• Explicit page at the end of Mark and the beginning of Luke., Four Gospels (the 'Harley Gospels', or 'Codex Harleianus')

diple. The canon tables are of Nordenfalk's First Latin Group.f. 1* is a list of chapters on paper flyleaf; f. 1 is a parchment leaf; f. 469 is a paper flyleaf. Canon tables in coloured architectural arcades (ff. 6-16). Large

• Text page in Luke., Four Gospels (the 'Harley Gospels', or 'Codex Harleianus')

diple. The canon tables are of Nordenfalk's First Latin Group.f. 1* is a list of chapters on paper flyleaf; f. 1 is a parchment leaf; f. 469 is a paper flyleaf. Canon tables in coloured architectural arcades (ff. 6-16). Large

• Decorated initial at the beginning of John., Four Gospels (the 'Harley Gospels', or 'Codex Harleianus')

diple. The canon tables are of Nordenfalk's First Latin Group.f. 1* is a list of chapters on paper flyleaf; f. 1 is a parchment leaf; f. 469 is a paper flyleaf. Canon tables in coloured architectural arcades (ff. 6-16). Large

• Text page., Four Gospels (the 'Harley Gospels', or 'Codex Harleianus')

diple. The canon tables are of Nordenfalk's First Latin Group.f. 1* is a list of chapters on paper flyleaf; f. 1 is a parchment leaf; f. 469 is a paper flyleaf. Canon tables in coloured architectural arcades (ff. 6-16). Large

• Text page in John., Four Gospels (the 'Harley Gospels', or 'Codex Harleianus')

diple. The canon tables are of Nordenfalk's First Latin Group.f. 1* is a list of chapters on paper flyleaf; f. 1 is a parchment leaf; f. 469 is a paper flyleaf. Canon tables in coloured architectural arcades (ff. 6-16). Large

• Text page., Four Gospels (the 'Harley Gospels', or 'Codex Harleianus')

diple. The canon tables are of Nordenfalk's First Latin Group.f. 1* is a list of chapters on paper flyleaf; f. 1 is a parchment leaf; f. 469 is a paper flyleaf. Canon tables in coloured architectural arcades (ff. 6-16). Large

• Detail of an illuminated initial 'S'(atis) with a marginal extension forming a partial border containing hybrids, at the beginning of the De humanitate Verbi contra gentes of Athanasius., Theological treatises

colours and gold with grotesques and marginal extensions forming partial borders, at the beginning of the four first treatises (ff. 1, 32, 66v, 70). Space left for initials, at the beginning of other major divisions (ff. 92, 93, 101v, 103v,

• Text page., Theological treatises

colours and gold with grotesques and marginal extensions forming partial borders, at the beginning of the four first treatises (ff. 1, 32, 66v, 70). Space left for initials, at the beginning of other major divisions (ff. 92, 93, 101v, 103v,

• Illuminated initial 'P'(auli) with a hybrid and a mask., Theological treatises

colours and gold with grotesques and marginal extensions forming partial borders, at the beginning of the four first treatises (ff. 1, 32, 66v, 70). Space left for initials, at the beginning of other major divisions (ff. 92, 93, 101v, 103v,

• Ownership inscriptions of Humfrey, duke of Gloucester, reading 'Cest livre est a moy Homfrey duc de / Gloucestre le quel Jay fait translater / de grec en latyn par Antoyne de Becaria / Veroneys mon serviteur.', Theological treatises

colours and gold with grotesques and marginal extensions forming partial borders, at the beginning of the four first treatises (ff. 1, 32, 66v, 70). Space left for initials, at the beginning of other major divisions (ff. 92, 93, 101v, 103v,

• Illuminated Initial 'R'(erum) with a dragon, and hybrid holding a kettle and a sword, at the beginning of the Contra gentes of Athanasius., Theological treatises

colours and gold with grotesques and marginal extensions forming partial borders, at the beginning of the four first treatises (ff. 1, 32, 66v, 70). Space left for initials, at the beginning of other major divisions (ff. 92, 93, 101v, 103v,

• Illuminated initial 'S'(atis) with a marginal extension forming a partial border containing hybrids, at the beginning of the De humanitate Verbi contra gentes of Athanasius., Theological treatises

colours and gold with grotesques and marginal extensions forming partial borders, at the beginning of the four first treatises (ff. 1, 32, 66v, 70). Space left for initials, at the beginning of other major divisions (ff. 92, 93, 101v, 103v,

• Illuminated initial 'C'(um), with hybrids and human heads., Theological treatises

colours and gold with grotesques and marginal extensions forming partial borders, at the beginning of the four first treatises (ff. 1, 32, 66v, 70). Space left for initials, at the beginning of other major divisions (ff. 92, 93, 101v, 103v,

• Colophon of Antonio Beccaria of Verona, reading 'Athanasii viri sanctissimi de unitate substantiae deitatis / dialogus ex Graeco in Latinu[m] conversus per Antonium / Becariam Veronesem ad serenissimu[m] principem d[omi]n[u]m/ Humfredum Gloucestrix Ducem d[omi]n[u]m suu[m] singularissimu[m] / Locutores Athanasius, Arius et c'; with an inscription identifying the text by John Theyer., Theological treatises

colours and gold with grotesques and marginal extensions forming partial borders, at the beginning of the four first treatises (ff. 1, 32, 66v, 70). Space left for initials, at the beginning of other major divisions (ff. 92, 93, 101v, 103v,

• Decorated initial 'U'(trum) with acanthus leaf and ivy tendrils at the beginning of the text., Orator

Added text: late 15th century, prior to 1477 (f. 69).Renaud de Chauvigny de Blot, abbot of La Chaise-Dieu 1465-1491: until 1 August 1477, when it was given to the abbey, inscription recording the gift 'Reverendissimus ?ihesu christo pat[er] et dominus

• Puzzle initial 'I'(n) with pen-flourishing at the beginning of the text., Dialogus

the beginning of the text. Beginning imperfectly.ff. 1 and 190 are a former pastedowns. ff. 1-2v and 189-190v are parchment flyleaves from a 14th-century theological manuscript in Latin in 2 columns, with initials in blue with red pen-flourishing or in

• Historiated initial 'N' of Dante and Virgil in a dark wood, with four half-length figures representing Justice, Power, Peace and Temperance., Divina Commedia (index Divine Comedy)

historiated initials, developing partial foliate borders, in colours and gold, at the beginning of the Inferno, Purgatorio, and Paradiso (ff. 1, 65, 129). 110 large miniatures in the lower margin, in colours and gold (ff. 2, 4, 5, 6, 7v,

• Text page., Divina Commedia (index Divine Comedy)

historiated initials, developing partial foliate borders, in colours and gold, at the beginning of the Inferno, Purgatorio, and Paradiso (ff. 1, 65, 129). 110 large miniatures in the lower margin, in colours and gold (ff. 2, 4, 5, 6, 7v,

• Miniature of Dante's vision of hell, where he is attacked by three wild beasts; the leopard, representing lust, the lion, pride, and the she-wolf, greed, and at the left, Dante meeting Virgil, in illustration of Canto I., Divina Commedia (index Divine Comedy)

historiated initials, developing partial foliate borders, in colours and gold, at the beginning of the Inferno, Purgatorio, and Paradiso (ff. 1, 65, 129). 110 large miniatures in the lower margin, in colours and gold (ff. 2, 4, 5, 6, 7v,

• Illuminated initials on a text page., Divina Commedia (index Divine Comedy)

historiated initials, developing partial foliate borders, in colours and gold, at the beginning of the Inferno, Purgatorio, and Paradiso (ff. 1, 65, 129). 110 large miniatures in the lower margin, in colours and gold (ff. 2, 4, 5, 6, 7v,