![HORAE, use of Sarum, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM. [Bruges, 1455-1460]](https://www.christies.com/img/LotImages/2001/NYR/2001_NYR_09878_0065_000(033318).jpg?w=1)
Details
HORAE, use of Sarum, in Latin, ILLUMINATED MANUSCRIPT ON VELLUM. [Bruges, 1455-1460]
(210 x 145mm). ii + 190 leaves: 12, 2-36, 48(i with miniature), 53(i with miniature), 64(i and iii with miniatures), 72(i with miniature), 86(i, iii and v with miniatures), 911(i, iv, and vi with miniatures), 109(iii with miniature), 119(viii with miniature), 125(iv with miniature), 135(iii with miniature), 146(i and iv with miniatures), 155(i with miniature), 169(ii with miniature), 179(v with miniature), 1811(i and v with miniatures), 199(i with miniature), 208, 219(iii with miniature), 22-238, 249(i with miniature), 259(vi with miniature), 269(iv with miniature), 277, all full-page miniatures on inserted singletons, complete except for the likely loss of an inserted leaf with a miniature before f.38, 19 lines written in black ink in a gothic bookhand between two verticals and 20 horizontals ruled in pink, justification: 118 x 65mm, rubrics in dark pink, text capitals touched yellow, one-line initials alternately of burnished gold flourished with blue and blue flourished with red, two-line initials of burnished gold against grounds and infills of both pink and blue with white penwork decoration, often including flowers or birds, and marginal sprays of gold leaves and small colored disks on hairline tendrils, six-line initials with monochrome patterned staves of blue against grounds of pink and burnished gold, the infills with tendrils of colored trefoils or fleshy acanthus leaves against gold, each of these TWENTY-EIGHT LARGE ILLUMINATED INITIALS ACCOMPANIED BY FULL-PAGE BORDERS with tendrils of fleshy curling acanthus leaves of blue, pink, green and orange against grounds of burnished gold surrounded by hairline sprays with leaves, disks and flowerheads of colors and gold, similar borders on the facing pages surround the TWENTY-SEVEN FULL-PAGE MINIATURES within frames with golden quatrefoils at the corners linked by fields of pink and blue bordered with burnished gold and patterned with liquid gold, EIGHT SMALL MINIATURES AND EIGHT HISTORIATED INITIALS each accompanied by a three-sided border, TWELVE DOUBLE CALENDAR MINIATURES (sewing holes from pilgrim badges on blank endleaf before Calendar and from protective curtains above miniatures, minor smudging of ink-outlining of some borders, occasional spotting and staining in margins, slight wear to surface of miniatures on ff.1, 7 and 68v and areas of wear or smudging of miniatures on ff.72v, 81v, 104v, and 108v, and to border on f.25). Brown morocco gilt, covers panelled in gilt and blind, edges gilt, by Bedford; quarter morocco folding case.
AN EXCEPTIONALLY RICHLY ILLUMINATED BOOK OF HOURS FROM AN IMPORTANT ENGLISH COLLECTION
PROVENANCE:
1. This manuscript is an eloquent demonstration of the sophistication of the Flemish book-trade in supplying manuscripts for an international clientele, whether for export abroad or for diplomats and merchants visiting or resident in Bruges. This book was intended for an English owner, and whoever directed the completion of the work had both textual content and style of decoration appropriately customized. It is not uncommon to find Bruges Books of Hours for the English market where the Calendar includes the feasts of English saints and the Offices of the Virgin and of the Dead are for the liturgical use of Sarum, but this manuscript is one of a more select group where the appearance as well as the content has been modified to suit the taste of an English owner. Not only does the script have an English aspect but the full-page borders also appear to be English, with plump fleshy acanthus leaves forming roundels at the corners and centres. They may be the work of an English illuminator resident in Bruges, but the hairline tendrils with which the acanthus is combined are thoroughly Flemish, and it is more likely that these borders are the work of an adaptable Bruges artist.
Although intended for export to England and certainly there by the end of the 17th century, the feasts and prayers for Thomas Becket were not defaced as so often happened after Henry VIII's 1535 decree.
2. Various inscriptions have been cancelled from the front endleaves, including the shelfmark O.10.6A, the date May 4 1698 and the price pret. 2:4:6.
3. W. Peckover: card with his name inside upper cover. This is likely to be William, a founding member of the Quaker banking family, who is known to have been purchasing Books of Hours in the 1820s.
4. Jonathan Peckover (1835-1882): his armorial bookplate inside upper cover, and a description of the manuscript, as M. 54, in his hand on the letterhead of Sibald's Holme, Wisbech, where he lived until 1877. Jonathan was the second son of Algernon Peckover of Wisbech (1803-1893) and nephew of William Peckover. When Jonathan died, unmarried, his manuscripts were divided among his brother and sisters. His elder brother, Alexander, was the noted book collector, who was created first Baron Peckover of Wisbech in 1907. Their sister Algerina inherited manuscripts from both her brothers and much of her collection was sold at Sotheby's during the 1920s. It is likely to have been Jonathan who had the manuscript rebound by Bedford and the card with the name W. Peckover pasted inside the upper cover. (For Alexander's use of Bedford to rebind manuscripts see lot 86, Christie's London, 11 July 2000.)
5. Alexander (1830-1919) or Algerina Peckover (1841-1927): the manuscript does not have Alexander's bookplate, but its subsequent ownership suggests that it may once have been his. On Alexander's death his collection was divided between his daughters and his sister Algerina. Although 'Algerina' is written in pencil on Jonathan's bookplate, the manuscript did not appear in any of the sales of her books in the 1920s and may have passed directly to Alexander's daughter Elizabeth Josephine (d.1930). She was married to the artist James Doyle Penrose.
6. James Doyle Penrose (1864-1932), son-in-law of Alexander Peckover: his signature on front endleaf. This manuscript was included in the sale of manuscripts that followed his death: Sotheby's, 4 April 1933, lot 373. It was sold to Perman.
7. Purchased from David Magee, San Francisco and Bill Fletcher, Cecil Court, London, 23 April 1974.
CONTENTS:
ff.1-12v Calendar; ff.14-20v Fifteen 'O's; ff.22-23v Prayer to the Trinity; f.25-40v Suffrages to Saints: John the Baptist f.25, Thomas Becket f.27, George f.29, Christopher f.31, Anne f.33, Mary Magdalene f.35, Catherine f.37, Barbara f.38, Margaret f.40; ff.42-86 Office of the Virgin, use of Sarum: matins f.42, lauds f.50 -- followed by Memorials to the Holy Spirit, the Trinity, the Cross, Saints Michael, John the Baptist, Peter and Paul, Andrew, Stephen, Lawrence, Thomas, Nicholas, Mary Magdalene, Catherine, Margaret, All Saints and the Holy Cross -- prime f.64, terce f.69, sext f.73, none f.76, vespers f.79, compline f.82; ff.88-98v prayers to the Virgin opening with a prayer to be said before an image of the Virgin, Salve virgo virginum stella matutina, and including O Intemerata (f.92v) and Obsecro te (f.94); ff.100-103 Seven Joys of the Virgin; ff.105-107v sequence of eight verse prayers to the Cross of Christ, the head of Christ, the wound in His right hand, the wound in His left hand, the wound in His side, the wound in His right foot, the wound in His left foot, the Virgin; ff.109-114 Suffrage to the Evangelist followed by Prayer on the Seven Last Words attributed to Bede and a series of communion prayers; ff.116-133v Seven Penitential Psalms followed by the Gradual Psalms and Litany; ff.133v-134 added prayer opening Sancta maria mater domini nostri; ff.135-156v Office of the Dead, use of Sarum; ff.158-170v Commendation of Souls; ff.172-176v Psalms of the Passion; ff.177-178 rubric to the Psalter of St. Jerome followed by a prayer opening Suscipere digneris domine deus omnipotens istos psalmos; ff.179-190 Psalter of St. Jerome; f.190v prayer opening Miserere mei deus added in a 15th-century English hand.
The first medieval vellum endleaf has added prayers in a 16th-century English hand on recto and verso; the second is blank but with erased pentrials and sewing holes from pilgrim badges.
ILLUMINATION:
This large and richly decorated Book of Hours is one of a select group of manuscripts made in Bruges for the English market. It is most closely related to a Book of Hours in London (British Library, Harley Ms 3000) that was once owned by Edward, Lord North, privy councillor and chancellor of Henry VIII (c.1496-1564) and the De Grey Hours (Aberystwyth, NLW, Ms 15537 C). Both of these manuscripts have the lush borders with curling fronds of acanthus painted in exact imitation of contemporary English illumination that are found in the Berland Hours, and their full-page miniatures are the work of the same artist. There are no more than minor variations in iconography and composition in each manuscript's treatment of the same subjects, and identical sweet-faced and demure characters with down-cast eyes people the sacred stories of all three books. Nicholas Rogers has named this artist the Mildmay Master after his work in a Book of Hours in Chicago (Newberry Library, Ms 35), one of the other manuscripts with his miniatures surrounded by English-style borders: N. Rogers, Books of Hours produced in the Low Countries for the English market in the 15th century (M. Litt. dissertation, Univ. of Cambridge, 1982). This illuminator was also responsible for a Breviary/Prayerbook made for Adolphe of Cleves and la Marck (Brussels, KBR, Ms II 5646), which has been described as the work of an associate of Willem Vrelant who collaborated on commisssions for the Duke of Burgundy and members of his court: B. Bousmanne, "Item a Guillaume Wyelant aussi enlumineur", 1997, pp.322 and 236-237. The Mildmay Master's debt to Vrelant is obvious in the calm demeanor of his figures and their generalized, attractive faces.
All the full-page miniatures of the Berland Hours are the work of the Mildmay Master while the small miniatures and historiated initials on the text leaves were painted by one of the 'Gold Scrolls' illuminators known as the Master of the Narrow Eyes. The Masters of the Gold Scrolls, named after their frequent use of scrolling golden tendrils in the backgrounds of their miniatures, dominated the production of Books of Hours in Bruges from around 1410 to the middle of the century. There are sufficient instances of Books of Hours containing work in their style with elements identifiable with Willem Vrelant to have led to suggestions that Vrelant took over their workshop: M. Smeyers, Flämische Buchmalerei (1999), p.252. Vrelant moved from Utrecht to Bruges before 1454 and became one of the most influential illuminators there during the third quarter of the 15th century. The introduction of new compositions and iconography was one characteristic of Vrelant's contribution: the miniatures of the Fall of Man (f.104v) and the Presentation of the Virgin in the Temple (f.99v) in the Berland Hours fall into this category, while the Calendar miniatures are obviously based on the same designs as Vrelant's autograph work in a Book of Hours in Los Angeles (J.P. Getty Museum, Ms Ludwig IX.8).
Each month of the Calendar occupies recto and verso of a folio. At the foot of each recto is a double miniature with the occupation relevant to the month on the left and the zodiac sign on the right: f.1 a man warming himself at his hearth, and Aquarius (January), f.2 a man pollarding a tree, and Pisces (February), f.3 a man chopping wood, and Capricorn (March), f.4 a man outside a town carrying a spray of flowers, and Taurus (April), f.5 a man riding and hawking, and Gemini (May), f.6 a man scything a meadow, and Cancer (June), f.7 a man harvesting wheat, and Leo (July), f.8 a man flailing wheat, and Virgo (August), f.9 a man treading grapes in a vat, and Libra (September), f.10 a man sowing and Scorpio (October), f.11 a man knocking down acorns to feed his hog, and Sagittarius (November), f.12 a man slaying his hog, and Capricorn (December).
The subjects of the full-page miniatures are as follows:
f.13v Christ holding a book that reads 'Ego sum via veritas', standing before a cloth of honor and flanked by two music-making angels
f.21v Throne of Mercy Trinity
f.24v St. John the Baptist in a landscape with the Agnus Dei
f.26v Martyrdom of St. Thomas Becket
f.28v St. George slaying the dragon with the princess looking on
f.30v St. Christopher carrying the Christ Child
f.32v St. Anne with the Virgin and Child and music-making angels
f.34v St. Mary Magdalene
f.36v St. Catherine trampling on a philosopher
f.39v St. Margaret emerging from the dragon's back
f.41v Annunciation
f.49v Betrayal and Arrest of Christ with St. Peter striking Malchus' ear
f.63v Christ before Pilate
f.68v Flagellation
f.72v Christ carrying the Cross
f.75v Crucifixion
f.78v Deposition from the Cross
f.81v Laying Christ in the tomb
f.87v Virgin and Child enthroned and with music-making angels
f.99v Presentation of the Virgin, with the young Virgin climbing the steps of the Temple
f.104v Fall of Man, Adam and Eve in the Garden of Eden with the serpent offering the apple to Eve
f.108v St. John the Evangelist
f.115v Judgement Day with Christ on a rainbow, angels sounding the Last Trumpet beside him and the dead rising from the graves beneath him, the Virgin and John the Baptist in the foreground
f.134v Requiem Mass in a chapel
f.157v Angels carrying to souls up God the Father in heaven, their empty graves beneath
f.171v Christ as Man of Sorrows seated in his tomb and surrounded by the Instruments of the Passion
f.178v St. Jerome in his study accompanied by the lion
The small miniatures are: f.56v Dove of the Holy Spirit, f.57v St. Michael, f.58 Sts Peter and Paul, f.58v St Andrew, f.59 St. Stephen, f.59v St. Lawrence, f.60 St. Nicholas and the three boys, f.61v eight saints.
The historiated initials show: f.92v Pietà, f.105 the crosses on Calvary, f.105v bust-length Christ, f.106 right hand with wound, and left hand with wound, f.106v heart surrounded by four wounds, f.107 right foot with wound, and left foot with wound.
(210 x 145mm). ii + 190 leaves: 12, 2-36, 48(i with miniature), 53(i with miniature), 64(i and iii with miniatures), 72(i with miniature), 86(i, iii and v with miniatures), 911(i, iv, and vi with miniatures), 109(iii with miniature), 119(viii with miniature), 125(iv with miniature), 135(iii with miniature), 146(i and iv with miniatures), 155(i with miniature), 169(ii with miniature), 179(v with miniature), 1811(i and v with miniatures), 199(i with miniature), 208, 219(iii with miniature), 22-238, 249(i with miniature), 259(vi with miniature), 269(iv with miniature), 277, all full-page miniatures on inserted singletons, complete except for the likely loss of an inserted leaf with a miniature before f.38, 19 lines written in black ink in a gothic bookhand between two verticals and 20 horizontals ruled in pink, justification: 118 x 65mm, rubrics in dark pink, text capitals touched yellow, one-line initials alternately of burnished gold flourished with blue and blue flourished with red, two-line initials of burnished gold against grounds and infills of both pink and blue with white penwork decoration, often including flowers or birds, and marginal sprays of gold leaves and small colored disks on hairline tendrils, six-line initials with monochrome patterned staves of blue against grounds of pink and burnished gold, the infills with tendrils of colored trefoils or fleshy acanthus leaves against gold, each of these TWENTY-EIGHT LARGE ILLUMINATED INITIALS ACCOMPANIED BY FULL-PAGE BORDERS with tendrils of fleshy curling acanthus leaves of blue, pink, green and orange against grounds of burnished gold surrounded by hairline sprays with leaves, disks and flowerheads of colors and gold, similar borders on the facing pages surround the TWENTY-SEVEN FULL-PAGE MINIATURES within frames with golden quatrefoils at the corners linked by fields of pink and blue bordered with burnished gold and patterned with liquid gold, EIGHT SMALL MINIATURES AND EIGHT HISTORIATED INITIALS each accompanied by a three-sided border, TWELVE DOUBLE CALENDAR MINIATURES (sewing holes from pilgrim badges on blank endleaf before Calendar and from protective curtains above miniatures, minor smudging of ink-outlining of some borders, occasional spotting and staining in margins, slight wear to surface of miniatures on ff.1, 7 and 68v and areas of wear or smudging of miniatures on ff.72v, 81v, 104v, and 108v, and to border on f.25). Brown morocco gilt, covers panelled in gilt and blind, edges gilt, by Bedford; quarter morocco folding case.
AN EXCEPTIONALLY RICHLY ILLUMINATED BOOK OF HOURS FROM AN IMPORTANT ENGLISH COLLECTION
PROVENANCE:
1. This manuscript is an eloquent demonstration of the sophistication of the Flemish book-trade in supplying manuscripts for an international clientele, whether for export abroad or for diplomats and merchants visiting or resident in Bruges. This book was intended for an English owner, and whoever directed the completion of the work had both textual content and style of decoration appropriately customized. It is not uncommon to find Bruges Books of Hours for the English market where the Calendar includes the feasts of English saints and the Offices of the Virgin and of the Dead are for the liturgical use of Sarum, but this manuscript is one of a more select group where the appearance as well as the content has been modified to suit the taste of an English owner. Not only does the script have an English aspect but the full-page borders also appear to be English, with plump fleshy acanthus leaves forming roundels at the corners and centres. They may be the work of an English illuminator resident in Bruges, but the hairline tendrils with which the acanthus is combined are thoroughly Flemish, and it is more likely that these borders are the work of an adaptable Bruges artist.
Although intended for export to England and certainly there by the end of the 17th century, the feasts and prayers for Thomas Becket were not defaced as so often happened after Henry VIII's 1535 decree.
2. Various inscriptions have been cancelled from the front endleaves, including the shelfmark O.10.6A, the date May 4 1698 and the price pret. 2:4:6.
3. W. Peckover: card with his name inside upper cover. This is likely to be William, a founding member of the Quaker banking family, who is known to have been purchasing Books of Hours in the 1820s.
4. Jonathan Peckover (1835-1882): his armorial bookplate inside upper cover, and a description of the manuscript, as M. 54, in his hand on the letterhead of Sibald's Holme, Wisbech, where he lived until 1877. Jonathan was the second son of Algernon Peckover of Wisbech (1803-1893) and nephew of William Peckover. When Jonathan died, unmarried, his manuscripts were divided among his brother and sisters. His elder brother, Alexander, was the noted book collector, who was created first Baron Peckover of Wisbech in 1907. Their sister Algerina inherited manuscripts from both her brothers and much of her collection was sold at Sotheby's during the 1920s. It is likely to have been Jonathan who had the manuscript rebound by Bedford and the card with the name W. Peckover pasted inside the upper cover. (For Alexander's use of Bedford to rebind manuscripts see lot 86, Christie's London, 11 July 2000.)
5. Alexander (1830-1919) or Algerina Peckover (1841-1927): the manuscript does not have Alexander's bookplate, but its subsequent ownership suggests that it may once have been his. On Alexander's death his collection was divided between his daughters and his sister Algerina. Although 'Algerina' is written in pencil on Jonathan's bookplate, the manuscript did not appear in any of the sales of her books in the 1920s and may have passed directly to Alexander's daughter Elizabeth Josephine (d.1930). She was married to the artist James Doyle Penrose.
6. James Doyle Penrose (1864-1932), son-in-law of Alexander Peckover: his signature on front endleaf. This manuscript was included in the sale of manuscripts that followed his death: Sotheby's, 4 April 1933, lot 373. It was sold to Perman.
7. Purchased from David Magee, San Francisco and Bill Fletcher, Cecil Court, London, 23 April 1974.
CONTENTS:
ff.1-12v Calendar; ff.14-20v Fifteen 'O's; ff.22-23v Prayer to the Trinity; f.25-40v Suffrages to Saints: John the Baptist f.25, Thomas Becket f.27, George f.29, Christopher f.31, Anne f.33, Mary Magdalene f.35, Catherine f.37, Barbara f.38, Margaret f.40; ff.42-86 Office of the Virgin, use of Sarum: matins f.42, lauds f.50 -- followed by Memorials to the Holy Spirit, the Trinity, the Cross, Saints Michael, John the Baptist, Peter and Paul, Andrew, Stephen, Lawrence, Thomas, Nicholas, Mary Magdalene, Catherine, Margaret, All Saints and the Holy Cross -- prime f.64, terce f.69, sext f.73, none f.76, vespers f.79, compline f.82; ff.88-98v prayers to the Virgin opening with a prayer to be said before an image of the Virgin, Salve virgo virginum stella matutina, and including O Intemerata (f.92v) and Obsecro te (f.94); ff.100-103 Seven Joys of the Virgin; ff.105-107v sequence of eight verse prayers to the Cross of Christ, the head of Christ, the wound in His right hand, the wound in His left hand, the wound in His side, the wound in His right foot, the wound in His left foot, the Virgin; ff.109-114 Suffrage to the Evangelist followed by Prayer on the Seven Last Words attributed to Bede and a series of communion prayers; ff.116-133v Seven Penitential Psalms followed by the Gradual Psalms and Litany; ff.133v-134 added prayer opening Sancta maria mater domini nostri; ff.135-156v Office of the Dead, use of Sarum; ff.158-170v Commendation of Souls; ff.172-176v Psalms of the Passion; ff.177-178 rubric to the Psalter of St. Jerome followed by a prayer opening Suscipere digneris domine deus omnipotens istos psalmos; ff.179-190 Psalter of St. Jerome; f.190v prayer opening Miserere mei deus added in a 15th-century English hand.
The first medieval vellum endleaf has added prayers in a 16th-century English hand on recto and verso; the second is blank but with erased pentrials and sewing holes from pilgrim badges.
ILLUMINATION:
This large and richly decorated Book of Hours is one of a select group of manuscripts made in Bruges for the English market. It is most closely related to a Book of Hours in London (British Library, Harley Ms 3000) that was once owned by Edward, Lord North, privy councillor and chancellor of Henry VIII (c.1496-1564) and the De Grey Hours (Aberystwyth, NLW, Ms 15537 C). Both of these manuscripts have the lush borders with curling fronds of acanthus painted in exact imitation of contemporary English illumination that are found in the Berland Hours, and their full-page miniatures are the work of the same artist. There are no more than minor variations in iconography and composition in each manuscript's treatment of the same subjects, and identical sweet-faced and demure characters with down-cast eyes people the sacred stories of all three books. Nicholas Rogers has named this artist the Mildmay Master after his work in a Book of Hours in Chicago (Newberry Library, Ms 35), one of the other manuscripts with his miniatures surrounded by English-style borders: N. Rogers, Books of Hours produced in the Low Countries for the English market in the 15th century (M. Litt. dissertation, Univ. of Cambridge, 1982). This illuminator was also responsible for a Breviary/Prayerbook made for Adolphe of Cleves and la Marck (Brussels, KBR, Ms II 5646), which has been described as the work of an associate of Willem Vrelant who collaborated on commisssions for the Duke of Burgundy and members of his court: B. Bousmanne, "Item a Guillaume Wyelant aussi enlumineur", 1997, pp.322 and 236-237. The Mildmay Master's debt to Vrelant is obvious in the calm demeanor of his figures and their generalized, attractive faces.
All the full-page miniatures of the Berland Hours are the work of the Mildmay Master while the small miniatures and historiated initials on the text leaves were painted by one of the 'Gold Scrolls' illuminators known as the Master of the Narrow Eyes. The Masters of the Gold Scrolls, named after their frequent use of scrolling golden tendrils in the backgrounds of their miniatures, dominated the production of Books of Hours in Bruges from around 1410 to the middle of the century. There are sufficient instances of Books of Hours containing work in their style with elements identifiable with Willem Vrelant to have led to suggestions that Vrelant took over their workshop: M. Smeyers, Flämische Buchmalerei (1999), p.252. Vrelant moved from Utrecht to Bruges before 1454 and became one of the most influential illuminators there during the third quarter of the 15th century. The introduction of new compositions and iconography was one characteristic of Vrelant's contribution: the miniatures of the Fall of Man (f.104v) and the Presentation of the Virgin in the Temple (f.99v) in the Berland Hours fall into this category, while the Calendar miniatures are obviously based on the same designs as Vrelant's autograph work in a Book of Hours in Los Angeles (J.P. Getty Museum, Ms Ludwig IX.8).
Each month of the Calendar occupies recto and verso of a folio. At the foot of each recto is a double miniature with the occupation relevant to the month on the left and the zodiac sign on the right: f.1 a man warming himself at his hearth, and Aquarius (January), f.2 a man pollarding a tree, and Pisces (February), f.3 a man chopping wood, and Capricorn (March), f.4 a man outside a town carrying a spray of flowers, and Taurus (April), f.5 a man riding and hawking, and Gemini (May), f.6 a man scything a meadow, and Cancer (June), f.7 a man harvesting wheat, and Leo (July), f.8 a man flailing wheat, and Virgo (August), f.9 a man treading grapes in a vat, and Libra (September), f.10 a man sowing and Scorpio (October), f.11 a man knocking down acorns to feed his hog, and Sagittarius (November), f.12 a man slaying his hog, and Capricorn (December).
The subjects of the full-page miniatures are as follows:
f.13v Christ holding a book that reads 'Ego sum via veritas', standing before a cloth of honor and flanked by two music-making angels
f.21v Throne of Mercy Trinity
f.24v St. John the Baptist in a landscape with the Agnus Dei
f.26v Martyrdom of St. Thomas Becket
f.28v St. George slaying the dragon with the princess looking on
f.30v St. Christopher carrying the Christ Child
f.32v St. Anne with the Virgin and Child and music-making angels
f.34v St. Mary Magdalene
f.36v St. Catherine trampling on a philosopher
f.39v St. Margaret emerging from the dragon's back
f.41v Annunciation
f.49v Betrayal and Arrest of Christ with St. Peter striking Malchus' ear
f.63v Christ before Pilate
f.68v Flagellation
f.72v Christ carrying the Cross
f.75v Crucifixion
f.78v Deposition from the Cross
f.81v Laying Christ in the tomb
f.87v Virgin and Child enthroned and with music-making angels
f.99v Presentation of the Virgin, with the young Virgin climbing the steps of the Temple
f.104v Fall of Man, Adam and Eve in the Garden of Eden with the serpent offering the apple to Eve
f.108v St. John the Evangelist
f.115v Judgement Day with Christ on a rainbow, angels sounding the Last Trumpet beside him and the dead rising from the graves beneath him, the Virgin and John the Baptist in the foreground
f.134v Requiem Mass in a chapel
f.157v Angels carrying to souls up God the Father in heaven, their empty graves beneath
f.171v Christ as Man of Sorrows seated in his tomb and surrounded by the Instruments of the Passion
f.178v St. Jerome in his study accompanied by the lion
The small miniatures are: f.56v Dove of the Holy Spirit, f.57v St. Michael, f.58 Sts Peter and Paul, f.58v St Andrew, f.59 St. Stephen, f.59v St. Lawrence, f.60 St. Nicholas and the three boys, f.61v eight saints.
The historiated initials show: f.92v Pietà, f.105 the crosses on Calvary, f.105v bust-length Christ, f.106 right hand with wound, and left hand with wound, f.106v heart surrounded by four wounds, f.107 right foot with wound, and left foot with wound.