Jacobus de Voragine, Legende Dorée, in the French translation of Jean de Vignay, illuminated manuscript on vellum

The royal vernacular translation of the greatest collection of saints' lives of the Middle Ages, from the library of King René d'Anjou and his second wife Jeanne de Laval

provenance

1. Written and illuminated in Paris by a follower of the Boqueteaux Master, alongside another volume of the same text (now British Library, MS. Addit. 16,907, dated 1375), which may be in the hand of the same scribe and has signs of the vellum being prepared in the same workshop (some important column measurements, including individual line height at 5mm., the placement of the running titles 13mm. above the main columns, and the 17mm. space between the columns, are identical), and which was illuminated by another follower of the Boqueteaux Master. The British Library copy has an erased inscription at its end which shows that in the fifteenth century it was owned by "monseigneur Charles daniou / Conte de Maine et de Martaing / gouverneur de Languedoc", ie. Charles d'Anjou, 1414-72, René d'Anjou's younger brother. It is probable that both volumes were commissioned together by René d'Anjou's grandfather, Louis I, perhaps as gifts for his two sons: Louis II of Anjou (1377-1417) and Charles Prince of Taranto, Count of Roucy, Étampes, and Gien (1380–1404). From them the volumes passed into the Anjou family. It seems probable that these volumes were copied from a manuscript in the library of Charles V. Excellent records survive for that library, and are occasionally supplemented (for a number of individual years) with notes of who borrowed volumes (all edited Delisle, Recherches sur la Librairie de Charles V, 1907, vol. II). These show that in 1380-1 the "mons[iegneur] d'Anjou" borrowed (and on occasion returned) some 36 volumes from the royal library, presumably carrying them to the workshops of Paris to have them copied. One of the volumes which is recorded as being borrowed and then returned in this period was the rare French translation of the treatise De informatione principium, which had been commissioned by Charles V from the Carmelite Jean Golein; and the copy made for Louis I d'Anjou must be that which survives in St. Petersburg, Nat. Lib. of Russia, MS. Fr.Fv.III.2 (published with large colour plate by T. Voronova & A. Sterligov, Western European Illuminated Manuscripts of the 8^th to the 16^th Centuries in the National Library of Russia, 1996, pp. 98-9), with arms identical to those in the present volume, and additions of ballads which Laborde claimed "qui sont attributables au roi René d'Anjou et semblant des autographes" (Laborde, Les principaux manuscrits à peintures conserves dans l'ancienne Bib. Imperial publique de Saint-Pétersbourg, 1935-8, p. 45). Charles V owned no fewer than seven copies of the Golden Legend (Delisle, Recherches, II: p. 149, items 907-13), only one of which could have been the exemplar for the present copy (item 912: "Une legende dorée en françois"). It should also be noted, that since the translation was made for Charles V's grandmother, Jeanne de Bourgogne (see below), it is probable that Charles owned the dedication copy (which does not survive) and so any manuscripts copied directly from it are likely to be the most textually authentic in existence.

2. By descent to René d'Anjou, king of Naples and Jerusalem (see below), and on his death in 1480 from him to his second wife, Jeanne de Laval; at which time their joint-arms were added in the present volume to fol. 3r and those of her family to fol. 270v.

3. Jeanne de Laval died in 1498, stating in her will that her devotional manuscripts et tous nos autres livres ... soient baillés en garde aux doyen et chapitre de sainct Tugal de Laval, pour servir, aux filles de nos successeurs les comtes de Laval, tant qu'elles seroient a marier et demourant en ladicte ville ('and all our other books ... are to be given into the keeping of the chapter of St. Tugal in Laval [in Brittany: a priory founded by Guy V of Laval as a family mausoleum] to be used by the daughters of our successors in the rule of Laval, on the day of their marriage or when they reside in the vicinity'; Th. De Quatrebarbes, René d'Anjou: oeuvres complètes, 1844, I: p.109).

4. Subsequently removed from the priory, and re-appearing in the collection of Louis de Gand, Compte de Merode, de Montmorency, Prince d'Isenghien et de Masmines (1698-1767), who held office as the maréchal de France, a knight of the ordres du Roi, Lieutenant-General of the province of Artois and Governor of Arras (see Anselme, Déchauffé & Du Fourny, Histoire Généalogique et Chronologique, IV: p. 499); his elaborate arms on binding in gilt. Another volume from Jeanne's bequest to the priory appeared in private hands in 1686 (St. Petersburg, Nat. Lib. Of Russia, MS. Fr.Fv.III.2, which can be traced in the Catalogue des manuscrits de la bibliothèque de défunt Monsiegneur le chancelier Séguier, 1686, p. 15), and it is possible that the Priory of St. Tugal had begun to dispose of its books before that date. Alternatively, the families of Laval and Montmorency had been intermarrying since the thirteenth century, and most prominently for our purposes in the marriage of Guy XVI of Laval (d. 1531) with Anne de Montmorency. The volume may have been borrowed by a female member of the house of Laval and not returned, thus passing to Louis de Gand through his office as count of Montmorency.

5. The book re-emerged in Gunther, Cat. 3: Mittelalterliche Handschriften und Miniaturen, 1995, item 9, pp. 51-61, (attributed to a supposed private book collection of Jeanne de Laval, but without the attribution to René or his family; following a study by A.M. Legaré, later published as 'Reassessing women's libraries in late medieval France: the case of Jeanne de Laval', Renaissance Studies 10, 1997, pp. 209-36; noting the present manuscript on p. 212, item 10, without inquiry into the earlier provenance of Jeanne's manuscripts).

text

The 'Golden Legend' or Legenda Aurea is one of the classic works of the Middle Ages. It was compiled in Latin c.1260 by the Dominican preacher and archbishop of Genoa, Jacobus de Voragine, and contains nearly two hundred lives of Christian saints and martyrs, etymologies of their names, and episodes from the lives of Christ and the Virgin, all ordered according to the liturgical calendar, and it remains the closest thing we have to an encyclopedia of knowledge about saints in the early Middle Ages. The author took great interest in fantastical tales of miracles and relics, and this along with the simple style of the Latin ensured a wide audience for the text in both the educated aristocratic reader as well as the priest or preacher who required a storehouse of examples and ideas for sermons. It appears to have been directly promoted and distributed by the Church, and thus it is estimated that, setting aside the numerous vernacular translations, approximately 1000 medieval manuscripts survive (see B. Fleith 'Le classement des quelque 1000 manuscrits de la Legenda aurea latine en vue de l'éstablissement d'une histoire de la tradition', Legenda Aurea: Sept Siècles de Diffusion, ed. B. Dunn-Lardeau, 1986, pp. 19-24). Ironically, it has been recently argued that its wide distribution and focus on the fantastic may have inadvertently fuelled the Protestant Reformation, providing reformers and sceptics of the cult of saints with a ready store-house of examples (D. MacCulloch, The Reformation: A History, 2003).

The text of the present manuscript is that of the Legende Dorée, the first translation of the text into French by the translator Jean de Vignay, who names himself at the end of the entry on St. Dominic (fol. 156v here: Car ie frere Jh. du Vignay, translateur de ce livre). He was born in the early 1280s, and entered the priesthood and became a Hospitaler of Saint-Jacques du Haut Pas in Paris. He was renowned as a gifted translator and was employed on a number of occasions to translate works into French for Jeanne de Bourgogne, Queen of France, the first wife of Philippe VI de Valois. The opening of the prologue of the present manuscript announces that the translation of this work was also undertaken a la requeste de tres puissant et noble dame madame iehanne de bourgoigne, royne de France par le grace de dieu (fol. 1r).

Extant manuscripts of this text are not common. Some thirty-two illuminated manuscripts of this translation are catalogued by H. Maddocks, 'Pictures for Aristocrats: the Manuscripts of the Légende dorée', in Medieval Texts and Images: Studies of Manuscripts from the Middle Ages, eds. M.M. Manion and B.J. Muir, 1991, pp. 1-24 (not including the present manuscript); and to these, in her footnote 13, she adds an untraced copy (sold in our rooms in the Sir John Arthur Brooke sale, 25 May 1921, lot 1470, with large pull-out illustration) and a fragment in BnF. ms. nouv. acq. fr. 11,189, fols. 29-31. There is also a single volume of a two-volume set, with one miniature, Paris c. 1420, which was previously in the collection of Sir Thomas Phillipps, his MS. 199, British Library, Loan MS. 36/2; subsequently Christie's 7 June 2006, lot 26. Thus, with the possible exceptions of the Brooke and Phillipps manuscripts, no other copies are recorded in private hands.

Much of the importance of the present copy lies in its ownership by René d'Anjou, the second son of Louis II d'Anjou, king of Sicily, and of Yolande of Aragon. He held office as duke of Anjou and count of Provence (1434-80), count of Piedmont, duke of Bar (1430-80), duke of Lorraine (1431-53), king of Naples (1438-80), and titular king of Jerusalem (1438-80) and Aragon (1466-80; including Sicily, Majorca and Corsica). He fought on the French side in the Hundred Years' War, and in 1431 was defeated in battle and captured by a contender for the dukedom of Lorraine with support from the main English ally, Philip the Good, duke of Burgundy. He was imprisoned by the duke in his fortress in Dijon, and only temporarily released through the skilful negotiations of his first wife Isabel of Lorraine, returning there in 1435 until a substantial ransom could be raised. It was during these long years spent in imprisonment that René found and kindled the love of the arts for which he is best known. He is said to have initially idled away his time in captivity by painting on glass and experimenting with book illumination, and once given his freedom he began to gather an artistic and literary milieu around his court. He employed Barthélemy d'Eyck as painter and varlet de chambre for most of his career, and d'Eyck partly illuminated a breathtaking Book of Hours made c. 1442, which is now British Library, Egerton MS. 1070. In addition, Nicholas Froment, who was active c. 1460-84, spent a lengthy period of time in René's court, and in the late 1470s painted the paired portraits of René and Jeanne which are now in the Musée du Louvre, Paris. René himself would also appear to have been an accomplished painter; a letter from the Neapolitan humanist, Pietro Summonte, of 1524, reporting on the state of art in Naples, notes that "King René was also a skilled painter and was very keen on the study of the discipline, but according to the Early Netherlandish painting style of Flanders". However, scholarship has recently questioned much of the art formerly attributed to his hand, and more probably he merely played an active role in the creation of these pieces. It is in the composition of literature that René's true artistic skills can be seen. He is known as the author of two books: Le Cuer d'Amours Espris ('The Book of the Heart Possessed by Love'), an allegorical composition in which the heart is represented by a knight named Cueur who fights for his lady Doulce Mercy; and Livre des Tournies ('The Book of Tournaments'), a practical manual of these noble entertainments; as well as a prolific and skilled poet in French. He exchanged verses with his kinsman, the poet Charles d'Orleans, and his principal verse composition was that of Regnault et Jeanneton (composed c. 1454), which narrates the love of a shepherd and shepherdess, clearly drawn from his own courtship of Jeanne de Laval. It was followed by an allegorical moral dialogue Le Mortifiement de Vaine Plaisance (The Mortification of Vain Pleasure; c. 1455). His complete works have been edited by the Comte de Quatrebarbes, Oeuvres completes du roi René, 1845, and some valuable comment can be found in V. Chichmaref, 'Notes sur Quelques Oeuvres Attribuées au Roi René', Romania 55, 1929, pp. 214-50.

During René's years of artistic and bibliophilic interest, he continued his grandfather's commissioning and collection of books, and amassed a vast library in the castle at Angers. The castle accounts contain some forty-three separate records of commissions of manuscripts and illuminated miniatures by René and Jeanne for the years 1479 and 1480 alone (G. Arnaud d'Agnel, Les comptes du Roi René publiés d'après les originaux inédits conserves aux Archives des Bouches-du-Rhône, 1908-10), and it seems most likely that other volumes came to René as gifts. The accounts of the move of the contents of this castle to Aix-en-Provence in 1472 mention a large number of books (see for example A. Picard, Extraits des comptes et mémoriaux du roi René, 1873, pp. 261-3), but no complete manuscript-inventory appears to have been made until December 1481, when René's books had passed to his nephew and heir in the office of the count of Provence, Charles d'Anjou (and of course at which point the present volume with many others had already moved into the hands of Jeanne de Laval, and an unknown number of other volumes must have passed to other beneficiaries). This list has been published by J.H. Albanes ('La Bibliothèque du Roi René', Revue des Societes Savantes des Departments ..., 5th Ser. Vol. 8, 1874, pp. 301-11), and includes detailed records of 128 volumes on all areas of Renaissance learning, spanning subjects as diverse as biblical commentary, the works of Boethius and Boccaccio and even an early work on botany.

As René's books bear no ex libris marks which can now be discerned, few manuscripts can now be identified as having once been part of this important medieval library. A total of twenty-two surviving manuscripts can be identified as from this collection. F. Robin (La Cour d'Anjou-Provence, 1985, pp. 270-2) lists some ten manuscripts which can be demonstrated to have belonged to René himself (1: Aix-en-Provence, Bibl. Méjanes, Rés. ms. 1, a Book of Hours on vellum written c. 1453 which was most probably presented to him by the family of Jeanne de Laval on their wedding; 2: Albi, Bib. mun., ms. 77(159), a Strabo, De situ orbis on vellum , dated 1459; 3: Lisbon, Bibliteca Nacional, ms. il.92, a Biondo Favio, De Roma Triumphante on vellum, from 1462-70; 4: ibid. ms. il.134-5, a Titus-Livy, Décades on vellum, from the same period; 5: London, British Library, MS. Egerton 1070, a Book of Hours on vellum, most probably from 1409-10; 6: Paris, Bibl. De l'Arsenal, ms. 940, Jacopo Antonio Marcello, Passio sancti Mauritii on vellum, dated 1453; 7: Paris, BnF, ms. lat. 1156A, a Book of Hours on vellum, from c. 1435; 8: ibid. ms. lat. 17,332, a Book of Hours on vellum, after 1454; 9: ibid. ms. lat. 17,542, a Ptolemy, Cosmographia on vellum, dated 1457; 10: Vienna, National Bibliothek, ms. 2597, a copy of René's own work, Le Coeur d'Amours Espris on vellum), and to these we might add another three questionable attributions (St. Petersburg, Nat. Lib. of Russia, MS. Fr.Fp.XIV,4, the Relation du Pas de Saumur de 1446, which was produced in René's circle and may have been intended for him; Naples, Archivio di Stato, c.2, the Livre de la confraternité de Saint-Marthe on vellum, perhaps from c. 1440, and either owned by him or a close relative; and Paris, Archives Nationales, P.338B, the Hommages angevins de 1469). To these can be added the nine other manuscripts listed by Legaré as owned by Jeanne de Laval, which could have passed to her after René's death, or which were jointly owned by her and her husband during his lifetime (1: Berlin, Küpferstichkabinett, MS. 78C5, René's Le Mortifiement de vaine plaisance, dated 1457; 2: Geneva, Bibl. Publ. et Universitaire, MS. Fr.5, Francesco de Ximenes, Livre des saints anges, c. 1460 ; 3 : Paris, BnF, ms. Fr. 2090-2, Vie de monseigneur saint Denis, dated 1317 ; 4 : ibid. ms. Fr. 17,100, Mirouer de la vie de home et de femme, c. 1470 ; 5 : ibid. ms. Nouv. Acq. Fr. 1821, Aventures de Baudouin de Gavre, 1470-80; 6: St. Petersburg, Nat. Lib. of Russia, MS. Fr.Qp.XIV,1, the Regnault et Jeanneton, c. 1490; 7: ibid. MS. Fr. F.v.III,2, L'information des princes, c. 1390; 8: untraced, formerly Phillipps 216, W.H. Robinson catalogue no. 81, 1950, item 86, Matteo Palmieri Florentinus, Liber de Temporibus, before 1476, ; and 9: the present manuscript).

illumination

All the individual elements of the large miniature on fol. 3r in the present manuscript had existed in Parisian art for at least a few decades before this manuscript was created, but they appear to have been brought together in the Boqueteaux workshop in a way which influenced the illumination of an entire branch of the manuscript-stemma of this text.

It is interesting that of the thirty-two illuminated manuscripts of Jean de Vignay's Legende dorée, spanning the fourteenth and fifteenth century, some ten manuscripts were illuminated by members or followers of this workshop. The large quadrilobed frame of the miniature in the present manuscript can be found in Parisian art from the early fourteenth century onwards and used to be interpreted as a sign of royal ownership; it appears repeated within the ascender of a decorated initial of the Bible of Robert de Billyng illustrated by Jean Pucelle and dated to 1327 (BnF. lat. 11,935, fol. 5r; H. Martin, La Miniature Française du XIIIe au XVe Siècle, 1923, pl. 34), and in an early and crude form can be found used within a large title-page miniature in a Roman de la Rose, dated 1353 (Geneva, Bibl. Publ. et Universitaire, Fr. 178, fol. 1r ; Martin, pl. 39), but it was to reach its grandest form in the productions of the Boqueteaux Master and his workshop who used a form of it bordered with burnished gold, white and often red and blue in a number of their compositions. An exceptionally grand example with nine such quadrilobed frames, each containing separate scenes, within a square half-page miniature can be found on the title-page of a Titus-Livy which the Boqueteaux Master produced for Charles V (now Bibl. Sainte-Geneviève, ms. 777, fol. 7r; Martin, pl. 51), and the same motif  appears on many of the manuscripts of the Legende dorée attributed to the Boqueteaux Master and his workshop. It is the recurrence of this quadrilobed frame enclosing certain scenes that unites the present manuscript with a number of others of the same text produced by the Boqueteaux workshop.

The present manuscript can be compared to that owned by Charles d'Anjou, René's brother (now British Library, Addit. MS. 16, 907). As said above, the scribe may be the same, and certainly the hands are closer to each other than to any other volume of the text which has been consulted by us during the course of preparing this catalogue, and the two volumes are also linked by several measurements of their ruling frames. In addition, their overall dimensions are notably similar (Addit. MS. 16, 907: 328mm. by 249mm, with the large square miniature on the title-page 148mm. by 140mm.), and its seems probable that they were produced together by different artists in the same workshop. The general appearance of the large square miniature is the same, with notably similar border-frame with the same lobed diamond-shaped cornerpieces in burnished-gold as in the present manuscript. The quadrilobed frame is absent in the copy owned by Charles d'Anjou, and has been rejected in favour of a simpler diamond-shaped frame enclosing a miniature of the Coronation of the Virgin; but significantly, a near-identical miniature of the Coronation of the Virgin appears in another copy of the text illuminated by a member of the Boqueteaux workshop (now Paris, Bibl. Mazarine, ms. 1729, fol. 1r; Martin, pl. 66 and Maddocks, fig. 1), and there within two interlocking quadrilobed frames. Moreover, comparison of these manuscripts to another, now British Library, Royal MS. 19. b.XVII (produced by 'Pseudo-Jacquemart' with a number of Boqueteaux followers in 1382; and illustrated on the British Library's illuminated manuscripts website) is highly suggestive that Royal MS. 19. b.XVII may contain a full record of the iconography of a lost ancestral manuscript, or at least the patterns for it, from which all the other copies produced by this workshop have sprung. It has similar dimensions to the present manuscript and that owned by Charles d'Anjou (305mm. by 220mm. and 145mm. by 145mm. for its large square miniature), and contains four quadrilobed frames within its half-page miniature, identical in the colouring of their concentric bands to that in the present manuscript. Moreover, the lower right-hand quadrilobed frame encloses a scene of Judgement Day with Christ seated on a rainbow flanked by angels and a kneeling saint and the Virgin, which is so close to the miniature in the present manuscript that they must both be related through a common ancestor. The one clearly differing feature between the two is the sumptuous cloth suspended behind Christ by two angels in the present manuscript, and this appears in the background of another quadrilobed miniature of Royal MS. 19, b.XVII (that in the upper left-hand corner); the foreground of which contains a scene of the Coronation of the Virgin which is near-identical to that in the Mazarine manuscript and the copy owned by Charles d'Anjou. It is clear that these manuscripts are related and that they represent variations on an iconographical theme.

It has been suggested that Charles V's copy can be found in the Mazarine manuscript discussed here (Maddox, p. 11), but this hypothesis appears to have little foundation beyond the date of the manuscript and the quality of the workmanship. As noted above, the Boqueteaux Master did work for Charles V, and it seems likely that he also produced a copy of the Legende dorée for that monarch. This manuscript, or patterns prepared for its illumination, is most likely to have been the model for all those discussed here: the artists of Royal MS. 19. b.XVII copying the entire miniature, and those working on the commissions for Louis I d'Anjou each choosing one of the four scenes in the exemplar for their volumes. Clearly, the output of the Boqueteaux workshop in the late fourteenth century was an important stage in the illumination of this text, and the present manuscript is an important witness to a part of that, and deserving of further study.

The subject of the large miniature is:

Folio 3r, large half-page rectangular miniature (146mm. by 145mm.), enclosing Christ seated in judgement on a rainbow and before a sumptuous cloth supported by three angels, exposing his wounds, flanked by two angels who carry the objects of the Passion and two saints (probably the Virgin and St. John the Evangelist) who kneel in supplication, all above a scene in which two angels blow the last trump on burnished gold trumpets and the dead (including a crowned king, a pope and a bishop) rise from their graves, all within a quadrilobed frame formed of the same rainbow on which Christ is seated with the addition of a gold inner layer, and that within a large square frame of coloured panels framed with burnished gold and locked together by lobed-diamond cornerpieces in burnished gold.

The historiated initials open the discussions of individual saints and contain images of the legends described in the text. Of particular interest are that on fol. 13r, which shows St. Thomas after he had converted the friend of the wife of King Carisius of Upper India, who subsequently imprisoned him and had him tortured with red-hot iron and thrown into a furnace, all with no effect. Carisius then ordered St. Thomas to worship his idol, and the saint commanded the demon who inhabited it to demolish it as soon as he knelt down. The miniature here shows the idol breaking in two as the saint kneels. That on fol. 47v shows St. Julian the Hospitaler, who according to the legend, had a spell cast over him by witches when he was born so that one day he would kill his parents. When he discovered the secret as he grew up, he swore he would never commit such a great sin, and at the age of ten took himself off into the forest, where after much wandering he met and married a good woman. Twenty years later his parents began to search for him, and came to his house when he was out hunting, and while waiting for him, fell asleep. The devil then came to Julian and told him that his wife was in bed with another man and that they were both still in his house asleep, and enraged he went home and killed the inhabitants of the bed who were infact his parents. Overcome with sorrow, he then used his large inheritance for acts of charity. One of the most fantastical legends is that on fol. 137v where a hanging boy dangles from a gallows smiling at a man to his right, as St. James of Compostela appears above him. The legend is that of a certain German and his son who went on pilgrimage and stopped in the city of Toulouse, where a dishonest innkeeper hid a silver cup in their baggage and in the morning accused them of theft, and the son was hanged. Greif-stricken, the father continued on, and thirty-six days later when returning by the same route he went to weep at the body of his son, still on the gallows, who was still alive as the saint had held him up and fed him on heavenly sweets. That on fol. 151v shows St. Dominic in the act of throwing his books onto a fire along with those of the Albigensians in order to see which God approved of; Dominic's, of course, remained unburnt. That on fol. 209r shows St. Jerome with the lion he tamed through taking a thorn from its paw, and to show the lion's docility, the donkey he commanded it to lead to pasture every day. That on fol. 252r shows St. James the dismembered whom the prince of Elape in Persia condemned as a sorcerer and ordered to be tortured and killed; his torturers cutting off his fingers and thumbs one by one. That on fol. 245v shows St. Clement, condemned to death by the Emperor Trajan, being thrown into the sea tied to an anchor.

The subject of the historiated initials are:

(1) Folios 1r, the author as a tonsured friar, seated and writing; (2) 6v, St. Andrew on his cross (some damage to face and wax droplet in lower half); (3) 9v, St Nicholas with the three pickled boys; (4) 12r, St. Lucy being speared, watched by Paschasius; (5) 13r, Carisius commanding St. Thomas to worship an idol, which melts (here breaking into two pieces) when he does so; (6) 15v, the birth of Christ; (7) 19r, the lapidation of St. Stephen; (8) 23r, the Massacre of the Innocents; (9) 24r, the martyrdom of St. Thomas Becket; (10) 25r, St. Sylvester exorcising the dragon in a pit; (11) 28r, the Circumcision; (12) 30v, the Adoration of the Magi; (13) 34r, St. Hilary raising to life the infant who had died without baptism; (14) 35v, St. Anthony beside his hermitage; (15) 37r, St. Sebastian being shot with arrows; (16) 40r, St. Vincent being tortured with iron hooks; (17) 42v, St. John the Almsgiver, praying at the tomb already occupied by two bishops; (18) 45v, St. Paula praying at an altar; (19) 47v, St. Julian the Hospitaler killing his parents in bed (mistaking them for his wife and a lover); (20) 52v, the Presentation in the Temple; (21) 56r, St. Agatha having her breasts removed; (22) 59r, two men before the chair of St. Peter; (23) 60v, St. Mattias writing; (24) 62r, St. Gregory with the papal key; (25) 66v, St. Bernard disputing with a devil; (26) 70v, the Annunciation to the Virgin; (27) 72v, the Crucifixion; (28) 77r, the Resurrection; (29) 81v, The Emperor Theodosius waiting on St. Ambrose; (30) 85r, St. George and the dragon; (31) 86v, St. Mark the Evangelist writing; (32) 88v, St. Marcellius kneeling as he is beheaded (now mostly erased); (33) 91r, St. Peter Martyr being attacked on the road to Como (small water-damage to upper part of initial); (34) 95v, St. Philip the Apostle at the altar of Mars, from the base of which a dragon emerges and kills the son of the priest of Mars; (35) 96r, the beheading of St. James the Apostle; (36) 99r, the discovery of the True Cross directed by St. Helen (very minor water-damage to upper part of initial); (37) 101v, St. John writing; (38) 103r, the Ascension of Christ; (39) 106r, Pentecost; (40) 111r, pilgrims praying to the Virgin and Child; (41) 112v, St. Barnabas being beaten by the Jews; (42) 116v, the Nativity; (43) 120r, the crucifixion of St. Peter the Apostle upside down; (44) 123v, the Emperor Nero interviewing the boy Patroclus, whom St. Paul has brought back to life; (45) 130v, St. Margaret emerging from the dragon; (46) 131v, St. Alexius on his wedding night giving his possessions to his bride before departing chastely into the service of the Church; (47) 132v, St. Mary Magdalene helping the wife of the governor of southern France to give birth safely on a shore where their ship has landed; (48) 136r, St. Apolinaris being beaten by pagans; (49) 137v, St. James the Greater sustaining the son of a German pilgrim to Compostela after the boy had been falsely hanged for stealing a silver drinking cup (some minor damage to background); (50) 140r, St Christopher bearing the Child across a river; (51) 144r, St Martha subduing a dragon in the River Rhone so that the people can stone it; (52) 147v, St. Peter freeing one of the counts of the Emperor Otto from possession of the devil (with damage to the devil); (53) 149v, the lapidation of St. Stephen; (54) 151v, the debate between St. Dominic and the Albigensians in which they both threw their books onto a fire, and St. Dominic's refused to burn; (55) 158r, St. Laurence on his griddle over a fire; (56) 162r, St. Hippolitus being torn apart by horses; (57) 167r, the Dormition of the Virgin; (58) 170v, St. Bernard of Clairvaux in Cistercian robes preaching to a crowd; (59) 174r, St. Bartholomew the Apostle strapped to a table being flayed alive by two men; (60) 176v, St. Augustine as a bishop before a crowd of Benedictine monks; (61) 182r, the decapitation of St. John the Baptist, with John putting his head out of the window of a castle as his executioner slices it off with a sword, Salome to the left holding a platter for the head; (62) 186v, St. Giles with the hind he saved from being shot with an arrow; (63) 187v, the Nativity of the Virgin; (64) 190v, the burning of St. Adrian's body with the other martyrs who converted him, all kneeling as the flames engulf them; (65) 195v, St. John Chrysotom preaching from a pulpit; (66) 199v, St. Mark the Apostle dispelling a demon in the name of Jesus; (67) 204r, SS. Cosmas and Damian as medical doctors curing two children; (68) 205v, St. Michael the Archangel with a crusader's shield spearing a large green dragon; (69) 209r, St. Jerome with the lion he tamed by curing it and the donkey it had to lead to pasture; (70) 210v, St. Remigius baptising Clovis I and the Franks and Alamanni, all here as naked men in a large chalice-shaped tub (some minor damage to face of saint); (71) 212r, the stigmatisation of St. Francis; (72) 216r, St. Margaret being welcomed in a monastery dressed as a monk (very slight smudging); (73) 217v, the execution of St. Denis and his companions; (74) 220r, St. Leonard, the patron saint of prisoners of war, holding the chains of two imprisoned men; (75) 221r, St Luke the Evangelist writing; (76) 224v, the martyrdom of the 11,000 virgins; (77) 226r, King Abgar urging SS. Simon and Jude to set reptiles to attack the magicians Zaröes and Arphaxat; (78) 230r, All Saints; (79) 237r, St. Martin of Tours on horseback cutting his cloak in half to give to a beggar; (80) 240v, St. Elizabeth; (81) 245v, St. Clement, whom the Emperor Trajan ordered to be thrown into the sea tied to an anchor; (82) 249r, St. Catherine standing next to her burning wheel; (83) 252r, St. James the Dismembered having his fingers cut off; (84) 255v, St. Baarlam; (85) 259v, St. Pelagius; (86) 266v, the Dedication of a Church; (87) 267r, A pig, representing an unclean occupant, running out of the church of SS. Sebastian and Agatha after its consecration.