold against maroon or grey grounds. Band borders the length of the text, occurring at the presence of a 2-line initial, and consisting of acanthus leaves, flowers, rayed gold dots, in 2 styles: the first appears unfinished (lacking the shading in the leaves), is placed in the outer margins and stops after f. 50; the second style is usually placed to the right of the text and occurs sporadically before f. 50, and exclusively thereafter; the second style may include grotesques or strawberries. There are no band borders in Part 2. Rubrics in red for Part 1, in brownish red for Part 2. Ribbon line fillers in blue and gold in Part 1.

On f. 1v, 6-line pink initial with yellow and green acanthus leaves wrapped around it, and with floral infilling and border spray. On ff. 2v-3, full border across the opening in panels of Renaissance foliage on a painted gold ground, with roundels of a parrot, a rabbit and the monograms IHS and CPS;

6-line historiated initial on f. 2v of the Nativity, possibly repainted. On ff. 10v (Corpus Christi) and 13 (John the Baptist),

4-line colored initials decorated with acanthus leaves on painted gold grounds.

On f. 21, 4-line historiated initial of Stephen (but at hymn for the common of a martyr) in similar style with small floral spray in the upper margin.

4- to 2-line poorly done initials in blue with red flourishing or in red with blue or brown flourishing; 1-line initials alternating red and blue. Rubrics throughout.

Twelve large miniatures by or certainly related in style to the Master of the Horloge de Sapience , in arched compartments, with a bar frame of gold and colors enclosing miniature and text on three sides in a U-shape; outer border of blue and gold acanthus leaves, flowers, strawberries and drolleries: f. 25 (Matins), Annunciation with the angel on the right; f. 43 (Lauds), Visitation, some color has flaked off; f. 55 (Prime), Nativity with a large pink-covered bed in the stall; f. 60 (Terce), Annunciation to the shepherds; f. 64v (Sext), Adoration of the Magi; f. 69 (None), Presentation in the temple; f. 73v (Vespers), Flight into Egypt; f. 81 (Compline), Coronation of the Virgin; f. 96 (Penitential psalms), David in prayer, in an architectural setting, against a brocade cloth drape; f. 117 (Hours of the Cross), the Crucifixion, with Mary and John on Christ's right, the soldiers on his left; f. 120v (Hours of the Holy Spirit), Pentecost; f. 124 (Office of the Dead), burial in a cemetery.

3-line initials on these folios in white-patterned blue on a cusped gold ground, with trilobe leaf infilling; similar 4-line initials for the Obsecro te and the O Intemerata, on a square ground; 2- and 1-line initials in gold on dusky rose ground infilled with blue, and the whole patterned in white, or with the colors reversed; ribbon line fillers in the same style. Band borders in the outer margins at the presence of a 2-line initial, consisting of black ink sprays, gold trilobe leaves and dots, a few colored flowers, strawberries, or leaves. Rubrics in red. A note, f. 68v, s. XVI: ?Souveigne vous san sece de vostre bonne messtrese c'est M?; erased notes, possibly of the same date, but illegible under ultra-violet light, on f. 178v; on f. 173v, s. XVI, a sketch of a female saint (Margaret?) standing on what appears under ultra-violet light to be a large animal.

Lavishly decorated with 25 full page miniatures, set within painted gold architectural frames by the illuminator referred to as the Master of Morgan 85 by Plummer, Last Flowering , nn. 108b, 109b, 118; miniature(s?) apparently derived from woodcuts of Albrecht Dürer, cf. his ?Small Woodcut Passion,? datable ca. 1509-11, as the source of the miniature on f. 65v.1 Ten of these, depicting sorrowful scenes, are in grisaille (grey, white, gold, flesh tones, and red for the blood), and tend to be on a somewhat larger scale than the full color illustrations. Most of the grisaille pages are on the verso and face a full color illumination on the recto for the Hours of the Virgin: ff. 36v-37 (Matins), Christ before Pilate and the Annunciation; ff. 51v-52 (Lauds), Scourging at the pillar and Visitation; ff. 61v-62 (Prime), the Mocking of Christ and Nativity; ff. 65v-66 (Terce), Pilate washing his hands as Christ is led away, and Annunciation to the shepherds; ff. 69v-70 (Sext), the Road to Calvary and Adoration of the Magi; ff. 73v-74 (None), Crucifixion and Presentation in the temple; ff. 77v-78 (Vespers), Deposition and Flight into Egypt; ff. 84v-85 (Compline), Entombment and Assumption of the Virgin. The two remaining illustrations in grisaille are on f. 26 (Passion according to John), Betrayal of Jesus, while Peter cuts off Malchus' ear, and on f. 140 (Office of the Dead), Raising of Lazarus. The remaining full color illustrations are: f. 13 (Mass of the Virgin), the Virgin teaching the Christ Child to read; f. 91v (Advent office), the Virgin surrounded by her attributes, each labelled on a scroll (as often found in early printed books of hours); f. 100 (Hours of the Conception), the meeting of Joachim and Anne before the Golden Gate; f. 106 (Hours of the Cross), the Risen Christ and emblems of the passion; f. 110 (prayers), two angels supporting a chalice with the wound of Christ; f. 118v (Hours of the Holy Spirit), Pentecost; f. 123 (Penitential psalms), David penitent. Evangelist portraits for the pericopes, ff. 21, 22v, 23v and 25, 10-line, within gold bar frames, outlined in red; similar frames enclose the 9- to 6-line miniatures for each of the suffrages. Calendar decoration consists of illustrations of the monthly occupations on the recto and of the signs of the zodiac on the verso, placed in rectangles across the top of the folio (55 × 77 mm). A less skillful painter has done the illustration of the calendar, the suffrages, and probably the Attributes of the Virgin, f. 91.

Initials, 3- or 2-line, in white acanthus on a gold ground, or in colors on a colored ground with infilling of flowers or berries on gold; 1-line initials, gold, on a ground alternating red, blue or light brown; ribbon line fillers in colors with many variations or as gold logs. The rubrics alternate line by line gold, red, and blue. Every page, except for those with full page miniatures, with full borders, some of which are traced, but with variation in colors and details and in many styles: as multicolored acanthus leaves against a ground of painted gold with black flecks; as illusionistic flowers, or pearl-like berries, or grapes, and insects, also against a painted gold ground; as rope designs; as trellis patterns; as fantastic vases or cornucopiae; most frequent is the compartmentalized border with flowers and grotesques, in considerable variety: background colors may include unusual dark tones of black, grey, brown or olive green; divisions may be in the shape of hearts, fleur-de-lis, scrolls (some with legends: Ave Maria Gratia Plena, or, Domine Iesu Christe fili dei vivi). Many borders bear the initials of Franciscus de Mello (ff. 14, 35, 60v, 65, 138v, 161v, 166v, 182v), of his sister, Maria Manuel (ff. 25v, 32v, 35v, 39v, 42v, 138, 166, 178v), or ?A.S.? (ff. 60, 77, 90v, 134).

Twenty-seven large miniatures in the style of the Master of the Gold Scrolls, above 5 lines of text, with miniature and text enclosed by a U-shaped border of pink, blue and gold segments; outer borders of multicolored acanthus leaves, black ink sprays, gold dots and trilobe leaves, and figures. The miniatures are: f. 7 (Hours of the Holy Spirit), Pentecost, against a gold rinceaux background; f. 11 (prayer to the Trinity), Gnadenstuhl with two worshipping angels in the border; f. 13, John the Baptist holding the Lamb on the book, with a half-figure of a king in the border; f. 14v, martyrdom of Thomas of Canterbury, with a man sitting calmly in the border; f. 16, George, with a small white dog in the border; f. 17, Christopher; f. 18v, Catherine, with wheel and sword, standing on the emperor Maxentius, against a background of rinceaux; f. 20, Mary Magdalene, against gold rinceaux, in the margin a green grotesque; f. 21v, Margaret emerging from the dragon as God the Father sends down a dove from a ruffled blue sky, with a man emerging from a flower in the border; f. 22v, Barbara holding her tower, against a rinceaux background, with an angel in the border; f. 24 (prayer to Christ, O Ihesu christe eterna dulcedo), Salvator Mundi, holding an open book which reads ?Ego sum via veritas et vita,? with a seated figure in the margin; f. 31 (Hours of the Virgin), Annunciation in a room defined by a low wall, with gold rinceaux above the wall, and God the Father in a ruffled blue cloud, the angel Gabriel holds a scroll, ?Ave... tecum,? while an angel plays a harp in a garden in the margin; f. 37v (Lauds), Betrayal of Christ, Peter with his upraised sword; f. 49 (Prime), Jesus with his hands crossed and hidden by his sleeves, before Pilate, whose wife stands behind his throne; f. 53 (Terce), Flagellation; f. 56 (Sext), Road to Calvary with Jesus looking backwards at a man who kicks him; f. 59 (None), Crucifixion, with Mary and John, she holding a book, and John turning away reading his; in the margin an angel holding the pillar; f. 62 (Vespers), Deposition from the Cross, at the moment of pulling out the nails with tongs; f. 64v (Compline), Entombment; f. 69 (farcing of the Salve Regina), Coronation of the Virgin by two small blue angels, as she sits in a garden holding the Child on her lap, against a background of gold rinceaux; f. 81 (Omnibus consideratis), Adam and Eve each holding an apple before the tree at the top of which is Christ crucified; a small devil with a woman's head holds an apple in the left side of the picture; in the margin a half-figure man rising from a flower; f. 88 (Domine ihesu christe qui hanc sacratissimam carnem), Crucifixion, with Jesus and the two thieves, and the sun and the moon above on either side of the face of God the Father; a man with a cane in the margin; f. 89 (Penitential psalms), Last Judgment, with Christ sitting on the rainbow, Mary and John below, and the dead peering out of their graves; in the margin a devil attacks a woman; f. 106 (Office of the Dead), Funeral in a church with 3 monks singing and 4 other figures in black following the service; a hooded person in the border covers his mouth with his hand; f. 128 (Commendation of souls), 2 angels support 3 souls in a sheet carrying them from their empty graves to God the Father, blessing from above in a blue ruffled sky; in the margin a small man riding a camel; f. 141 (Psalms of the Passion), Man of Sorrows, rising half-length above the tomb and floating on a blue cloud, with the emblems of the Passion around him, while an angel plays a harp in the border; f. 147 (Psalter of St. Jerome), Jerome seated in his study with the lion crouched on the floor; a figure with a scroll in the lower border; this miniature reproduced in H. Friedman, (Smithsonian Institute 1980) fig. 163.

Major initials, 4-line, in white-patterned blue or pink with trilobe leaf infilling against a cusped gold ground, or ground of the other color with the infilling only in gold; 2-line initials in gold against parted pink and blue grounds with sprays of a few gold leaves and a flower at either end; 1-line initials in blue with red flourishing or in gold with black; initials within the text washed in yellow. Jigsaw line fillers in red and blue with some gold decoration. Rubrics in red.

Eighteen large miniatures above 4 lines of text in arched compartments with serrated tops; the U-shape frame around text and miniature sprouts from the initial, and consists of a narrow gold and color strip on the inner margin and wider bands of gold decorated with colored trilobe leaves or other flowers on the other 2 sides; at the 4 corners are bursts of acanthus leaves, mainly blue and gold; the outer borders are of black ivy spray, flowers, berries and gold motifs. The miniatures, all but one related to the style of Maître François,1 are; f. 14, John on Patmos, depicted clearly as an island; f. 15v, Luke; f. 17v, Matthew; f. 19v, Mark; f. 28 (Hours of the Virgin), Annunciation; f. 49 (Lauds), Visitation, with Elizabeth kneeling in prayer before the Virgin; f. 58 (Prime), Nativity, with the infant lying on the hem of Mary's cloak, while Joseph holds a candle; the confines of the shed correspond to the shape of the picture; f. 63 (Terce), Annunciation to the shepherds, one of whom holds bagpipes, and a shepherdess; f. 66v (Sext), Adoration of the Magi with Joseph holding his hat; f. 70 (None), Presentation in the temple; f. 73v (Vespers), Flight into Egypt, with an idol falling off its column in the background; f. 79v (Compline), Coronation of the Virgin by an angel, who leans over a low gothic-styled wall, while God the Father, wearing a papal tiara, blesses; blue swirling clouds at the bottom of the picture; f. 84 (Penitential psalms), David in prayer, and an angel with upright sword above; f. 101 (Hours of the Cross), Crucifixion in the center of the picture, with Mary and John to Christ's right, the soldiers on his left, one of whom has a man-faced shield; f. 106 (Hours of the Holy Spirit), Pentecost, with Mary at a prie-dieu, centered between 2 pale blue columns and 2 groups of apostles; f. 111 (Office of the Dead), Funeral service in a church; f. 155 (the 7 Joys of the Virgin), by a different artist, the Virgin, enthroned, holds the Child on her lap, while the owners, man and wife, kneel in prayer, and 2 angels read praises of the Virgin from a scroll; f. 160 (the 7 Requests), by the first artist, the Father and Son, dressed identically, sit on a throne, holding an open book on which the Dove is perched; blue clouds swirl at the lower corners of the picture.

4-line initials in white-decorated blue or pink on a gold ground infilled with colored trilobe leaves. 2-and 1-line initials in gold on white-patterned dark pink or blue grounds with infilling of the other color; ribbon line fillers of the same colors. Rubrics in an orange-tinged red. Traced borders on every page the length of the text. Quire 19 (ff. 151-58) with different border and miniature.

Elaborate penwork decoration of the type produced at St. Agnes in Delft 1; see P. J. H. Vermeeren, ?Delftse verluchte handschriften ter Koninklijke Bibliotheek,? 2 (1960) 39-72 esp. the plate on p. 45; J. G. C. Venner and C. A. Chavannes-Mazel, ?Delftse handschriften en boekverluchting,? in (Stedelijk Museum Het Prinsenhof, Delft 1979) 134-38, esp. fig. 247. Five major initials, 9- or 8-line, in parted red and blue with void white design on a blue penwork ground and infilled by red penwork which surrounds 6-8 roundels of gold or colored flowers; full borders of the same precise red and blue penwork along both sides of a narrow pink strip which sprouts restrained stylized blue, green and gold acanthus at the corners and centers. At the center of the outer border are paintings of animals with blue-lettered scrolls in Latin and in the vernacular: f. 11, a peacock, with a scroll reading ?Ave regina celorum, Ave domina angelorum?; f. 43, a deer, with the scroll ?Inicium sapiencie timor domini?; f. 92, a wyvern, with the scroll ?Die god ontsiet sel niet ontbreken?; f. 108, a unicorn, with the scroll ?Een kint is ons geboren ende een soen is ons gege[uen]?; f. 189, a stork standing on its nest with five chicks and a scroll reading ?O here verlost se wter pijn die mit dinen bloede behouden sijn.? 4- and 3-line initials in blue with void white design on grounds of careful red penwork, infilled by a blue flower with a gold center on a red ground, with bracket borders of red, blue and pink penwork, including flowers and gold balls. 2-line initials alternating red and blue with small bracket borders of both colors. 1-line initials alternating red and blue; line fillers in the litany in the same lacy red and blue penwork. Red rubrics; some initials in the text touched in red.

Fifteen large illuminations usually above 3 lines of text, with full borders of blue and gold acanthus leaves, flowers and various other figures. The miniatures, attributed to an associate of Maître François, are: f. 13 (Gospel of John), John on Patmos, and a peacock and another bird in the border; f. 29 (Hours of the Virgin), Annunciation, in a room with a pendant traceried arch at the top; in the border a bird and a butterfly; f. 43 (Lauds), Visitation, in front of a large church; in the border, a bird and a gold pot with flowers; f. 57 (Prime), Nativity, before a thatched shed leaning against grey masonry; in the border a peacock and another bird; f. 65 (Terce), Annunciation to the shepherds, including a shepherdess making a garland; in the border a pelican and another bird; f. 71 (Sext), Adoration of the Magi, and, in the border, a stork and another bird; f. 76v (None), Presentation in the temple; both Mary and Simeon have cloths over their hands; seen through a gold arch, in the border a beetle and a butterfly; f. 82 (Vespers), Flight into Egypt, with falling idol, his arms outstretched, in the background; in the border are a peacock and a butterfly; f. 91 (Compline), Coronation of the Virgin before God the Father, who sits in a gothic throne, while one angel, leaning over a low wall, crowns the Virgin and another angel presents her; a duck and another bird in the border; f. 99 (Penitential psalms), David in prayer; f. 119v (Hours of the Cross), above 4 lines of text, Crucifixion, with Mary and John on Christ's right, the soldiers on his left, one with a man-faced shield; in the border, a rooster and another bird; f. 124 (Hours of the Holy Spirit), above 4 lines of text, Pentecost with a shower of bright orange-red fire; in the border a hawk and another bird; f. 128v (Office of the Dead), above 4 lines of text, burial service in a churchyard, with the shrouded body in an open coffin, while a man digs the grave and the priests sprinkle the holy water; behind them is a charnel attic above an arcaded cloister; U-shaped frame around the text and miniature formed of logs; in the outer border, a monkey sitting on a stump holding up his foot in front of him; f. 186v (Doulce dame de misericorde), the Virgin, sitting on the floor, nurses the Child who stands on her knee; at the left Joseph approaches pushing the child's wheeled walker, with a pinwheel toy in his left hand; behind Joseph is a large fireplace, where a fire is burning; a central column in the foreground supports a traceried arch; in the border a peacock and another bird; f. 194 (Doulx dieu doulx pere), Christ, holding a tau-cross, and God the Father, holding an orb, both wearing one cloak, hold up a book, while the Dove hovers between them, and blue clouds swirl at the bottom of the picture; a bird and a gold pot with flowers in the border.

Two historiated initials, with bracket borders of blue and gold acanthus leaves: f. 19v (Obsecro te), 7-line, Virgin and Child enthroned between two angels, one with a horn; f. 24 (O intemerata), 4-line, Pietà.

In the calendar, roundels at the foot of the recto depict the monthly occupations; roundels at mid-margin on the verso show the zodiac symbols. Band borders running the length of the text in the outer margin, usually between two pink lines, but occasionally with a gold strip on the text side, triggered by the presence of a 2-line initial; when the border is called for on both recto and verso of a leaf, it is traced. 3- and 2-line initials, usually in white-patterned blue against burnished gold grounds with infilling of colored trilobe leaves, or rarely, with an infilling of naturalistic flowers. Occasionally the initial itself may be blue with gold or white shading as if a ribbon or a leaf, set against a brick red ground with infilling of naturalistic flowers or of painted gold acanthus leaves. 1-line initials in burnished gold with infilling of pink or blue against a ground of the other color; ribbon line fillers in the same colors; initials within the text touched in yellow. Rubrics in red.

Four large illuminations missing after ff. 19, 32, 46 and 52 (offsets of border designs visible on the versos). Nine large illuminations remain, in slightly rounded compartments; U-shaped bar borders of pink, blue and gold segments enclose the miniature and 4-5 lines of text; outer borders of black ink spray with multicolored acanthus leaves, flowers, strawberries and gold dots. The illuminations, by 3 artists, the first of which has been identified as Enguerrand Quarton,1 are: f. 57 (Sext), by Quarton, Circumcision; f. 62 (None), by Quarton, Adoration of the Magi, one young, one middle-aged, one old; f. 67 (Vespers), by the second artist, Presentation in the temple; f. 72 (Compline), by Quarton, Flight into Egypt; f. 78 (Hours of the Holy Spirit), by Quarton with some repainting (?), Pentecost; f. 81 (Hours of the Cross), by Quarton, Crucifixion with Mary and John on either side; the INRI legend on a strip of wood attached to the top of the Cross by a thin rod; f. 84 (Penitential psalms), by the third artist, David in prayer facing shining rays that stream downwards; diapered background; nude woman with spindle and distaff in the margin, based on the lost original by the Master of the Playing Cards, see Lehrs, 1:169-70 n. 25; f. 102 (Office of the Dead), by the second artist, Funeral service in a churchyard; f. 138 (Doulce dame vierge marie), by Quarton, the Virgin holding the Child in her lap, in an enclosed garden, with the owner in a pink dress and orange headdress kneeling to the Virgin's right.

Major initials, 4- and 3-line, in white-patterned pink or blue with trilobe leaf infilling against a cusped gold ground; the initial on f. 138 contains a large pink flower. 3-, 2- and 1-line initials in gold with infilling of pink or blue on a ground of the other color; initials within the text washed in yellow; ribbon line fillers in segments of pink and blue. Rubrics in an orange-tinged red.

Twelve large illuminations in arched compartments with serrated tops, above 4 lines of script; the outer borders contain black ivy sprays with gold foliage, thin blue and gold acanthus leaves placed at the corners, various flowers and strawberries. The miniatures, of simple execution, are: f. 28 (Hours of the Virgin), Annunciation, seen below a gothic pendant tracery arch and between 2 white and gold columns, with the half-figure of God the Father appearing in the window; the miniature and text are bounded by a U-frame made of 3 gold logs; f. 40v (Lauds), Visitation; f. 53 (Prime), Nativity, with the Infant lying on a white cloth and Joseph holding the candle; f. 60 (Terce), Annunciation to the shepherds; f. 65 (Sext), Adoration of the Magi, with the Child reaching into the oldest king's coffer; f. 70 (None), Presentation in the temple, seen through 2 white columns and an arch which duplicate the shape of the miniature; f. 75 (Vespers), Flight into Egypt; f. 83 (Compline), Coronation of the Virgin, kneeling on a pillow of clouds and being crowned by an angel, while God the Father blesses and a host of red angels looks on from behind a low wall; f. 90 (Penitential psalms), David praying in an interior framed by white columns and a pendant tracery arch, with God the Father blessing him from the window; f. 109 (Hours of the Cross), Crucifixion, with Mary and John on Christ's right and the soldiers on his left; f. 113 (Hours of the Holy Spirit), Pentecost, viewed through the white columns and arch; f. 117 (Office of the Dead), burial scene in a churchyard with one gravedigger lowering the corpse into the grave, while 2 priests conduct the service and several mourners look on.

Initials in 4 styles: 4- and 3-line initials (ff. 40v and 65) in gold- or white-brushed blue set on dark pink grounds, decorated with lighter pink acanthus leaves picked out in gold; 4- and 3-line initials in white-patterned blue on burnished gold grounds with colored trilobe leaves in the infilling; 3-line initials in white-patterned blue against gold-patterned brick red grounds with naturalistic flowers set on the painted gold infillings; 2- and 1-line initials in burnished gold alternate dark pink grounds with blue infilling, or the reverse; ribbon line fillers in the same colors; initials within the text touched in yellow. Rubrics in a bright orange-red. Bracket borders in the same style of ivy sprays, gold motifs, acanthus and flowers, enclosing the text from the outer margin, occur on f. 13 (Gospel of John), f. 19 (Obsecro te), f. 23 (O Intemerata), f. 170v (the 15 Joys), and f. 177 (the 7 Requests). Band borders running the length of the text in the calendar and at the presence of 2-line initials; when applicable, they are traced from the recto to the verso.

Two full page illuminations, both on the versos of added singletons: f. 1v, a coat of arms (see below), suspended by a green belt from gold gothic tracery and enclosed by a simple gold picture frame; in the border flowers made from jewels hang from thin gold acanthus branches, against a deep orange-red ground; f. 66v (Office of the Dead), in paler tones than the other miniatures, Last Judgment, with Christ sitting on a rainbow, his feet on a crystal globe and the sword and olive branch on either side of his head, with the blessed gathered behind him, and the dead rising from their graves below. Six large miniatures above 6 lines of text in the style of the artists of the Grimani Breviary, enclosed by simple arched frames, with naturalistic flowers, insects or objects in the outer border; the miniatures are: f. 13 (Hours of the Cross), Betrayal with Judas in a bright yellow robe kissing Jesus, as Peter holds his still unsheathed sword, and Malchus crouches in the foreground, grimacing in pain; f. 20 (Hours of the Virgin), Annunciation, with the Virgin kneeling in front of a long bench in a spacious room; in the foreground are the vase of lilies and a pair of slippers; f. 53 (Penitential psalms), the prophet Nathan, with his hand on David's shoulder, encourages him to repent; David with red eyes and his hands folded in prayer, looks up to a golden opening in the sky, against a landscape of rocky hills, a castle and other towns in a far blue distance; f. 67 (Office of the Dead), Raising of Lazarus, helped by Peter who unties the ropes around his wrists, while his sisters kneel in prayer, and a man with a shovel and another covering his nose, look on; f. 85 (O domine ihesu criste adoro te in cruce pendentem), Mass of St. Gregory; in the outer border grey and pink flowers, some in a blue and white vase with the IHS monogram; f. 93 (Ave sanctissima maria mater dei regina celi), the Virgin and Child, possibly by a different artist, in a style resembling Gerard David; for a similar pose, see the Grimani Breviary, Venice, Biblioteca Nazionale Marciana, MS Lat. I, 99 (2138) f. 830v; in the outer border of this miniature: a red panel lettered in gold ?Maria Mater Dei [?],? and niches in gothic architecture containing statues, one of which may be intended to represent Pope Sixtus IV. Sixteen smaller miniatures, 45-55 × 43-50 mm., on leaves with full borders in the same styles: f. 14 (Hours of the Cross, Prime), Christ before Pilate; the opening leaf for terce is missing; f. 15 (Sext), Road to Calvary, with one of Christ's tormentors kicking him; f. 16 (None), Crucifixion with Mary and John, both red-eyed from weeping; f. 17 (Vespers), Deposition from the Cross; f. 18 (Compline), Pietà with John on one side and Mary Magdalene on the other; f. 26 (Hours of the Virgin, Lauds), Visitation, with Elizabeth half-kneeling before Mary (see the Grimani Breviary, f. 610v); f. 33 (Prime), Nativity, with 2 angels with brightly colored wings adoring the Child, as Joseph looks through a hole in the masonry; f. 36 (Terce), Annunciation to the shepherds, one of whom covers his eyes; f. 38v (Sext), Adoration of the Magi, one of whom is black; f. 41 (None), Presentation in the temple; f. 43v (Vespers), Massacre of the Innocents, in pale tones; f. 48 (Compline), Flight into Egypt with a falling idol and the miracle of the corn field in tiny detail in the far upper right corner of the miniature, a city and a person walking are on the left; f. 86v (Salve sancta facies), half-length figure of Jesus in a red tunic, blessing and holding a crystal cross-and-orb; f. 88v (De nomine ihesu), the Christ Child nude, seated on a red pillow, holding a tau-cross and blessing, in glory; in the outer margin the sacred monogram formed with pearls and gold branches; f. 91 (the Seven Sorrows of Mary), the Virgin, sitting, with 7 swords piercing her heart, each of which bears on the handle a large roundel with the scenes of Sorrow; in the outer border, gold bells hang from a pearl-encrusted trellis; f. 117 (Oracio ante communionem dicenda), 2 angels with brightly colored wings support a monstrance containing the Eucharist, before a red brocade background. Miniatures for the suffrages, ca. 40-30 × 30-25 mm.: f. 107 (Guardian angel), the angel holding a small naked child representing the soul; f. 108, Andres; f. 108v, Stephen; in the border, pearls and other pendants, including one of the Crucifixion, hanging by gold chains from a deep red cloth; f. 109, Christopher; border as on f. 108v, but here including a gold oval pendant of the Virgin; f. 110, Martin, 48 × 40 mm.; f. 110v, Anne sitting on a throne with a red cloth behind her, reading; the Virgin, holding the baby Jesus, sits at her feet; in the border, the legend ?De Sancta Anna?; f. 111, Mary Magdalene, seated reading on a low brick wall covered with grass and flowers; a tall rocky hill rises exactly behind her, with cities in the distance; in the border, the legend ?De Sancta Mag.?; f. 111v, Catherine of Alexandria, seated on the ground beside the same low brick wall with green grass and scattered flowers on top; f. 112v, Barbara, seated on the floor indoors, with a view from her window of the tower under construction; in the border, the legend ?Ora pro nobis beata Barbara ut (followed by cryptic, decorative writing)?; f. 113v, Margaret, emerging from the dragon's back.

3-, 2- and 1-line initials, in grey highlighted and decorated in white against gold-decorated maroon grounds; ribbon line fillers in the same colors. Rubrics in red. Erased inscription on f. 87.

Five full page miniatures on the versos of inserted leaves, blank on the recto, in a style similar to that of Francesco d'Antonio del Cherico; rectos facing the miniatures with matching full borders and 7-line historiated initials: ff. 14v-15 (Hours of the Virgin), Annunciation, and Virgin and Child in the initial; borders of dense, richly colored acanthus leaves and black-rayed gold dots, with flowers, birds or other animals, urns, medallions of saints or prophets; on f. 14v, a space reserved for a coat of arms; f. 15 with the coat of arms painted in (see below). On ff. 105v-106 (Office of the Dead), Macarius showing a skeleton standing beside an open vault to 3 kings and a young man with a falcon; the initial encloses a crowned winged skeleton holding a scythe; similar border. On ff. 168v-169 (Office of the Passion), Crucifixion with Mary and John; in the initial the dead Christ on the cross, half-length; similar border. On ff. 199v-200 (Penitential psalms), David slaying Goliath; in the initial David penitent, holding a zither, half-length; similar border. On ff. 232v-233 (Office of the Cross), Kiss of Judas; in the initial, Jesus tied to the pillar; similar border.

Secondary initials, 3-line, in white-patterned colors on a gold and colored ground with acanthus leaf marginal extensions and black-rayed gold dots; alternating 2-line red or blue initials with very careful and elaborate penwork in both colors extending the full length of the folio; 1-line initials, red with purple harping or blue with red. Red rubrics throughout.

Three full page illuminations, of mediocre execution, on the versos of inserted singletons, blank on the recto, and enclosed within architectural frames: f. 13v (Gospel of John), John in the pot of boiling oil, and, in the small scenes around the margins, a man tying sheaves of wheat and another man carrying them (?); f. 26v (Hours of the Virgin), Adam and Eve standing on either side of the tree around which is coiled the woman-headed snake; f. 53v (Penitential psalms), David dispatching Uriah into battle, in the surrounding small scenes, two knights jousting and Uriah before the troops. Large miniatures above 4 lines of text, enclosed by architectural frames and with adjacent smaller scenes: f. 14 (Gospel of John), John on Patmos, and in the small scenes, John before an enthroned turbaned man (possibly Aristodemus?), John before 2 young people (miracle of the stones turned into jewels?), and the raising of Drusiana; f. 27 (Hours of the Virgin), Annunciation, and in the 3 small scenes, the meeting of Joachim and Anne before the Golden Gate, the birth of the Virgin, and the betrothal of Joseph and Mary; f. 48 (Compline), Coronation of the Virgin before God the Father; in the small scene in the border, the Virgin in glory; f. 54 (Penitential psalms), David watching Bathsheba as she bathes; in the small scenes, the anointing of David, the slaying of Goliath, and David bringing Goliath's head back to the city in triumph; f. 71 (Hours of the Cross), Crucifixion with Mary and John on either side, and, in the borders, a large inscribed scroll and a scene of the Road to Calvary; f. 74v (Hours of the Holy Spirit), Pentecost; in the borders are a scroll as above and 2 other apostles looking upwards towards the Dove; f. 77v (Office of the Dead), Job on the dunghill; in the margins are the large scroll, and 2 wild men fighting; f. 79 (Lauds), Visitation; f. 89 (Prime), Nativity; f. 94 (Terce), Annunciation to the shepherds, with a landscape in the lower margin; f. 98 (Sext), Adoration of the Magi, with a grotesque in the landscape below; f. 101v (None), Presentation in the temple; in the lower margin, the Holy Family and followers walking to the temple; f. 103 (Vespers), Flight into Egypt, and a landscape in the lower margin; f. 158 (Doulce dame de misericorde), the Virgin holding the Child on her lap. 9- and 8-line illuminations are: f. 15v, Luke; f. 17, Matthew; f. 18v, Mark; f. 19v (Obsecro te), the Virgin with hands joined in prayer; f. 23 (O Intemerata), the Virgin and Child; f. 150v (Trinity), the Father and Son holding a book with the Dove between them; f. 151, Michael; f. 151v, John baptizing Christ; f. 152 (suffrage of John the Evangelist!), John the Baptist in a ragged tunic pointing to the Agnus Dei sitting on a book; f. 152v, Peter and Paul; f. 153v, Sebastian; f. 154, Nicholas; f. 154v, Anne teaching Mary to read; f. 155, Catherine of Alexandria; f. 156, Margaret; f. 156v, Genevieve; f. 163 (Doulx dieu doulx pere), Christ in glory. In the calendar, miniatures in the form of long bands the length of the text depict the monthly occupation on the recto, and the zodiac sign on the verso.

Traced geometric band borders the length of the text on every page, with blue and gold acanthus leaves, flowers, strawberries, and small miniatures of grotesques in landscapes on ff. 56v and 59. 3- and 2-line initials, white-patterned blue with colored trilobe leaves or balls as infilling against a burnished gold ground; 1-line initials in gold with either pink or blue infilling against ground of the other color; ribbon line fillers and balls (for the same purpose) in the same colors. Rubrics in blue.

Twenty large miniatures, simply done in camaïeu gris above 4 lines of text; full border, except where the arch of the miniature reaches to the top of the leaf, of black ink spray with grey, gold and white acanthus leaves, flowers, grotesques and gold dots. The miniatures are: f. 13 (Hours of the Holy Spirit), Pentecost; f. 22 (Lauds of the Holy Spirit), Ascension, with Christ's feet and the hem of his dress disappearing through the clouds; f. 26 (Prime of the Holy Spirit), Gnadenstuhl; f. 28v (Terce of the Holy Spirit), Christ teaching the Creed to the Apostles; f. 31 (Sext of the Holy Spirit), beheading of Paul; f. 33 (None of the Holy Spirit), Peter being tied to a cross made of logs; f. 35v (Vespers of the Holy Spirit), stoning of Stephen; f. 39 (Compline of the Holy Spirit), flaying of Bartholomew; f. 59 (Hours of the Virgin), Judas kissing Christ as he heals Malchus' ear; f. 70v (Lauds), Christ held before Pilate by 2 men wearing animal-like hats; f. 82 (Prime), Scourging at the pillar; f. 87v (Terce), Mocking of Christ by bestial-looking men; f. 92v (Sext), Road to Calvary; f. 97v (None), Crucifixion; f. 102 (Vespers), Deposition from the Cross; f. 113v (Compline), Entombment; f. 116 (Hours of the Cross), Crucifixion with Mary and John on either side; f. 122 (Penitential psalms), David in prayer; f. 142 (Office of the Dead), Last Judgment with Christ sitting on a rainbow, his feet on the globe, the sword and olive branch on either side of his head and the dead rising from their graves; f. 188, Barbara, seated, reading in front of the tower.

Major initials, 5- or 4-line, in pink or blue, on gold grounds with trilobe leaf infilling; 2-line initials in the same style call for band border of varying size (small L around the corner of the text; the length of the text; bracketing the text) of ink spray with gold dots, colored acanthus leaves and flowers; 1-line initials in blue with pink, or in gold with black flourishing; some 1-line cadelled initials on the top line with flourishing into the upper margins, sometimes washed in yellow or forming grotesque faces; initials within the text washed in yellow. Ribbon line fillers in pink, blue and gold segments; rubrics in bright orange-red. In the sections written by the second scribe: 3-line initials in red or blue with void white design, and possibly with simple penwork infilling of the other color; plain 2- and 1-line initials alternating red and blue; initials in the text washed in yellow; some decorative flourishes on the ascenders of the top line, occasionally touched with color; line fillers in either red or blue penwork; rubrics in red.

Major decorated openings consist of an inserted singleton, blank on the recto with a full page miniature of mediocre quality on the verso, and a historiated initial on the facing recto: ff. 19v-20 (Hours of the Virgin), Annunciation and facing historiated initial of the Virgin and Child; borders composed of symmetrical floral patterns, and polylobed medallions against a painted gold ground; IHS monogram in the upper margin of f. 20, and coats of arms (see below) in both lower margins. Folios 109v-110 (Penitential psalms), David penitent, and in the initial David as King; similar border. Folios 140v-141 (Office of the Dead), a winged figure (Death?) rising above a man and a woman, lying on the ground; in the initial, a skeleton in monk's garb holding a cross; similar border, with death's heads in the medallions. Folios 201v-202 (Hours of the Cross), Jesus holding the cross; in the initial, Mary (?) holding the cross; similar border. Two other openings with similar borders and historiated initials, but without the full page inserted miniature: ff. 103v-104 (Mass of the Virgin), with initial of the Virgin; ff. 206v-207 (Hours of the Holy Spirit) with initial showing Pentecost. Individual hours in the Office of the Virgin after matins decorated with a C-shaped border of colored flowers against a diagonally striped gold background; in the lower margin a medallion with the appropriate scene (ff. 33v, 49, 54v, 59, 62v, 66v, 75v).

Secondary initials, 3-line, in burnished gold against blue backgrounds with marron infilling, both patterned in gold; 2-line initials in painted gold on square gold-patterned colored ground; 1-line initials within the text in painted gold on plain colored grounds. Rubrics in reddish-brown ink.

Six full page illustrations in slightly arched compartments, on the verso of inserted singletons which are blank on the recto; the facing page with the same border as the miniature page, in blue and gold acanthus leaves placed at the corners, and remaining space filled with green leaf sprays, flowers, strawberries and grotesques; the opening initials, 5-line, in white-patterned pink or blue on a gold ground, infilled with trilobe leaves. The miniatures, by a follower of Willem Vrelant, are: f. 13v (Hours of the Cross), Crucifixion; f. 22v (Hours of the Holy Spirit), Pentecost; f. 30v (Mass of the Virgin), Virgin enthroned holding the Child to whom she offers a piece of fruit, while four angels playing instruments surround them; f. 45v (Hours of the Virgin), Annunciation; f. 107v (Penitential psalms), David in prayer; f. 127v (Office of the Dead), Raising of Lazarus.

Historiated initials, 7- or 6-line, in colors with black ink sprays and a few small blue or red flowers and gold leaves, with the historiation mainly in shades of blue, grey and gold: f. 59 (Lauds), Visitation; f. 72 (Prime), Nativity; f. 77v (Terce), Annunciation to the shepherds; f. 82v (Sext), Adoration of the Magi; f. 87 (None), Presentation in the temple; f. 92 (Vespers), Massacre of the Innocents; f. 100v (Compline), Flight into Egypt; f. 170, Michael; f. 171, Peter and Paul; f. 172, John the Baptist; f. 172v, Sebastian; f. 173v, Nicholas; f. 174, Anthony; f. 175v, Mary Magdalene; f. 176v, Catherine; f. 177v, Barbara; f. 178v, Agnes; f. 179v, Genevieve. A 5-line historiated initial on a gold ground on f. 162 (Obsecro te) represents the Pietà.

Secondary initials, 2-line on cusped grounds, 1-line on square grounds, both in gold on pink or blue grounds with infilling of the other color; initials within the text touched in yellow; rubrics in red.

Sixteen large illuminations above 3 lines of text within arched compartments by more than one artist; some of the miniatures are based upon compositions of the Boucicaut Master. Borders in 2 styles, the division occurring after quire 3 between ff. 29-30: the first style includes figures in a rather dense ivy leaf outer border, and a narrow U-shaped gold frame around text and miniature; in the second style, a thin gold strip completely encloses the page; the outer border is somewhat more sparse and frequently includes a 180° sun-burst design of thin colored lines emanating from a gold dot set against the edge of the border; a rather wide frame surrounds the text and extends across the top until it meets the arch of the miniature. The miniatures are: f. 14 (Gospel of John), John on Patmos, writing, as a trumpet issues from a golden cloud in the sky; in the border, a bird and a monkey playing a guitar; f. 16 (Luke), the evangelist in an elaborate gothic chair against a tessellated background; in the border, a squirrel and a bird; f. 18 (Matthew), the evangelist below a vaulted gothic ceiling, against a tessellated background, and, in the border, an owl and 2-headed grotesque, the man-half playing a pipe and beating a drum; f. 20 (Mark), the seated evangelist under a gothic vaulted ceiling and against a tessellated background; in the border an owl and a grotesque similar to the one above, but with the monkey-half holding bagpipes; f. 21 (Hours of the Cross), Crucifixion with Mary and John on either side against a tessellated background; in the border are a stork, another bird and a woman spinning; f. 25 (Hours of the Holy Spirit), Pentecost against a tessellated background, and, in the border, a butterfly and two birds; f. 28 (Hours of the Virgin), Annunciation, against a tessellated background, with a peacock and another bird in the border; f. 37 (Lauds), Visitation; f. 46 (Prime), Nativity, with another woman kneeling in prayer; f. 50 (Terce), Annunciation to the shepherds; f. 53 (Sext), Adoration of the Magi; f. 57 (None), Presentation in the temple, with the Baby reaching back to his Mother, seen through a solid grey archway; f. 61 (Vespers), Flight into Egypt; f. 67 (Compline), Coronation of the Virgin, in which the crowned Virgin kneels before Christ who blesses her, against a tessellated background; f. 71 (Penitential psalms), David kneeling, gazing upwards at God the Father who appears in the sky surrounded by orange cherubim; f. 86 (Office of the Dead), burial service in a courtyard with 3 priests, blackdressed mourners and 2 men lowering the body into the grave; the border seems to be of the first type.

Band borders the length of the text in the outer margins traced through, with the same division in style as noted above; the calendar with borders of the second type. 3-line initials in white-patterned blue or pink with colored trilobe leaf infilling against a cusped gold ground; 2- and 1-line initials in gold with alternating pink or blue infilling and ground of the other color; ribbon line fillers in the same colors; initials within the text touched in yellow. Rubrics in red, except on f. 23r-v (conjunct with f. 28, with the Annunciation scene) where they are in blue and by a different hand.

Only one illumination survives, that of the Office of the Dead, f. 98: in an arched compartment above 4 lines of text, burial service in an enclosed grassy courtyard, with 3 mourners, 2 priests reading from a shared book, while 2 other men lower the white-shrouded body, marked with a long red cross, into the ground; U-shaped frame around text and miniature as a wide gold band, decorated with colored leaf patterns; outer border of black ink ivy spray with gold trilobe leaves. Bracket borders of this ivy spray with small flowers on ff. 63 and 100v;

similar band borders, triggered by 2-line initials, placed to the left of the text. Three 4-line initials (ff. 63, 98 and 100v) and 2-line initials alternate white-decorated pink or blue set against a ground of the other color, both infilled with colored trilobe leaves on gold; 1-line initials in gold infilled in blue or pink against grounds of the other color; ribbon line fillers in the same colors; initials in the text washed in yellow. Rubrics in red.

Fifteen full page illustrations, in blue, black, green, gold and flesh tones, enclosed within architectural frames of painted gold: f. 13v (Matins), Annunciation; f. 30v (Lauds), Visitation; f. 41v (Matins of the Cross), Crucifixion with Mary and John; f. 43 (Matins of the Holy Spirit), Pentecost; f. 44v (Prime), Nativity; f. 50 (Terce), Annunciation to the shepherds; f. 55v (Sext) Adoration of the Magi; f. 61 (None), Presentation in the temple; f. 66v (Vespers), Flight into Egypt; f. 75 (Compline), Coronation of the Virgin; f. 92 (Penitential psalms), David, his harp on the ground, in an almost kneeling position in front of figures of War, Death and Pestilence, while an angel from above points to this vision; f. 110v (Office of the Dead), Job on the dunghill; f. 149v (Gospel), John on Patmos, with the eagle offering him his writing tools; f. 151v (Obsecro te), Virgin and Child in glory; f. 156 (Prayer of Jesus on the Cross), Crucifixion with Jesus alone.

Initials, 4- to 1-line, in black ink against square painted gold grounds, with black tracery; ribbon line fillers of many patterns, but in the same black and gold colors; initials within the text washed in yellow. Rubrics in blue.

Eighty-two miniatures by several artists corresponding generally to the divisions in scribal hands. With scribe i, 14 full page miniatures on inserted singletons, blank on the recto and oftenn interrupting the text. With scribe ii, the rosary, 55 (+ 1 miniature for the Jerome suffrage to fill out the quire) integral miniatures by a second main artist, above 3 to 5 lines of text. With scribe iii, 12 10-line miniatures by a third main artist for the suffrages in quire 14.

The full page miniatures associated with scribe i, on inserted singletons and not part of the original plan of decoration, have 2 possible border styles: the first with a narrow gold band around both miniature and border, and with a wide border of strewn flowers, insects and birds set against a dense gold ground; in the second style, the narrow gold band surrounds only the miniature, the border itself is narrower and the ground of the border is a thin gold wash; the illumination are: f. 14v, with the first style of border, although here on natural parchment ground, Crucifixion with Mary and John; f. 26v, with the first style of border including a Pelican in her Piety, Agony in the Garden; f. 28v, with the second style of border, Betrayal with Peter about to cut off Malchus' ear; f. 32v, with the second style of border, Christ before Pilate; f. 35v, with the first style of border, Scourging at the pillar (by a different artist?); f. 38v, with the second style of border, Mocking of Christ, with the Crown of Thorns; f. 43v, with the second style of border, Crucifixion with Mary and John on Christ's right, Mary Magdalene at the foot of the Cross, and the soldiers on Christ's left; f. 48v, with the first style of border, Deposition from the Cross; f. 50v, with the second style of border, Entombment; f. 63v, with the double gold bands of the first style of border but as grey walls with niches from which various people watch the main scene, St. Gregory's Mass; f. 122v, with the second style of border, David in prayer; f. 139v, with the second style of border, the martyrdom of Erasmus; f. 142v, with the second style of border, Christopher crossing the river with the Christ Child on his shoulders; f. 148, the Virgin, ¾ length, holding the Child, on a crescent.

Major initials in this section, 8- or 6-line gold initials on patterned blue or maroon grounds with infilling of the other color (ff. 15, 29, 64, 143) or as branchy gold acanthus stems on a shaded pink ground (f. 123). Secondary initials, 6- to 3-line, usually blue (but red on ff. 55, 59, 60, 132, 155v, 158, 160) with void design on the letter itself and with good quality penwork flourishing of the other color, touched in green; 2- and 1-line initials alternating plain red and blue; some initials within the text touched in red; rubrics throughout.

In the rosary (art. 6), copied by scribe ii, is a similar, but not identical, combination of rosary text and iconographic sequence as in the Latin , printed by Gerard Leeu (?) in Antwerp, 1489 (Hain 13968) as noticed by S. Hindman and J. D. Farquhar, (University of Maryland Art Department Gallery, 15 September-23 October 1977) pp. 120-21 and figs. 45, 46 of the and fig. 47 of HM 1140, ff. 103v-104. Another related text and analogous miniature style (but not border style) is found in London, Brit. Lib., Add. 15525 ,1 reproduced in A. W. Byvanck, (The Hague 1925) pp. 57-58 n. 130 and pl. 196, figs. 94, 95; here, borders of strewn flowers, birds and insects against an orange-tinged yellow ground, with both miniature and border outlined in red; on the 3 leaves in this section copied by a different scribe (ff. 81r-v, 102r-v, 109r-v), slightly wider borders with a gold wash ground and a narrow gold frame around miniatures executed by a different artist; interventions by this scribe and artist seem to coincide with differences in the iconographic series between HM 1140 and the printed . The illustrations are: f. 81, rosary with the 4 Wounds of the hands and feet around the perimeter and the Sacred Heart in the center; f. 81v, rosary with the Five Wounds, positioned differently (this and the preceding miniature by a different artist); f. 82, Annunciation; f. 82v, Visitation; f. 83, Annunciation to the shepherds; f. 83v, Adoration of the shepherds; f. 84, Circumcision; f. 84v, Adoration of the Magi; f. 85, Presentation in the temple; f. 85v, Simeon holding the baby Jesus; f. 86, rosary with the Five Wounds, positioned differently; f. 87, Flight into Egypt, with idols falling off columns; f. 87v, Jesus disputing with the Elders in the temple; f. 88, Mary weaving with the child Jesus helping; f. 88v, Baptism of Christ in the river Jordan; f. 89, Temptation of Christ in the desert; f. 89v, Marriage at Cana; f. 90, Jesus liberating a man from a demon and making a cripple walk, while another man walks away, carrying his bed; f. 90v, Raising of Lazarus; f. 91, Mary Magdalene anointing Christ's feet; f. 91v, Last Supper; f. 92, rosary with the Five Wounds, positioned differently; f. 93, Agony in the Garden; f. 93v, Betrayal of Christ; f. 94, Christ; f. 94, Christ before Annas; f. 94v, Slapping of Christ; f. 95, Christ before Pilate; f. 95v, Christ before Herod (this miniature traced through from the recto of the leaf); f. 96, Scourging at the pillar; f. 96v, Mocking of Christ; f. 97, Ecce Homo; f. 97v, Road to Calvary, with spike blocks hanging from Christ's waist; f. 98, rosary with the Five Wounds, positioned differently; f. 99, Nailing to the Cross; f. 99v, Christ on the Cross, asking his Father to forgive his tormentors; f. 100, Christ on the Cross between the two thieves; f. 100v, Mary and John the Evangelist beside the Cross (text with prayer to Mary); f. 101, Mary and John the Evangelist beside the Cross (text with prayer referring to John); f. 101v, Christ on the Cross in despair; f. 102, Christ being offered the bitter sponge by a soldier (Longinus!); f. 102v, Christ being offered the bitter sponge by Stephaton (this and the preceding miniature by a different artist); f. 103, Crucifixion with soldiers throwing dice for the unseamed robe; f. 103v, Wounding of Christ's side; f. 104, rosary with the Five Wounds, positioned differently; f. 105, Deposition from the Cross; f. 105v, Entombment; f. 106, Descent into Hell; f. 106v, Resurrection; f. 107, Christ appearing to the Apostles; f. 107v, Ascension; f. 108, Pentecost; f. 108v, Assumption of the Virgin; f. 109, Last Judgment; f. 109v, Gnadenstuhl (this and the preceding miniature by a different artist); f. 110, rosary with the Five Wounds, positioned differently; f. 111, Jerome standing with the lion (suffrage).

In this section, plain 2- and 1-line red or blue initials; some initials within the the text slashed in red; red rubrics.

In quire 14, miniatures by a third artist who has painted over the lines ruled for the text; borders of strewn flowers on a pale yellow wash; the miniatures are: f. 112, owner portrait of a woman kneeling in prayer with her guardian angel beside her; f. 113, Michael; f. 113v, John the Baptist; f. 114, John the Evangelist with the snaky chalice; f. 114v, Peter and Paul; f. 115v, Cornelius holding horn and staff; f. 116, Martin; f. 116v, Anne seated beside Mary, who holds the baby Jesus out to her; f. 117, Catherine of Alexandria; f. 118, Barbara holding her tower; f. 118v, Agnes; f. 119, All Saints.

In this section, plain 2-line alternating red and blue initials; some initials within the text slashed in red; rubrics throughout. On f. 28, upside down, an incomplete but finely done sketch of the Annunciation.

Eighteen large miniatures, by an artist who has worked on other Besançon books of hours, e.g. Cambridge, Fitzwilliam Museum MSS 69 and 70 , and New York, Public Library MS 41 1; for this last manuscript, see Plummer, Last Flowering , n. 76 with a plate of f. 20; vivid dark colors with a silvery sky and scurrying gold clouds, in arched compartments above 3 lines of text, with both text and miniature enclosed by a decorated wide U-shape frame; the outer border is of dense blue and gold acanthus leaves, flowers, berries, and many grotesques. The miniatures are: f. 14 (Gospel of John), John on Patmos, shown clearly as an island; f. 16, Luke holding his pen up as if to check the point; f. 18, Matthew sharpening his pen; f. 20, Mark; f. 22 (Hours of the Virgin), Annunciation; f. 47 (Lauds), Visitation, in a hilly countryside with large white stones scattered in the foreground; f. 60 (Prime), Nativity, with Mary, another woman and Joseph holding a candle, all kneeling around a rather large baby Jesus, while 3 small angels sing from scrolls in the sky above the stall; f. 65v (Terce), Annunciation to the shepherds; large white stones on the path; f. 71 (Sext), Adoration of the Magi, with the Virgin and Child on a red-draped bed and 2 small angels holding scrolls above the stall; the owners' coat of arms in the lower margin (see below); f. 75v (None), frame around the miniature is unfinished; Presentation in the temple; f. 81 (Vespers), Flight into Egypt, the road with scattered large stones; f. 88v (Compline), Coronation of the Virgin by God the Father, as Jesus blesses and the Dove hovers between them; f. 94 (Hours of the Cross), Crucifixion with the INRI legend on a rather large piece of wood at the top of the cross, and on either side, Mary, and John holding an open book; f. 99v (Hours of the Holy Spirit), Pentecost with the Virgin, on a larger scale than the apostles, seated on a raised dias in the middle of the group with an open book on her knees; f. 104 (Penitential psalms), David kneeling in prayer with his hands open wide, before a half-length figure of God in the sky; f. 122v (Office of the Dead), Raising of Lazarus, with large white rocks in the foreground; f. 178 (Doulce dame de misericorde), owner portrait of a woman, in a blue dress and white veil, kneeling before the Virgin and Child; in the foreground, a cradle and a dog on a cushion; f. 184 (Doulz dieux pere saincte trinitey), Last Judgment, with Christ sitting on a rainbow, his feet resting on a tripart globe (earth, air and water), while 4 blue angels blow their trumpets and the dead rise from their graves. On f. 171 (Obsecro te) a bracket border of the same type as above; traced band borders in the outer margin of every page, each with a grotesque, running the length of the text, and separated from it by a decorated gold strip; these borders also on ff. 188v-189v on ruled, but otherwise blank, leaves. The band borders of the calendar include the monthly occupation on the recto and the zodiac symbol on the verso; on f. 5v, the two Gemini support a coat of arms (see below).

3-line initials in white-patterned blue on a maroon ground decorated with painted gold, or in white-decorated pink with green leaf infilling against a blue ground; occasionally the infilling is of an older style with colored trilobe leaves. 2-line initials, in alternating pink or blue against a gold ground with trilobe leaf infilling; 1-line initials in gold with the two colors as ground and infilling; ribbon line fillers in the same colors; initials within the text washed in yellow. Rubrics throughout.

Ten miniatures, usually in square compartments above 5 lines of text, attributed to the Boethius Illuminator by M. Meiss, (New York 1974) 372; see also his (London 1967) 354. Both text and miniature enclosed by wide bands of a U-frame deriving from initials and usually composed of pink, blue and gold segments, which sprout narrow pink and blue branches at the four corners; the outer border contains colored and gold trilobe leaves, dots and flowers. The miniatures are: f. 24 (Hours of the Virgin), Annunciation, against a diapered background with God the Father appearing in the arch at the top of the miniature in a gold-ruffled blue aperture, with a lute-playing angel on either side; the U-frame is a gold band decorated with green, orange, and blue leaves; several grotesques in the outer border; f. 43v (Lauds), Visitation, against a diapered background; a man playing a vielle in the border; f. 52v (Prime), Nativity, with a coarsely shaded sky as background; Mary, sitting on a bed, holds the Child, while Joseph sits at a table, his head propped up on his elbow; in the border, a half-human grotesque; f. 57v (Terce), Adoration of the Magi; Joseph not present; in the border, a man sitting with a shield (?) in his hand; f. 61v (Sext), Annunciation to the shepherds, against a dark blue scroll background, with a figure of a man in the border; f. 65 (None), Presentation in the temple, against a diapered background; several grotesques and flowers in the border; f. 68v (Vespers), Flight into Egypt, against a diapered background; in the border, an old man seated tailor-style, reading; f. 74 (Compline), Coronation of the Virgin, with Jesus blessing her; diapered background; in the border, an angel playing a vielle and a grotesque; f. 78 (intended for the Hours of the Cross; now used for the Penitential psalms), Crucifixion, against a diapered ground; f. 100v (intended for the Hours of the Holy Spirit, but now used for the Office of the Dead), Pentecost, with the Dove descending from a white-ruffled blue aperture in the diapered background; a bearded man sits in the border.

3-line initials in white-decorated pink or blue against a burnished gold ground with colored trilobe leaf infilling; 3-, 2- and 1-line initials in burnished gold on pink grounds with blue infilling, or vice versa; ribbon line fillers in the same colors. Borders on every page, including those of the calendar, of a narrow gold and color strip running the length of the text in the outer margin and flourished on 3 sides in bracket form with black ink vines of gold trilobe leaves and blue and pink star-flowers; some leaves contain traced grotesque dragons emerging from either end of the gold and color strip: ff. 25r-v, 29r-v, 56r-v, 63r-v. Figures in the outer borders of ff. 32 (a man with a lute), 40 (a grotesque), 48 (a man reading, holding a sword), 56 (a man with a man-faced shield), 64 (a grotesque), 111 (a half-human grotesque). Where 3- or 2-line initials occur on a recto, a leafy spray grows from the left of the initial into the margin (on the versos, the margin to the left of the initial already contains the bracket border). A bright green leafy spray in the space between text and ivy vine of certain conjugate leaves: 25r-v and 30r-v, 40r-v and 47r-v, 49r-v, 54r-v, 58r-v and 61r-v. Rubrics in an orange-tinged red.

Thirty-one large miniatures of varying quality by an artist known as the Master of the Vienna Mamerot 1 after his illustrations in Sébastien Mamerot's in Vienna (öst. Nationalbibl., Cod. 2577-78 ); see Plummer, Last Flowering , n. 67 citing HM 1143. The miniatures are above 3 lines of text in arched compartments, enclosed by borders of blue and gold acanthus leaves, flowers and strawberries. The miniatures are: f. 13, John on Patmos with a cityscape in the background; f. 14v, Luke writing, with his ox and a painting of the Virgin in front of him; f. 16, Matthew seated frontally at a saw-horse desk; f. 17v, Mark in a room supported by pink twined columns; f. 18v (Passion according to John), Betrayal in a night-time garden scene, with a high fence, Peter sheathing his sword and the soldiers crowding around Jesus and Judas; f. 26 (Obsecro te), by a different artist, Pietà, with only the feet of the 2 thieves visible on the crosses, the rest being beyond the top of the miniature; large single stones scattered prominently in the foreground; f. 32 (Sancta maria virgo virginum), the owner, a man, kneeling before the enthroned Virgin who is nursing the Child, with a cityscape behind; f. 35 (Hours of the Virgin), Annunciation, as if in a gothic church with gold twined columns; the angel's wings are of peacock feathers; the owner's arms in the border (see below); f. 49 (Lauds), Visitation, in which Elizabeth appears quite old; f. 57v (Prime), Nativity, with the shepherds kneeling to the right outside the shed, and perring in, in a composition closely dependent upon that of Fouquet in the Hours of Etienne Chevalier in Chantilly, reproduced, for example, in P. Wescher, (trans., New York 1947) pl. 3; f. 61 (Terce), Annunciation to the shepherds, one of whom wears a diagonally striped purple and gold tunic; f. 64v (Sext), Adoration of the Magi, before a red draped city house; a pentimento the first king's hat (?) is on the ground before the Virgin; f. 67v (None), Presentation in the temple, with Simeon, in plain blue dress, supporting the Child as it turns back to its Mother; f. 71 (Vespers), Flight into Egypt; illumination for compline missing, as indicated by the offset of a full border on f. 76v; f. 80 (Hours of the Cross), Crucifixion with Jesus and the thieves, while below Mary, on her knees, is being supported by John, and the soldiers, some on horseback, crowd about; f. 84 (Hours of the Holy Spirit), Pentecost, with Mary sitting somewhat apart, to the right, in a large gothic room, the vaulting held up by pink twined columns; f. 88 (Penitential psalms), the young David cutting off Goliath's head, while sheep in the middleground graze or look back at the fighting soldiers; f. 104 (Office of the Dead), the ?Trois Vifs et Trois Morts? at a wayside cross; f. 135v, Michael in mid-air above large prominent rocks, stabbing a female devil and looking at another with its tongue out; f. 136v, John the Evangelist and John the Baptist, above 4 lines of text, in one illumination, holding respectively the snake-filled chalice and the Lamb, under a vaulted ceiling supported by a lavender twined column in the center back, and by jewel-studded gold columns at the sides; f. 137v, Peter and Paul, above 4 lines of text; f. 138v, George and Christopher, above 4 lines of text with George, the dragon and the princess in the foreground, and Christopher, the Christ Child and the hermit in the middle and background; f. 139v, Adrian and Sebastian, above 4 lines of text; f. 140v, Bernard and James, above 4 lines of text, each with a book; f. 141v, Catherine of Alexandria, above 4 lines of text, with the angel about to destroy the wheel; f. 142v, Mary Magdalene and Martha, above 4 lines of text, the one with her jar of ointment, and the other holding the container of holy water and the dragon by a leash; the dragon appears to be swallowing someone (conflation with Margaret?); f. 143v, Apollonia and Barbara, above 4 lines of text, in a green-draped room with pink twined columns at either side; f. 144v (Domine ihesu christe pastor), above 4 lines of text, Christ in glory with the symbols of the 4 Evangelists in camaïeu d'or against a blue ground in the 4 corners; f. 155v (flores psalmorum... a gregorio papa), above 4 lines of text, a scholar, presumably Gregory, dressed in a large green over-tunic and blue headdress, standing reading from a book with other books on the shelves behind him; 2 gold columns frame the scene; f. 187 (psalterium sancti augustini), a scholar, presumably Augustine, in a blue tunic with the hood up, a book under his arm and others behind him on shelves, standing in a gold columned room; f. 195 (Psalter of St. Jerome), above 4 lines of text, by the same artist as the Pietà on f. 26, Christ rising from the tomb in a landscape scattered with large rocks.

Traced band borders in the outer margin of every page, running the length of the text, composed of blue and gold acanthus leaves, flowers and strawberries. One 5-line initial (f. 29, O intemerata), and the 3- and 2-line initials in white-patterned blue on a burnished gold ground, with colored trilobe leaf infilling; 1-line initials in burnished gold with pink or blue infilling against ground of the other color; in the same colors are ribbon line fillers, dots and 3-leaf flowers (for the same purpose). Rubrics in red.

Twenty-three full page miniatures, on the versos of what are apparently inserted singletons, blank on the recto; the frame around the miniatures is composed of narrow gold and pink strips; the outer border, matched by that on the facing text page, is enclosed by a narrow gold strip and consists of flowers, berries, gold motifs, and thin multicolored acanthus, ribbed with white dots, and whose stems often cross to form patterns. The miniatures are: f. 13v (the 15 O's of St. Bridget), Salvator Mundi with two angels supporting a cloth of honor; the background is of large flat acanthus leaves, monochrome, picked out in gold against a ground of the same color, but in a darker shade; f. 22v (Domine... da michi famulo tuo victoriam), Gnadenstuhl, with the Father holding the body of Christ across his knees, and the Dove, barely visible, flying from the Father to the Son; acanthus leaf background as above; f. 25v, John the Baptist pointing to the Agnus Dei who sits on a book; f. 27v, George; f. 29v, Christopher; f. 31v, Anne standing and holding a child-like Mary in her arms, who, in turn, holds a tiny baby Jesus; diapered background; f. 33v, Mary Magdalene; f. 35v, Catherine of Alexandria standing on Maxentius; f. 37v, Margaret emerging from the dragon's back, while God looks on from a cloud aperture above; the prison is indicated by two grey columns adjacent to the sides of the picture, a grey crenellated roof and a grey wall with a locked door across the lower quarter of the picture; f. 39v, Barbara, her hand resting on a tower of her own size; diapered background; f. 41v (Hours of the Virgin), Agony in the Garden; f. 50v (Lauds), Betrayal, with Peter on his knees, sword upraised; f. 66v (Prime), Christ before Pilate, long sleeves covering his hands; diapered background; f. 71v (Terce), Scourging at the pillar, with people watching from a window and a doorway; f. 75v (Sext), Road to Calvary; f. 78v (None), Crucifixion, against a monochrome acanthus background, as on f. 13v; f. 81v (Vespers), Deposition from the Cross, against a monochrome acanthus background, as above; f. 84v (Compline), Entombment, with 3 tau-crosses in the background; f. 109v (misbound here; should precede the Penitential psalms, f. 114), Last Judgment with Christ on a rainbow, his feet resting on a globe, 2 angels blowing horns above, Mary and John below him at either side, and the dead rising from their graves; background of monochrome acanthus leaves, as on f. 13v; f. 131v (Office of the Dead), Raising of Lazarus; f. 156v (Commendation of souls), 2 small naked souls carried in a sheet by 2 angels to God the Father, who appears in glory in a blue cloud aperture above; monochrome acanthus background, as on f. 13v; f. 171v (Psalms of the Passion), Man of Sorrows, in the tomb, rising from a ruffle of blue clouds, the emblems of the Passion surrounding him; f. 179v (Psalter of St. Jerome), Jerome in his study, removing the thorn from the lion's paw; behind him are shelves with books and 2 green vases.

Historiated initials, 7- or 6-line, with spray of flowers, gold motifs and blue dots in the margin: f. 58 (Holy Spirit), Pentecost; f. 59, Michael; f. 60, Peter and Paul; f. 60v, Andrew; f. 61, Lawrence; also on f. 61, 3-line, Stephen; f. 62, Nicholas; f. 63v, All Saints; f. 90v (Salve virgo virginum), the Virgin, holding the Child, standing on a crescent; f. 95 (O Intemerata), Pietà; f. 100 (Virgo templum trinitatis), 5-line, the Virgin ascending the steps to the temple; f. 104 (Omnibus consideratis), Christ being nailed to the cross, and (idem, to the Cross), 3 tau-crosses, the center one with the INRI legend; f. 104v (idem, to his head), Veronica; f. 105 (idem, to the wound in his right hand); a right hand, wounded, emerging from a blue cloud ruffle, and (idem, to the wound on his left hand), a left hand; f. 105v (idem, to the wound in his side), a wounded heart, surrounded by 4 circles of flesh, wounded; f. 106 (idem, to the wound in his right foot), a right foot and (idem, to the wound in his left foot), a left foot; f. 106v (idem, to John the Evangelist), John holding the chalice; f. 108 (7 words from the Cross), Crucifixion with the thieves on either side.

Illustration in the calendar: 2 square miniatures at the top of the recto, showing the monthly occupation and the zodiac symbol. Major initials, 6- or 5-line, in white-patterned blue against pink and gold grounds, or against a plain gold ground, with infilling of lush acanthus leaves, ?English? in style; 2-line initials in gold on pink ground with blue infilling, or vice versa; 1-line initials, blue with red penwork, or gold with black. Line fillers in the litany in alternating rows of blue or gold squiggles. Rubrics in red.

Thirteen large miniatures usually above 3 lines of text in arched compartments with serrated tops; U-shaped frame around text and miniature, consisting of a narrow gold and color strip on the inside, and wide pink and blue segments on the other 2 sides; outer border of black ivy spray with blue and gold acanthus leaves, flowers, strawberries and gold motifs. The miniatures are: f. 13v (the Gospel pericopes), full page, blank on the recto but apparently part of the quire structure; the outer border, while of the same style as the others, is darker in color and finer in execution; the miniature is divided into 4 compartments, one for each evangelist and his symbol; f. 21 (Hours of the Virgin), Annunciation, in a room defined by grey columns, pendant arches and brocaded cloths in the background; f. 33 (Lauds), Visitation, with Mary holding a book, and greeting a rather aged Elizabeth; f. 53 (Prime), Nativity, with Joseph holding a candle and in the background, a kneeling woman; f. 59 (Terce), Annunciation to the shepherds; f. 63v (Sext), Adoration of the Magi; opening leaf of none missing before f. 68; f. 73v (Vespers), Flight into Egypt; f. 80v (Compline), Coronation of the Virgin by an angel, while God the Father, wearing a papal tiara, blesses; f. 87 (Penitential psalms), David in prayer, his harp lying on a table and the angel appearing with upraised sword between David and God the Father; f. 105 (Hours of the Cross), Crucifixion, with Mary and John on either side; f. 113 (Hours of the Holy Spirit), Pentecost; f. 120 (Office of the Dead), burial service in a churchyard, with the white-shrouded corpse being lowered into the grave by a worker, while 2 priests say the service and 3 mourners in black stand in the background; f. 182v, apparently intended to accompany the 15 Joys, which begin on the last 3 lines of f. 183, as if the original plan had been to place the miniature above the text; instead, the miniature was painted on the verso of an inserted singleton, left blank on its recto; the resulting blank space on f. 183 was then filled in by the prayer ?Anima christi? in a slightly different hand; the border decoration on this added singleton is the same as that on f. 13v; the artist appears to be more capable; the scene depicts a woman in a red dress and black headdress kneeling before the Virgin and Child.

4- and 3-line initials in white-patterned blue or dark pink against a ground of the other color or against a gold ground, with colored trilobe leaf infilling against a gold ground; except in the presence of full borders, these initials produce marginal extensions of black ivy spray, flowers and gold motifs. 2- and 1-line initials in gold on alternating blue or dark pink grounds with infilling of the other color; ribbon line fillers of the same colors, or as small flowers; initials within the text touched in yellow. Rubrics in an orange-tinged red.

Thirteen large miniatures above 4 lines of text, in arched compartments with tops decorated in a variety of manners; the outer borders usually geometric, enclosing spaces of dark background. The miniatures are: f. 13 (Gospel of John), John on Patmos; f. 21 (Hours of the Cross), Crucifixion; f. 25 (Hours of the Holy Spirit), Pentecost; f. 29 (Hours of the Virgin), Annunciation, as if in the cloister of a church; border with a diagonal gold trellis against a natural parchment ground, with flowers and grotesques; f. 41v (Lauds), Visitation, with castles and fantastic rock formations in the background; f. 53v (Prime), Nativity; f. 60 (Terce), Annunciation to the shepherds; in the outer border a square gold trellis, with a gold picket fence across the bottom; f. 64v (Sext), Adoration of the Magi, one of whom is black; f. 68v (None), Presentation in the temple; f. 73 (Vespers), Flight into Egypt, in the background the miracle of the cornfield and a falling idol; f. 80 (Compline), Coronation of the Virgin by an angel while Jesus, holding globe and cross, blesses; f. 95 (Penitential psalms), David in prayer, looking up at a bright orange angel who holds an unsheathed sword; God the Father appears in an opening of the clouds directly above David; f. 116 (Office of the Dead), Job on the dunghill with his friends, with a building fallen into ruins behind him; in the outer border a diagonal gold trellis formed by criss-crossed branches.

4-line initials in white-patterned blue against a burnished gold ground with colored trilobe leaf infilling, or as painted gold shaded branches against a maroon ground with naturalistic flowers in the infilling; 2-line initials in white-patterned blue against a gold ground with trilobe leaf infilling; 1-line initials, ribbon and dot line fillers in burnished gold and white-patterned blue and dark pink; initials in the text touched in yellow; rubrics in red. Traced borders on every page running the length of the text, comprised of black ivy spray, blue and gold acanthus, flowers and an occasional bird, insect or grotesque.

Thirteen large miniatures above 4 lines of text, enclosed by painted gold architectural frames; both text and miniature surrounded by full borders of painted gold with multicolored acanthus leaf foliage and grotesques. The miniatures are: f. 7 (Gospel of John), John on Patmos; the frame of gold columns; with inset blue panels; f. 19 (Hours of the Virgin), Annunciation, seen through jewelled columns; the outer border consists of a series of small vignettes showing the meeting of Joachim and Anne at the Golden Gate, the birth of the Virgin, Mary ascending the steps to the temple, Mary weaving while an angel holds her book open, the betrothal of Mary and Joseph; this leaf by a less capable artist than the rest of the book; f. 34v (Lauds), Visitation, done by a more competent artist; f. 42v (Prime), Nativity with Joseph warming the infant's swadling clothes by the fire; f. 46v (Terce), Annunciation to the shepherds, with 2 angels in the sky holding a scroll inscribed ?Gloria?; f. 49v (Sext), Adoration of the Magi; f. 52v (None), Presentation in the temple; f. 55v (Vespers), Massacre of the Innocents by 2 soldiers while Herod, enthroned, watches; through an open window the Holy Family is seen fleeing to Egypt; opening leaf for compline missing; f. 64 (Hours of the Cross), Crucifixion with Mary, John and others to Christ's right, and the soldiers to his left; f. 66v (Hours of the Holy Spirit), Pentecost; f. 69 (Penitential psalms), David watching Bathsheba at her bath; in place of the usual floral border, the architectural columns occupy the entire space, and bear statues of cupids at the top, and, in a freize at the bottom, images of David handing the letter to Uriah and of Uriah being killed in battle; the 4 lines of text on this leaf decorated to appear as if inscribed on a scroll; f. 81v (Office of the Dead), Death, as a corpse astride a bull, attacking a lady with his lance; others lie already dead on the ground; f. 109 (Obsecro te), Pietà. Smaller miniatures are: f. 9, 8-line, half of the width of the text, in a simple gold frame, Luke; f. 10v, 8-line, Matthew; f. 12, 8-line, Mark; f. 13 (followed by a blank opening, ff. 13v-14), a full page miniature divided into 4 compartments by the painted gold architecture showing the Crucifixion, Deposition, Pietà and Entombment; f. 14v (Ave cuius conceptio), 8-line plus the height of the arch, Anne in prayer with the rayed image of the yet unborn Virgin shining through her womb; f. 17 (Illumina oculos meos), 8-line plus the height of the arch, Bernard writing while the Devil steals his ink-well; f. 112 (O Intemerata), 10-line, the Virgin and Child on a crescent; f. 122, 10-line, Michael, seen in half-length, holding the scales; f. 122v, 9-line, John the Baptist pointing to the Agnus Dei which he holds in his hand; f. 123, 9-line, John the Evangelist holding the snaky chalice; f. 123v, 11-line, Peter and Paul with their attributes; f. 124, 9-line, James the Greater holding his staff and books; f. 124v, 11-line, Stephen; f. 125, 11-line, Mary Magdalene; f. 125v, 12-line, Catherine of Alexandria; f. 126, 11-line, Margaret; f. 126v, 9-line, Barbara; f. 127v, 9-line, Apollonia. Miniatures in the calendar represent the occupations of the month at the top of the page, enclosed by gold columns and a half-oval arch; the zodiac signs are in rectangular frames at the foot of the page; the border completed on all four sides by the same style floral pattern as in the rest of the book.

3-line initials as shaded white ribbons against square painted gold grounds decorated with black ink dots and commas, and with naturalistic flowers or strawberries in the infilling; 3-line initial, f. 7v, in faceted gold against a blue ground decorated with white sprays; some 3-, and all 2- and 1-line initials in painted gold on gold decorated blue, brick red or ochre grounds; ribbon line fillers in these colors. Rubrics in blue. Traced band borders on every page, running the length of the text, outlined in black, in the same style as the full borders, each with a large grotesque.

Twelve full page miniatures, which were all on inserted singletons and presumably blank on the recto, have been cut from the manuscript. The remaining illuminations are those of prayers, suffrages and Gospel pericopes, usually 6-line, in grisaille technique of shaded whites, highlighted in gold, often set against gold-patterned maroon drapes. A number of the miniatures, although simpler in execution, have followed the same model as certain miniatures attributed to the Master of Mary of Burgundy; the references to plates in the following description indicate those in G. I. Lieftinck, (Brussels 1969). Full borders on the leaves with extant miniatures and on the leaves facing the removed miniatures, with ground of gold paint dabbed over a colored surface or of a color (pink, blue-grey, red, yellow-green), and decorated with realistic flowers, insects, and branchy acanthus leaves (Lieftinck, pl. 39). Depth added to the borders by raised gold dots and ovals, some of which have flaked off down to the base coat; there is no indication here of a previous ivy spray border, in which gold dots were painted over, as noted by J. J. G. Alexander regarding Oxford, Bod. Lib., Douce 219-220 in his introduction to (New York 1970) p. 14. The miniatures are: f. 12 (Stabat mater), Pietà; f. 13v (Obsecro te), the Virgin, standing, holding the Child, 4-line; f. 17v (O Intemerata), the Virgin sitting holding the Child, 4-line; f. 20 (Trinity), the Trinity as three glowing gold circles emanating gold rays through a white field which shades into rose; f. 21, John the Baptist holding the Lamb and pointing to his neck; f. 22 (All Angels), Christ's face in gold highlights surrounded by worshipping angels, also picked out in gold against a deep rose ground; f. 23, Michael with upraised sword vanquishing 2 devils at his feet (Lieftinck, pl. 137); f. 23v, Nicholas seated before the 3 children in a tub (Lieftinck, pl. 196); f. 24, Francis showing the stigmata; f. 25, Anthony of Padua standing before a maroon drape holding a crucifix and a book; f. 25v, John the Evangelist holding a chalice; f. 26, Sebastian; f. 27, Jerome holding a rock with which he has been beating his chest, and gazing at a crucifix, against a background of green foliage; f. 28, Anne standing beside the Virgin, herself a child who holds the infant Jesus (Lieftinck, pl. 34); f. 29, Catherine standing before a maroon drape patterned with gold wheels, and holding a sword and a book; f. 29v, Agnes holding a lamb on a book; f. 30v, Apollonia holding the pincers with a tooth (Lieftinck, pl. 260); f. 31, Elizabeth, crowned, and holding a crown and a coin before a maroon ground; f. 32, Barbara holding a palm frond and touching the tower with her left hand; f. 33, Mary Magdalene holding the pot; f. 34, Margaret with the head only of the dragon visible, stretching up towards her hand and the cross in it; f. 34v, Leonard holding fetters and a book; f. 49, John on Patmos (Lieftinck, pl. 246); f. 51, Luke with the ox (Lieftinck, pls. 117 and 249); f. 53, Matthew with the angel (Lieftinck, pls. 123 and 247); f. 55, Mark with the lion (Lieftinck, pl. 122).

Set into the space of the illuminations are 1-line initials, shaped from a white acanthus leaf, against a squared gold-sprinkled light brown ground (Lieftinck, pl. 123). Facing the presumably excised full page illuminations are 6- or 5-line initials, as white or brown branches and leaves, highlighted in gold against a square brick-red or brownish-green ground, lightly stippled in gold, infilled on f. 56 with a bird pecking at a daisy, or with a flower alone (Lieftinck, pl. 149). Minor initials, 2- or 1-line, of white branches against square brown grounds, stippled in gold, with the same colors used for the ribbon line fillers in the litany. Rubrics in red.

Full page miniatures, executed on the versos of inserted singletons, blank on the rectos; 11 are extant; presumably another 3 were once in the manuscript for terce, sext and the Office of the Dead. The miniatures are enclosed by brightly painted borders of strewn flowers, branchy acanthus, strawberries, insects and birds, of rather poor quality; the facing rectos have similar borders and 4-line initials of branchy acanthus against square colored grounds with a flower in the infilling. The miniatures are: f. 14v (Hours of the Cross), Crucifixion with Mary and John; f. 23v (Hours of the Holy Spirit), Pentecost; f. 31v (Hours of the Virgin), Annunciation; f. 43v (Lauds), Visitation, outside the gates of a town; f. 56v (Prime), Nativity; f. 72v (None), Presentation in the temple; f. 78v (Vespers), Flight into Egypt with falling idol in the background; f. 87v (Compline), Coronation of the Virgin before the Father and the Son as separate figures with the Dove above them; f. 93v (Salve Regina), the Virgin, standing, holding the Child, before an open book; f. 103v (Penitential psalms), David in prayer, facing God the Father, who is depicted in the historiated initial on the facing page; f. 122 (Office of the Dead), text begins with a historiated initial of a skull, the lower border contains the nude body of a dead woman; f. 187v (the 7 O's of Gregory), John the Baptist, sitting, holding a book and pointing to the Lamb, while in the background he is shown beheaded, as the executioner places his severed head on Salome's plate. An 11-line miniature, f. 177 (Missus est gabriel) depicts the 4th vision of Mary when she saw her Son risen. Fourteen small miniatures, 7-line: f. 167 (Obsecro te), John supports the body of Christ while Mary and another woman worship him; f. 171 (O Intemerata), Christ showing his wound, and Mary her breast, with God the Father in the background; f. 184v (Stabat mater), Crucifixion; f. 190v (Trinity), God supporting the body of Christ, with the Dove above them; f. 191, Peter and Paul; f. 192, Sebastian, in armor, holding arrows; f. 193, Anthony abbot; f. 194, Adrianus in armor with sword and lion; f. 194v, Piatus in priestly garb, holding the sliced-off top of his head; f. 195, Mary Magdalene; f. 195v, Julian and his wife ferrying the leper across the river; f. 196, Catherine; f. 197, Barbara reading in front of the tower; f. 198 (Holy Spirit), Pentecost; f. 199, Roch showing the sore on his leg to an angel.

2-line initials in branchy white acanthus leaves on olive-green square grounds with gold flecked lines for depth; 1-line initials of painted gold on blue or maroon square grounds. Rubrics in red.

Twelve large miniatures above 3 lines of text in squared frames, in an unusual style, the figures being painted with large heads and in dark tones, possibly by more than one artist. The miniatures are: f. 12 (Hours of the Virgin), Annunciation; f. 30 (Prime), Nativity; f. 33v (Terce), Annunciation to the shepherds; f. 36v (Sext), Adoration of the Magi; f. 39 (None), Presentation in the temple; f. 42 (Vespers), Flight into Egypt; f. 46 (Compline), Coronation of the Virgin by 2 angels before God the Father; f. 49v (Hours of the Cross), Crucifixion, with the 2 thieves painted in what would have been the upper portion of the outer border; f. 51v (Hours of the Holy Spirit), Pentecost; in the outer border 2 small strips from an earlier manuscript of geometric blue and gold acanthus design were glued over blank parchment before the illumination was painted; f. 53v (Penitential psalms), David enthroned, his counselors and harp behind him, watching a gentleman handing the letter to Uriah; outer border with glued-in strips as on f. 51v; f. 65v (Office of the Dead), Job on the dunghill; f. 161 (the 7 O's of Gregory), Vision of St. Gregory at Mass; outer border composed of rectangles containing flowers and the initials R, E, GI contracted (?) and N against a painted gold ground. Four historiated full borders: the border for John missing; f. 9, Luke, in the initial M, with the ox in a compartment of the border, which also includes a grotesque playing bagpipes and two half-snail, halfputto figures gathering strawberries; f. 9v, Matthew and his angel, whose wings extend into the initial's space, the initial, therefore, compressed into a small 1-line space of that area; with ox and snail-putti traced through from the recto; f. 10v, Mark in the border, his lion crouching on a bookstand in the space reserved for the initial; in the outer border 2 putti sitting in cherry trees, picking the fruit; f. 23v (Lauds), Visitation, with a grotesque playing an instrument in the border. Small miniatures, ca. 50 × 30 mm., placed in the band border which runs the length of the text, in the outer margin; where applicable, the flowered portions of the border are traced through from recto to verso; the miniatures are: f. 11 (Salve regina), Virgin and Child; f. 102 (Adoro te deus pater), Jesus holding a globe and blessing; f. 102v (Adoro te domine ihesu christe), Man of Sorrows; f. 103 (Adoro te spiritus paraclite), Pentecost; f. 113 (Deus propicius esto michi peccatori), Michael holding a scale with 2 small naked souls, and vanquishing the devil; f. 118 (Obsecro te), the Virgin holding the infant Jesus already covered with his wounds; f. 120v (Ave cuius conceptio), the Virgin as Queen of Heaven, nursing the Child, in a crescent; f. 121 (Stabat mater dolorosa), Pietà; f. 126, John the Baptist pointing to the haloed Lamb whose front hooves are hooked over the edge of the miniature; f. 127, John the Evangelist holding the snaky chalice; f. 127v, Eutropius in bishop's garb, being beheaded; f. 128, Stephen with stones and book; f. 128v, Denis holding his severed head; f. 129, Sebastian; f. 129v, 2 miniatures: George and Benedict; f. 130, 2 miniatures: Francis receiving the stigmata from the winged crucifix, and Anthony abbot; f. 130v, Nicholas; f. 131, Martin; f. 131v, 2 miniatures: Joachim holding a staff, the other hand hooked on his belt, and Anne teaching the Virgin to read; f. 132, Avia in prison receiving the Eucharist from the Virgin; f. 132v, Catherine of Alexandria; f. 133, Mary Magdalene; f. 133v, Barbara; f. 134, Apollonia; f. 134v, Opportuna in her habit as abbess; f. 135, 2 miniatures: Fiacre dressed as a hermit and holding his spade and a book, and Maturinus with his shepherd's crook and the sheep in the background; f. 135v, James the Greater with a pilgrim's staff; f. 136 (Passion according to John), full border, in dark tones, possibly by a different artist, with successive vignettes of the Agony in the Garden, Christ washing the Apostles' feet, and the Last Supper; f. 136v (idem), Judas kissing Jesus who is about to heal Malchus' ear; f. 137 (idem), Christ, blindfolded, being slapped by a group of men; f. 137v (idem), Christ before Caiaphas; f. 138 (idem), Christ before Pilate; f. 138v (idem), Scourging at the pillar; f. 139 (idem), Mockery of Christ; f. 139v (idem), Pilate washing his hands; f. 140 (idem), Road to Calvary, and Christ being stripped of the seamless tunic; f. 140v (idem), Crucifixion with Mary, John and Mary Magdalene, and Stephaton offering the vinegar-soaked sponge; f. 141 (idem), Deposition from the Cross; f. 141v (idem), Entombment and in another miniature, Peter; f. 142, 2 miniatures: Paul and Andrew; f. 142v, John the Evangelist holding a shepherd's crook; f. 143, Bartholomew holding a knife; f. 143v, 2 miniatures: Matthew the Evangelist holding a book and a halberd, and Thomas the Apostle holding a book and a lance; f. 144, Philip holding a tau-cross, and James the Less (or Philip again?) holding a Greek cross on a staff; f. 144v, 2 miniatures: Simon holding a falchion, and Matthias holding an ax; f. 145, Barnabas in prison, holding a book, presumably the gospel of Matthew; f. 145v, Mark; f. 146, Luke; f. 146v (Domine deus omnipotens qui es trinus et unus), Gnadenstuhl; f. 149v (Conditor celi), Christ on a rainbow showing his wounds; f. 151v, 2 miniatures: Leonard with his fetters, and Lupus in bishop's garb; f. 152v, Renatus, the full length of the band border, in bishop's garb; f. 153, 2 miniatures: Cosmas and Damianus, and Margaret; f. 160, Christopher; f. 160v, Lawrence.

Simple band border on f. 96 (Rogo te sancte angele). 6-line initial on f. 11 (Salve Regina) formed by a 2-headed snake biting branches with both mouths. 4- and 3-line initials in white-shaded blue, red or grey infilled with naturalistic flowers, set against a painted gold ground; 3-line initials in gold-decorated red on square blue grounds; 2- and 1-line initials in painted gold on blue or brick red grounds; ribbon line fillers in the same colors; initials within the text touched in yellow. Rubrics in a very pale pink.

Twelve miniatures within square compartments above 4 lines of text; both text and miniature enclosed by U-shaped frames which derive from the initial; the miniatures, set against diapered backgrounds and with green grass as the base, are: f. 18 (Hours of the Virgin), Annunciation, with God the Father appearing in an aperture at the top of the miniature; the outer border contains regular swirls of narrow pink or blue vines with trilobe leaves in these colors and in gold, although both the gold and the miniature itself are badly rubbed; opening leaf for lauds missing; f. 52v (Prime), Nativity with the Virgin lying on an orange-draped bed and reaching to the Infant in a manger, while Joseph, propped against the foot of the bed, dozes; outer border of black ink vines with spiky gold trilobe leaves; f. 59 (Terce), Annunciation to the shepherds; outer border as on f. 52v; f. 64 (Sext), Adoration of the Magi; in the outer border both the pink and blue swirled branches and the black vine spray; f. 68v (None), Presentation in the temple; border as on f. 64; f. 73 (Vespers), Flight into Egypt; outer border formed of black ivy spray completed in the lower margin with spiky gold trilobe leaves, and on the outer and upper margins with orange, blue and gold rayed tear-drop leaves and an occasional star-flower; f. 80 (Compline), Coronation of the Virgin, who sits with hands folded in prayer beside God the Father on a pink bench decorated with acanthus leaves; the outer border contains gold and colored rayed tear-drop leaves and a few fleshy acanthus leaves in orange and blue; f. 85v (Penitential psalms), David, kneeling in a fantastic landscape of twisted green hills and two trees, looks up at God the Father who appears in a dark blue aperture in the diapered background; outer border as on f. 64; opening leaf of the Hours of the Cross missing; f. 107 (Hours of the Holy Spirit), Pentecost, with a dense outer border of bright orange, blue and gold rayed tear-drop leaves and star-flowers and 3 grotesques (plus a fourth in the initial); f. 114 (Office of the Dead), 3 singing monks and a group of mourners clustered about a blue-draped coffin; the outer border of a rather sparse black vine with spiky trilobe leaves in oxidized silver, and, in the lower margin, a few colored or gold tear-drop leaves and star-flowers, larger than those on f. 107; f. 160v (Doulce dame de misericorde), the Virgin sitting on the same pink bench as on f. 80, and putting her arms around the Child who stands next to her on the bench; outer border with oxidized silver trilobe leaves and tear-drop leaves, and, especially in the lower margin, blue and pink circle and star-flowers; f. 167 (Doulz dieu doulz pere), Last Judgment, with Christ on a rainbow showing his wounds; the outer border contains small, dense, rayed gold tear-drop leaves and several clusters of fleshy blue, orange and olive green acanthus leaves, with daisy buds, prickly pear fruit and a trumpet flower; along the inner margin are 4 scrolls, the last out of alignment with the others which are now painted over in white, apparently to cover writing underneath (?); a small dragonlike grotesque in pale ink among the flowers of the lower margin, as if unfinished or due to a change in program.

3-line initials in white-decorated blue or pink on gold grounds with colored trilobe leaf infilling, that on f. 107 also containing a grotesque; 3-, 2- and 1-line initials in burnished gold on pink grounds with blue infilling or vice versa. The flourished extensions of the 2-line initials consist of sprays of black-ink stems and squiggles and some colored buds, in 3 styles: i, up to f. 25v; ii, on the versos and conjuncts of illuminated leaves; iii, the most frequent form, with green also being used for the buds. Ribbon line fillers and single flowers for the same purpose in pink, blue and gold. Rubrics in an orange-tinged red, except for those of the calendar which are in a washed-out pink.

Fourteen full page miniatures, of which 6 are original (with some retouching), and the others are later additions by Caleb W. Wing (corrected form of the name kindly communicated to us by Janet Backhouse); see J. Backhouse, ?A Victorian Connoisseur and his manuscripts: The Tale of Mr. Jarman and Mr. Wing,? 32 (1967-68) 76-92. The original miniatures are part of the quire structure with text on the reverse side and they introduce major divisions (except for that on f. 34v, for prime); the additions are singletons, blank on the reverse; they are placed at minor divisions (Gospel of John; internal hours of the Virgin, except for prime; Obsecro te) and they interrupt the flow of the text. A number of the bracket borders which surround the facing text at these divisions were also added at the later time. The miniatures and the borders on opposing text pages are: ff. 13v-14 (Gospel of John), John on Patmos, both the miniature and the facing border are added; ff. 15v-16 (Hours of the Virgin), Annunciation, the miniature original with possible retouching on the faces, the facing border added; ff. 24v-25 (Lauds), Visitation, the facing border is original, the miniature added; ff. 34v-35 (Prime), Nativity, the miniature original with possible retouching of the faces, the facing border added; ff. 39v-40 (Terce), Annunciation to the shepherds, both the miniature and the facing border are added; ff. 43v-44 (Sext), Adoration of the Magi, the facing border is original, the miniature added; ff. 47v-48 (None), Presentation in the temple, both the miniature and the facing border are added; ff. 51v-52 (Vespers), Flight into Egypt, the facing border is original, the miniature added; ff. 58v-59 (Compline), Massacre of the Innocents, the facing border is original, the miniature added; ff. 63v-64 (Hours of the Cross), Crucifixion, the miniature is original, the facing border added; ff. 66v-67 (Hours of the Holy Spirit), Pentecost, the miniature is original, the facing border added; ff. 69v-70 (Penitential psalms), Last Judgment, the miniature is original, the facing border added; ff. 84v-85 (Office of the Dead), Funeral in a church, the miniature is original, the facing border added; ff. 106v-107 (Obsecro te), Coronation of the Virgin, the facing border is original, the miniature added.

Major initials, 5- or 4-line, in shaded pink or blue, with flowers on a gold infilling, the whole against a shaded ground of the other color; or, more commonly, as a shaded white ribbon with white flowers or leaves on the gold infilling, the whole set against a square of gold-patterned red. 2- and 1-line initials, in painted gold against alternating brown, blue or red square grounds; line fillers in these colors or as gold logs. Rubrics in red.

Five large miniatures, simply done, above 4 lines of text, enclosed by a narrow gold frame on 2 sides and with a small amount of gold tracery at the top; the outer borders with compartmentalized divisions of natural parchment or painted gold grounds, both with blue and gold acanthus leaves and colored flowers. The miniatures are: f. 23 (Hours of the Virgin), Annunciation; f. 69 (Penitential psalms), David, supporting his harp with one hand, and kneeling in prayer, while God the Father appears in a blue-rimmed yellow aperture in the sky; f. 86v (Hours of the Cross), Crucifixion with Mary and John on either side; f. 90 (Hours of the Holy Spirit), Pentecost; f. 93 (Office of the Dead), burial scene in a churchyard, with the corpse being lowered into the grave by a young man, while mourners and priests look on. Seven smaller miniatures, 50 × 38 mm., possibly by a different artist, enclosed in frames of simple gold arches, with bracket borders set to the left of the text consisting of a gold and color strip along the text, and acanthus leaves and flowers. The miniatures are: f. 33 (Lauds), Visitation; f. 43 (Prime), Nativity, with the Baby lying on an extension of the Virgin's robe; f. 47v (Terce), 33 × 33 mm., Annunciation to the shepherds; f. 51 (Sext), Adoration of the Magi; f. 54 (None), Presentation in the temple; f. 57 (Vespers), Flight into Egypt; f. 62v (Compline), Coronation of the Virgin, who kneels before Christ, with blue swirling clouds at the lower right corner.

3-line initials in white-patterned blue on gold grounds with colored trilobe leaf infilling; 2- and 1-line initials in gold on dark pink grounds with blue infilling or vice versa; ribbon line fillers in the same colors; initials within the text touched in yellow. Rubrics in dark pink.

Six major initials: ff. 15 and 45v, 8-line, in parted red and blue, infilled with a void leaf design produced by purple cross-hatching; red and blue cascades, and penwork in red, light blue and purple forming bracket border; ff. 66 (7-line), 83 (6-line), 97v (3-line), 111 (6-line), parted red and blue with red leaf infilling, and penwork borders; 4-line initials in plain blue; 2-and 1-line initials alternating red and blue; slashed initials within the text, underlined words and rubrics in red.

Only one miniature survives; the remaining 12 (?) were apparently cut out, as indicated by the loss of text at the beginning of each section, by the presence of some stubs at those points and by the offset of color onto the presumed facing pages. The surviving miniature, f. 75v, in a square compartment above 5 lines of text with both text and miniature surrounded on 4 sides by a narrow gold and color bar frame out of which sprout narrow dark pink or blue branches with gold, blue and orange trilobe leaves, and a dragon-grotesque, a bird, and a half-man half-cat grotesque with a golden aspergillum and situla; in the space between the bottom of the text and the frame are a dog and a hare on a green grass base. The miniature, for the Hours of the Holy Spirit, shows Jesus being baptized in the river Jordan by John the Baptist who pours water over Jesus' head with his right hand and holds the Agnus Dei in his left; an angel stands on the left bank holding Jesus' tunic, while God the Father from a golden aperture in the gold-patterned blue sky sends down the Dove. The miniature was apparently over-painted in the late fifteenth century as indicated by the deep modelling of the figures, the shadow of Jesus' body seen through the water and the soft trees and grass.

3- and 2-line initials in white-patterned blue on burnished gold grounds with colored trilobe leaf infilling; 1-line initials in burnished gold alternating pink and blue for the infilling and the background; ribbon line fillers in the same colors. Rubrics in deep red. Narrow gold and color bar frames sprouting colored ivy branches on every page, placed on either side of the text; they occasionally terminate in grotesques. On the opening leaves of each month of the calendar and on occasional other leaves (13v, 71), the frame is U-shaped. On ff. 27-34v and 119-126v, which constitute quires, and on the single leaves ff. 139-140v, the border is of somewhat coarser execution.

Fifteen full page miniatures on the versos of inserted singletons, blank on the rectos; in slightly arched compartments surrounded by full borders, usually consisting of realistically painted flowers, branchy acanthus leaves, insects, and birds strewn on a gold field, textured through stippling or dabbed paint; matching borders on the facing rectos, with 5-line branchy acanthus leaf initials. The miniatures are: 15v-16 (Hours of the Cross), the Crucifixion, with Mary and John on Jesus' right, the soldiers on his left; in the border, the Passion in a series of vignettes: Christ at Gethsemane, praying to God in the heavens, with the apostles below; Judas kissing Christ who holds Malchus' ear; Christ before Pilate and then being lead away; flagellation; the mocking of Christ; the devil handing a rope to Judas as he climbs a tree; the road to Calvary; Judas hanged. On f. 23v (Hours of the Holy Spirit), Pentecost; f. 30v (Mass of the Virgin), the Virgin supporting the Child on a pillow with a canopy above them; ff. 43v-44 (Hours of the Virgin), the Annunciation, and in the border, the tree of Jesse with the generations of Christ, clusters of grapes and grape leaves; f. 63v (Lauds), Visitation in front of a substantial pink house; f. 76v (Prime), Nativity, above a vaulted stone chamber with a pillar; f. 82v (Terce), Annunciation to the shepherds with the angel in a multicolored cloudy sky; f. 88v (Sext), Adoration of the Magi; f. 91v (None), Presentation in the temple; f. 96v (Vespers), Massacre of the Innocents, with one mother hitting a soldier with a wooden ladle; f. 105v (Compline), Flight into Egypt: the Virgin, riding a donkey, nurses her Child while a palm tree bends over them, with the soldiers and the cornfield in the background; f. 111v (Advent office), Coronation of the Virgin, who kneels before the Father and the Son, both wearing the same cloak while the Dove hovers between them; f. 145v (Penitential psalms), David in prayer and the angel sheathing his sword; f. 168v (Office of the Dead), a man lying dead on his bed; with an angel protecting his small naked soul from an attacking devil. Twenty-three 7-line miniatures with bracket borders to the left of the text in the same style as the full borders: f. 37 (Gospel of John), John on Patmos; f. 38v, Luke writing at a desk; f. 40, Matthew writing, with the angel at a smaller desk; f. 41v, Mark with the lion; f. 121 (Obsecro te), John supporting the body of Jesus while Mary worships him; f. 125 (O Intemerata), the Virgin, holding the Child, sits within a wattle-enclosed garden; f. 129 (O bone ihesu), the Child, sitting on a large pink cushion wearing a coral necklace and playing with another; f. 131v (prayer of Gregory), Vision of St. Gregory; f. 136, John the Baptist, seated, points to the Lamb; f. 136v, Peter and Paul holding their attributes in a green landscape; f. 137, James with staff, pouch and knapsack; f. 138, Adrianus, with sword, anvil and lion (presumably conflating the Adrianus martyred at Caesarea and the one put to death in Nicomedia); f. 138v, Sebastian, fully clothed, holding arrows; f. 139v, Michael fighting 2 devils; f. 140, Francis showing the stigmata; f. 140v, Anthony abbot, reading, his book propped on a wattle fence and the pig behind him; f. 141v, Nicholas seated before the 3 children in a tub; f. 142, Anne, seated, reading in an enclosed garden, while Mary, kneeling, supports the infant Jesus against Anne's knees; f. 142v, Mary Magdalene, nude except for a cloth about her waist, praying, the pot and cave behind her, the entire view seen between parted curtains in the foreground; f. 143, Catherine, holding wheel and sword; f. 144, Barbara; f. 144v, Margaret in prison, emerging from the dragon; f. 213 (Athanasian Creed), Athanasius, with bishop's mitre, sitting before a red drape and holding a book.

In the calendar, bracket borders to the left of the text begin each month with square inserts in the upper margin for the sign of the zodiac and in the lower margin for the occupation of the month. Secondary initials, 2- and 1-line, in painted gold on square light-brown grounds with gold tracery; ribbon line fillers in the same colors. Rubrics in pink-tinged red.

Initials, 3-line, in painted gold and decorated with pale red flourishes, set within double ruled gold square frames; 1-line initials in red or gold. Major divisions signalled by rubrics in gold square capitals; other rubrics in red or painted gold in the script of the text.

Opening initial, f. 1, 6-line, in patterned dark pink on a cusped gold ground with infilling of colored trilobe leaves; U-shaped frame around text of colored and gold strips; reversed C-shaped bracket border of black ivy spray, with a burst of red and blue acanthus leaves at the upper right corner, and a dark pink and green burst in the lower right corner; multicolored flowers and gold motifs. 2-line initials in gold on blue or dark pink ground with infilling of the other color; 1-line initials in blue with red penwork or in gold with black penwork. Rubrics in red. Some marginalia, f. 10v.

Twelve large miniatures above 5 or 4 lines of text, with both text and miniature enclosed by painted gold architectural borders; the paintings may have been added in the early sixteenth century in the empty spaces reserved for that purpose, since the style of the illuminations and that of the initials seem at variance. The miniatures are: f. 7 (Passion according to John), above 5 lines of text, Betrayal in the Garden with Judas holding the bag of silver in his hand and kissing Jesus on his right cheek; Malchus with his bloody ear crouches below Peter; f. 21 (Gospel of John), above 5 lines of text, John, full-length, holding the snaky chalice, with 2 poisoned prisoners at his feet; f. 40 (Hours of the Virgin), Annunciation; f. 68 (Lauds), the Tiburtine Sibyl presenting the vision of the Virgin and Child to Augustus; 4 men stand in an arched cloister in the background; f. 81 (Prime), Nativity; opening leaf of terce missing; f. 91 (Sext), flaking, Adoration of the Magi; f. 95v (None), Presentation in the temple; f. 100 (Vespers), Flight into Egypt, with the Holy Family being accompanied by 2 angels; f. 108 (Compline), Dormition of the Virgin; f. 114 (Hours of the Cross), flaking, Crucifixion, with Mary, John and Mary Magdalene on Christ's right and the soldiers on his left; f. 118v (Hours of the Holy Spirit), Pentecost; f. 122 (Penitential psalms), David sending Uriah into battle; opening leaf for the office of the dead missing. Small miniatures, approximately 45 × 38 mm., enclosed by simple gold frames, while the entire page is framed by painted gold or colored architectural columns, are: f. 23v, Luke, seated in front of an easel painting an image of the Virgin from a smaller one propped above it on the easel, as the winged ox approaches from the left; f. 25v, Matthew, seated writing, with his left hand following the words in a book held by the angel; f. 27v, Mark, writing from 2 books set open on a lectern, with the winged lion below; f. 29 (Obsecro te), Pietà, with John the Baptist presenting a woman to Mary and the dead Christ; f. 34 (O Intemerata), the Virgin, seated, holding the Child with angels playing musical instruments on either side; f. 37v (Stabat mater), Crucifixion with Mary and John.

4- and 3-line initials in white-patterned blue on burnished gold grounds with colored trilobe leaf infilling; 2- and 1-line initials in gold on blue grounds with dark pink infilling, or vice versa; ribbon, dot and flower line fillers in the same colors; initials within the text touched in yellow. Rubrics in a bright orange-red. Two 2-line initials on f. 195r-v in painted gold on square faded maroon grounds; in the lower margin of f. 195 green brush strokes, as if to make a plant; in faded green ink on f. 195v: ?finis; christum dominum nostrum.?

Thirteen large miniatures in painted gold architectural frames, enclosing the full page scene on which the 3 lines of text appear as if imposed. The illuminations are: f. 1 (Gospel of John), John on Patmos; f. 21 (Lauds), Visitation; f. 29v (Prime), Nativity; f. 33 (Terce), Annunciation to the shepherds; f. 36v (Sext), Adoration of the Magi; f. 40 (None), Presentation in the temple; f. 43v (Vespers), Flight into Egypt; f. 48v (Compline), Coronation of the Virgin, sitting before Christ, with a chorus of angels behind them; f. 61 (Penitential psalms), David from a window watching Bathsheba bathing in a fountain; f. 77 (Hours of the Cross), Crucifixion with Mary and John on Christ's right, the soldiers on his left; f. 80 (Hours of the Holy Spirit), Pentecost; f. 83 (Office of the Dead), Job on the dunghill; f. 118 (prayer to the Trinity), the Father and the Son wearing one cloak and holding a book, while the Dove hovers above them. Similar miniatures, also in painted gold architectural frames, varying in size from 16-line on f. 2v to 8-line (the most common): f. 2v, Luke; f. 4, Matthew; f. 5, St. Mark's lion, but without wings, placed below the end of Matthew; f. 5v, Mark; f. 6v (Obsecro te), Virgin and Child; f. 119 (Oratio ad deum patrem), God the Father, holding an orb and wearing a papal tiara; f. 119v (prayer to Jesus), standing holding an orb; f. 120 (prayer to the Holy Spirit), Pentecost; f. 120v (Salve sancta facies), Veronica; the remaining 18 miniatures for the suffrages show the saints with their attributes.

3- and 2-line white initials on square brick red grounds with gold tracery, infilled with a flower; 1-line initials in gold paint on alternating brick red or blue square grounds; ribbon line fillers in the same colors. Band borders the length of the text on all pages, except those with architectural frames, in painted gold with acanthus leaves, flowers, barries and strawberries.

Seventeen miniatures (all but 2, on ff. 10v, 28), 56 × 39 mm., enclosed by simple gold frames with decorative molding diagonally across the 2 upper corners, probably by Simon Bening. The miniatures with their frames were painted on rectangles of parchment which were then glued to the folios (sometimes singletons, sometimes part of the quire structure); a second artist, less capable, then painted over the join to form an illustrated space of 82 × 84 mm., set above 6 lines of text written in gold humanistic script on dark colored grounds; the entire area is framed in gold strips of wood molding, and the same frame surrounds the text on the facing page. Copies or echoes of engravings by Martin Schongauer occur in the miniatures of the Crucifixion (Lehrs 12), Flagellation (Lehrs 22), Mocking of Christ (Lehrs 23), Road to Calvary (Lehrs 9) and Resurrection (Lehrs 30)1; for this practice in other manuscripts illuminated by Simon Bening, see M. Kupfer-Tarasulo, ?Innovation and Copy in the Stein Quadriptych of Simon Bening,? 42 (1979) 274-98, and ?A Rosary Psalter illuminated by Simon Bening? 9 (1979) 209-23.

The miniatures are: f. 10v (Orationes in surrectione lecti), the second artist has done the entire picture showing Christ as Salvator Mundi in half-length; in the space below the picture, a coat of arms (see below) instead of text; f. 18v (Hours of the Cross), Crucifixion with Mary and John in the small painting, and Renaissance ornament in the border painted over the join; f. 23v (Hours of the Holy Spirit), Pentecost, with Renaissance ornament in the outer area; f. 28 (Hours of the Conception), a single large miniature, by the second artist, showing the meeting of Joachim and Anne at the Golden Gate, with 2 women on the right, a shepherd on the left, and an angel above; f. 34v (Hours of the Virgin), Annunciation; a line through the angel has been badly rubbed due to buckling in the onlaid parchment; in the outer area the second artist has extended the city seen through the open loggia of Mary's house; f. 48v (Lauds), Visitation, at closer range than the other onlaid miniatures; the second artist has painted 2 angels in camaïeu d'or who support the picture of the first artist; this leaf and the facing one are surrounded by a rich border of dark pink with gold Renaissance ornament, light blue cameos, laurel leaves and a laurel wreath containing a coat of arms (see below); the text on the recto of this singleton leaf is in the usual gold humanistic script on a dark ground; however, on the verso, the text is in 7 lines of the same round gothic script as the main text; f. 58v (Prime), Nativity, with Renaissance ornament in the outer border; f. 63v (Terce), Circumcision, with Renaissance ornament in the border; f. 68v (Sext), Presentation in the temple, with Renaissance ornament in the border; f. 73v (None), Agony in the Garden, with Renaissance ornament in the border; f. 78v (Vespers), Flagellation with Renaissance ornament in the border; f. 86v (Compline), Mocking of Christ; the second artist has painted a pastoral landscape as background to the onlaid miniature; f. 93v (Mass of the Virgin), Coronation of the Virgin by God the Father and the Son, as identical Jesus-like figures with the Dove between them; in the outer border, Renaissance ornament; f. 98v (Penitential psalms), Road to Calvary; the second artist has extended the scene with crowds curving up the hill and he appears to have continued the foliage from his border back into the onlay; f. 111v (Office of the Dead), Dormition of the Virgin, set against a pastoral landscape border; f. 140v (Gradual psalms), Resurrection, with a Renaissance ornament border; f. 151v (Orationes in introitu lecti), Ascension of Christ, against a landscape border which continues the scene begun in the inner frame.

6-, 5-, and 4-line initials as white or gold branches or ribbons against square speckled grounds of yellow, green, maroon or blue; those on f. 35 (Hours of the Virgin) and f. 99 (Penitential psalms) enclose naturalistic flowers. 3- and 2-line initials as white or gold branches on square maroon, blue or green grounds; 1-line initials in painted gold on maroon or blue square grounds; ribbon line fillers in gold-decorated olive green, maroon or blue; initials within the text touched in gold. Rubrics in pale red ink.