• Decorated initials, and flyleaf., Leviticus, glossed (ff. 7-58), and John, glossed, imperfect, with short thelogical treatises (ff. 3-7v)

with text in Latin in a 12th-century hand.This is the earliest dated English Cistercian manuscript. Large initials in red, yellow, blue, brown or green, some with penwork decoration in the same or another colour or colours on ff. 3-8. Large

• Decorated initials., Leviticus, glossed (ff. 7-58), and John, glossed, imperfect, with short thelogical treatises (ff. 3-7v)

text in Latin in a 12th-century hand.This is the earliest dated English Cistercian manuscript. Large initials in red, yellow, blue, brown or green, some with penwork decoration in the same or another colour or colours on ff. 3-8. Large initials

• Text page with gloss., Leviticus, glossed (ff. 7-58), and John, glossed, imperfect, with short thelogical treatises (ff. 3-7v)

with text in Latin in a 12th-century hand.This is the earliest dated English Cistercian manuscript. Large initials in red, yellow, blue, brown or green, some with penwork decoration in the same or another colour or colours on ff. 3-8. Large

• Text page with gloss., Leviticus, glossed (ff. 7-58), and John, glossed, imperfect, with short thelogical treatises (ff. 3-7v)

with text in Latin in a 12th-century hand.This is the earliest dated English Cistercian manuscript. Large initials in red, yellow, blue, brown or green, some with penwork decoration in the same or another colour or colours on ff. 3-8. Large

• Decorated initial., Leviticus, glossed (ff. 7-58), and John, glossed, imperfect, with short thelogical treatises (ff. 3-7v)

text in Latin in a 12th-century hand.This is the earliest dated English Cistercian manuscript. Large initials in red, yellow, blue, brown or green, some with penwork decoration in the same or another colour or colours on ff. 3-8. Large initials

• Decorated initial 'D'(ilectissimi) at the beginning of the Passional text, with foliate decoration, and animal and human heads, and beasts., Arnstein Passional (the first of three volumes, with January-May)

red, some with animals or hybrids, all with foliate decoration, and some with clasps; usually on grounds of green and blue at the beginning of each saint's passion. Large initials in red, green or in both colours. Display script in

• Historiated initial 'O'(mnis) at the beginning of the Life of Fulgentius, with a bishop holding a crozier and a book., Arnstein Passional (the first of three volumes, with January-May)

red, some with animals or hybrids, all with foliate decoration, and some with clasps; usually on grounds of green and blue at the beginning of each saint's passion. Large initials in red, green or in both colours. Display script in

• Historiated initial 'P'(er) with a man and decorated initial., Arnstein Passional (the first of three volumes, with January-May)

red, some with animals or hybrids, all with foliate decoration, and some with clasps; usually on grounds of green and blue at the beginning of each saint's passion. Large initials in red, green or in both colours. Display script in

• Decorated initials with foliate decoration, and in the 'S'(everus), a bird and dog., Passional (the 'Arnstein Passional'), the last of three volumes with October-December, with a calendar (ff. 2v-3v), including the Vita of Fronto of Perigueux

red, some with animals or hybrids, all with foliate decoration, and some with clasps; usually on grounds of green and blue, at the beginning of each saint's passion. Initial painted in colours with clasps, perhaps additional (f. 56). Large initials

• Historiated initial 'C' with Thomas, at the beginning of his life., Passional (the 'Arnstein Passional'), the last of three volumes with October-December, with a calendar (ff. 2v-3v), including the Vita of Fronto of Perigueux

red, some with animals or hybrids, all with foliate decoration, and some with clasps; usually on grounds of green and blue, at the beginning of each saint's passion. Initial painted in colours with clasps, perhaps additional (f. 56). Large initials

• Decorated initials and standing figure of Silvester at the beginning of his life., Passional (the 'Arnstein Passional'), the last of three volumes with October-December, with a calendar (ff. 2v-3v), including the Vita of Fronto of Perigueux

red, some with animals or hybrids, all with foliate decoration, and some with clasps; usually on grounds of green and blue, at the beginning of each saint's passion. Initial painted in colours with clasps, perhaps additional (f. 56). Large initials

• Miniature of Dunstan as a bishop, writing a commentary of the Rule of Saint Benedict, with an inscription 'S[an]c[tu]s Dunstanus'., Expositio in Regulam S. Benedicti

2v). 2 foliate initials in colours, at the beginning of the preface and the text (f. 3). Initials in red, blue or green. Expositio in Regulam S. Benedicti The Benedictine cathedral priory of Holy Trinity or Christ Church, Canterbury: inscribed

• Detail of a decorated initial 'O'(bsculta), with foliate motifs, at the beginning of the preface and the text., Expositio in Regulam S. Benedicti

2v). 2 foliate initials in colours, at the beginning of the preface and the text (f. 3). Initials in red, blue or green. Expositio in Regulam S. Benedicti The Benedictine cathedral priory of Holy Trinity or Christ Church, Canterbury: inscribed

• Drawings of seventeen monstrous races, including from left to right, on the top row, a Dog head, or Cynocephali; a Round-eye, or Cyclops; two Blemmyae, with faces on their chests or shoulders, the latter sometimes called Epiphagi; and a noseless man. In the second row is a Amyctyrae, whose lower lip is so large that it can shade itself from the sun; a Panotae (all ears), then a straw drinker, without a proper mouth; and directly below, a speechless one, who communicates through gestures only.; next an Artibatirae, who walks on all fours, a horned human with a hooked nose and goats' feet; and an Antipodes, or opposite footed. In the lowest row is a Sciopod (shadow foot) with a single foot used to shade from the sun; a Hippopod (horse footed); a giant with horses' hooves; and lastly two pygmies., Bible ('The Arnstein Bible') (Job to Revelation), including the Psalms in three versions in three columns, and diagrams, including of the monstrous races (f. 243)

and the Gospels (ff. 57v, 155, 166, 173v, 185v). 3 full-page canon tables with decorated architectural frames in red, green, blue, and some yellow, some with people or animals (ff. 152v-154). 1 large historiated initials in colours, at the beginning

• Inscription of a title reading, 'Expositio su[per] Reg[u]lam beati Benedicti. nova' with a reference sign repeated at the beginning of the text (f. 3), a shelfmark, 'D. III. g. XII, an ownership inscription of John Lumley, and an offset of a miniature from leaf 2v., Expositio in Regulam S. Benedicti

2v). 2 foliate initials in colours, at the beginning of the preface and the text (f. 3). Initials in red, blue or green. Expositio in Regulam S. Benedicti The Benedictine cathedral priory of Holy Trinity or Christ Church, Canterbury: inscribed

• The second figural poem of book 1, bordered by foliage, depicting a golden cross within a red, blue, and green frame., De laudibus sanctae crucis, prefatory material (ff. 2v-5v), book 1 (ff. 6v-34), book 2 (ff. 35-47); catalogues of the Arnstein library (ff. 47v-49); second copy of ~carminum~ 3 (f. 49v); arithmetical tables (ff. 50v-51).

by foliage, depicting a golden cross within a red, blue, and green frame. ff. 4v, 6, 34v, 48, and 50 are blank. f. 1 contains the beginning of ~De laudibus~, book 3: blank space has been left for an initial

• The third figural poem of book 1, bordered by foliage and coloured roundels, depicting the epigram, "~Crux salus~" ("The salvific Cross") in blue., De laudibus sanctae crucis, prefatory material (ff. 2v-5v), book 1 (ff. 6v-34), book 2 (ff. 35-47); catalogues of the Arnstein library (ff. 47v-49); second copy of ~carminum~ 3 (f. 49v); arithmetical tables (ff. 50v-51).

coloured roundels, depicting the epigram, "~Crux salus~" ("The salvific Cross") in blue. ff. 4v, 6, 34v, 48, and 50 are blank. f. 1 contains the beginning of ~De laudibus~, book 3: blank space has been left for an initial 'M'(erito)

• The seventh figural poem of book 1, bordered by a foliate pattern and birds, depicting four circles in red, blue and yellow, in a cross pattern., De laudibus sanctae crucis, prefatory material (ff. 2v-5v), book 1 (ff. 6v-34), book 2 (ff. 35-47); catalogues of the Arnstein library (ff. 47v-49); second copy of ~carminum~ 3 (f. 49v); arithmetical tables (ff. 50v-51).

a foliate pattern and birds, depicting four circles in red, blue and yellow, in a cross pattern. ff. 4v, 6, 34v, 48, and 50 are blank. f. 1 contains the beginning of ~De laudibus~, book 3: blank space has been

• The sixteenth figural poem of book 1, bordered by a twining pattern, depicting a cross composed of overlapping quatrefoils in yellow and blue., De laudibus sanctae crucis, prefatory material (ff. 2v-5v), book 1 (ff. 6v-34), book 2 (ff. 35-47); catalogues of the Arnstein library (ff. 47v-49); second copy of ~carminum~ 3 (f. 49v); arithmetical tables (ff. 50v-51).

pattern, depicting a cross composed of overlapping quatrefoils in yellow and blue. ff. 4v, 6, 34v, 48, and 50 are blank. f. 1 contains the beginning of ~De laudibus~, book 3: blank space has been left for an initial 'M'(erito)

• null, Glossed Gospel of Mark

1 large puzzle initial in red and blue, with red and blue foliate decoration (f. 1). 2 large initials in red or blue, with red and blue foliate decoration (ff. 2, 89v). Glossed Gospel of Mark ? Lichfield Cathedral, Staffordshire,