• Detail of historiated initial of the Flight into Egypt, at the beginning of Vespers in the Hours of the Virgin., Roll of Hours (begins imperfectly)

Detail of historiated initial of the Flight into Egypt, at the beginning of Vespers in the Hours of the Virgin. Recto: Hours of the Virgin, begining imperfectly at the end of Matins (ff. 1-6); O intemerata (f. 6); Penitential Psalms,

• Decorated initial 'E' before the first word 'Iste'., Charter, and Domesday book of the laws and usages of Ipswich

time of Edward III: beginning of the text 'Iste liber constat paulo le Roos detico ville by iyppwyti (?)' (f. 3); 'Iste liber constat paulo le Ros' (f. 15).Added texts, later 14th-century hand, of a copy of an inquisition of

• Puzzle initial 'D'(ermiti[us]) and hybrid creatures in the lower margin., Expugnatio Hibernica

for £10,000 (a fraction of their contemporary value) under the Act of Parliament that also established the British Museum; the Harley manuscripts form one of the foundation collections of the British Library. Puzzle initial Gerald of Wales (index Giraldus Cambrensis)

• Drawing of a bird holding a hairy hybrid in its peak, at ~parashat wa-yehi~ (Gen. 47:28-50:26)., Pentateuch with Targum Onkelos and Rashi’s commentary (ff. 1-240v), ~Haftarot~ with Rashi’s commentary (ff. 241-295v), Five Scrolls (~Hamesh megillot~) with Rashi’s commentary (ff. 295v-321), and a portion of the Targum on the Song of Songs (ff. 321v-323v).

Probably censored by Hippolite of Ferrara, Franciscan censor: inscribed 'Fra Hipp. Ferr' (active at the end of the 16th century-beginning of 17th century, in Cremona?) (f. 323v), see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House,

• Marginal drawing of a hybrid with a bird body and a devil head, at ~parashat mishpatim~ (Ex. 21:1-24:18)., Pentateuch with Targum Onkelos and Rashi’s commentary (ff. 1-240v), ~Haftarot~ with Rashi’s commentary (ff. 241-295v), Five Scrolls (~Hamesh megillot~) with Rashi’s commentary (ff. 295v-321), and a portion of the Targum on the Song of Songs (ff. 321v-323v).

Probably censored by Hippolite of Ferrara, Franciscan censor: inscribed 'Fra Hipp. Ferr' (active at the end of the 16th century-beginning of 17th century, in Cremona?) (f. 323v), see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House,

• A drawing of a lion in the inner margin, at ~parashat mishpatim~ (Ex. 21:1-24:18)., Pentateuch with Targum Onkelos and Rashi’s commentary (ff. 1-240v), ~Haftarot~ with Rashi’s commentary (ff. 241-295v), Five Scrolls (~Hamesh megillot~) with Rashi’s commentary (ff. 295v-321), and a portion of the Targum on the Song of Songs (ff. 321v-323v).

Probably censored by Hippolite of Ferrara, Franciscan censor: inscribed 'Fra Hipp. Ferr' (active at the end of the 16th century-beginning of 17th century, in Cremona?) (f. 323v), see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House,

• Drawing of a lion and a bird in the inner margin under the Targumic text, at ~parashat be-huqqotai~ (Lev. 26:3-27:34)., Pentateuch with Targum Onkelos and Rashi’s commentary (ff. 1-240v), ~Haftarot~ with Rashi’s commentary (ff. 241-295v), Five Scrolls (~Hamesh megillot~) with Rashi’s commentary (ff. 295v-321), and a portion of the Targum on the Song of Songs (ff. 321v-323v).

Probably censored by Hippolite of Ferrara, Franciscan censor: inscribed 'Fra Hipp. Ferr' (active at the end of the 16th century-beginning of 17th century, in Cremona?) (f. 323v), see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House,

• Historiated initial-word panel: ~Barukh~ (blessed) at the beginning of the benediction for the ending of the Shabbat (~Havdalah~ ceremony). An elderly man lifts a goblet while performing the ~Havdalah~ blessing over a twisted candle held by a young boy. Full foliate border inhabited by hybrids and lions. (The depiction of ~Havdalah~ ceremony also occurs on f. 24v.), Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Historiated initial-word panel with gold letters: ~Hakham~ (Wise Son) portraying the Wise Son as a bearded man seated at a study desk reading., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Decorated initial-word panel: ~Tam~ (Simple Son). Next to the panel, the Simple Son is portrayed as a young boy standing in front of a bearded man. Three-side foliate border with hybrids., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Full-page initial-word panel with gold letters and foliate decoration at the conclusion of the Haggadah: ~La-Shanah ha-Baah bi-rushalayim, amen~ (Next year in Jerusalem, Amen)., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Historiated initial-word panel with gold letters: ~Avadim~ at the beginning of the passage, 'We were slaves to Pharaoh'. Beneath the initial word, the Israelites build a tower under the supervision of a task master. In the outer margin, two (Egyptian?) riders watch the construction works. In the lower margin, Israelites are making bricks. In the upper margin, a dog serves a rabbit. About the interpretation of the dog serving a rabbit see Kurt Schubert, 'Wikkuach-Thematik in den Illustrationen hebraeischer Handschriften', ~Jewish Art~, 12/13 (1986/1987), 251-52., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Decorated initial-word panel with gold letters and white vine decoration and with a dragon on top of the panel. Partial foliate border with a hybrid musician. Both the dragon and the hybrid are unfinished., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Decorated initial-word panel with gold letters: ~U-we-moftim~ (And with wonders), at the fifth of the five explanations how God brought out the Israelites from Egypt. Two dragons standing on top of the panel, and foliate decoration spreading out of its four corners inhabited by hybrids, and two armed wild men., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Historiated initial-word panel: ~Ma'aseh~, at the beginning of the account of the five rabbis at Benei Braq. The five rabbis are in the windows of a building; their pupils are knocking on the door. Full foliate border inhabited by animals, birds, dragons., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Historiated full-page initial-word panel: ~Matzah zo~ (This unleavened bread). Between the two words a man seated holding unleavened bread in both of his hands. Beneath the initial words, a giant ~matzah~ embedded into a square panel and decorated with eight coats of arms and gold. Four coats of arms are blank, while the other four are ~en pal~ (seven ~azur~ and ~or~) resembling the arms of Barcelona. Beneath, musicians playing standing under arches. About the coats of arms see, Narkiss, 1982, p. 83 and ~The Barcelona Haggadah~, 1992, pp. 36, 41., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Historiated initial-word panel ~Ha lahma aniya~ (The Bread of Affliction), at the beginning of the text of the Haggadah. Beneath the initial words, a miniature depicting a family by the Seder table with the master of the house placing the basket of unleavened bread on the head of one of his children. Full foliate border inhabited by animals and dragons. Placing the basket over the head of the participants was a Sephardi custom and it was considered as a symbolic way to experience the Exodus of the Israelites from Egypt carrying the dough on their backs (See Metzger 1982, p. 260)., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

of Affliction), at the beginning of the text of the Haggadah. Beneath the initial words, a miniature depicting a family by the Seder table with the master of the house placing the basket of unleavened bread on the head

• Historiated initial-word panel: ~We-shotin~ (And they drink) depicting a spread Seder table surounded by the family with the participants lifting their cups. In the lower margin, a man is washing his hands with the help of a servant (~netilat yadayim~)., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Historiated initial-word panel at the beginning of the Haggadah: ~Atan mi-pirqa~ (They are coming from the prayer gathering) surrounded by rich marginal decoration with foliate inhabited by animals and hybrids. Beneath the initial word, a family sitting by the spread Seder table with the master of the house lifting his cup and one of the participants pouring the first cup of wine., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper

• Two historiated initial-word panels: ~Barukh~ (Blessed) at the beginning of benedictions, within the panel, beneath the word 'Praised', hybrids lifting the first cup and marginal decoration with foliate inhabited by animals and hybrids, with a deer hunting scene in the outer margin., Haggadah, liturgical poems and biblical readings for Passover (The 'Barcelona Haggadah'), Sephardic rite

(top of f. 1, top of f. 161v).Livorno Sig. Carissimo Caro: inscribed with his name, a later owner(?) (late 18th - early 19th century) (f. [ii verso]).Entry of the catalogue of Payne and Foss (inscription on a strip of paper