• Detail of a miniature of Christ dictating to John., La lumiere as lais; Apocalypse (the 'Welles Apocalypse')

of Christ dictating to John. Includes La lumiere as lais of Peter of Peckham (or Peter of Fetcham) in Anglo-French (ff. 1-103v), and the Apocalypse with a commentary in the Anglo-French prose version (ff. 104-214v).According to Sandler, stylistically related to

• Detail of initial 'H'(ic est), at the beginning of the prologue to John., Bible, with the Interpretation of Hebrew names (the 'Lumley Bible')

the beginning of the prologue to John. Associated with a group of manuscripts (the 'William of Devon group'): now Egerton 1151, Pierpont Morgan Library M. 756, Cambridge, Emmanuel College 116 (2.I.6), Bodleian Library Auct. D. I. 17, Royal 1 D

• Detail of initial 'I'(n principio), at the beginning of John., Bible, with the Interpretation of Hebrew names (the 'Lumley Bible')

principio), at the beginning of John. Associated with a group of manuscripts (the 'William of Devon group'): now Egerton 1151, Pierpont Morgan Library M. 756, Cambridge, Emmanuel College 116 (2.I.6), Bodleian Library Auct. D. I. 17, Royal 1 D I,

• Detail of initial 'Q'(uod), at the beginning of 1 John., Bible, with the Interpretation of Hebrew names (the 'Lumley Bible')

at the beginning of 1 John. Associated with a group of manuscripts (the 'William of Devon group'): now Egerton 1151, Pierpont Morgan Library M. 756, Cambridge, Emmanuel College 116 (2.I.6), Bodleian Library Auct. D. I. 17, Royal 1 D I,

• Detail of initial 'S'(enior), at the beginning of 2 John., Bible, with the Interpretation of Hebrew names (the 'Lumley Bible')

at the beginning of 2 John. Associated with a group of manuscripts (the 'William of Devon group'): now Egerton 1151, Pierpont Morgan Library M. 756, Cambridge, Emmanuel College 116 (2.I.6), Bodleian Library Auct. D. I. 17, Royal 1 D I,

• Detail of initial 'S'(enior), at the beginning of 3 John., Bible, with the Interpretation of Hebrew names (the 'Lumley Bible')

at the beginning of 3 John. Associated with a group of manuscripts (the 'William of Devon group'): now Egerton 1151, Pierpont Morgan Library M. 756, Cambridge, Emmanuel College 116 (2.I.6), Bodleian Library Auct. D. I. 17, Royal 1 D I,

• Decorated initial 'C'(unctis), at the beginning of Bede's Commentary to Ezra., Commentary on Ezra and Nehemiah

sc[r]ipt[us] / p[er] manu[m] D[omini] Fulconis can[oni]ci p[ost]ea / p[r]ioris D[omino] Alexand[r]o de Weleue t[un]c Can/tore' (f. 1); noted by John Leland c. 1536-40 (see ~J. Lelandi antiquarii de rebus Britannicis Collectanea: Cum Thomæ Hearnii præfatione notis et indice ad

• Historiated initial 'L'(iber) of the Tree of Jesse, at the beginning of Matthew., Gospels, with the Glossa ordinaria

of Butterby, probably to be identified with Richard Lumley, 1st Viscount Lumley of Waterford (bap. 1589, d. 1661), to whom John Lumley had entailed the lands and castle of Lumley in 1607: inscribed 'Recheard Lumley of buterbe in the conte

• Foliate initial 'L'(ucas), at the beginning of the prologue to Luke., Gospels, with the Glossa ordinaria

of Butterby, probably to be identified with Richard Lumley, 1st Viscount Lumley of Waterford (bap. 1589, d. 1661), to whom John Lumley had entailed the lands and castle of Lumley in 1607: inscribed 'Recheard Lumley of buterbe in the conte

• Text page with a crowned head of a bird in the margin., Historia regum Britanniae (index Gesta Britonum) (ff. 1-133), prologue to the Prophecies of Merlin, and the epistle to Alexander, bishop of Lincoln

an abridgement of Geoffrey of Monmouth: inscribed with his name 'Ponticus Virunius' (f. 1).Added marginal annotations in a 16th-century hand. John Theyer (bap. 1598, d. 1673), antiquary: his monogram (f. 133) and notes in his hand (e.g., ff. 1, 132v-133);

• Detail of a drawing of the skyline of the city of York in the lower margins and two kings pointing the text in the outer margin., Historia regum Britanniae (index Gesta Britonum) (ff. 1-133), prologue to the Prophecies of Merlin, and the epistle to Alexander, bishop of Lincoln

an abridgement of Geoffrey of Monmouth: inscribed with his name 'Ponticus Virunius' (f. 1).Added marginal annotations in a 16th-century hand. John Theyer (bap. 1598, d. 1673), antiquary: his monogram (f. 133) and notes in his hand (e.g., ff. 1, 132v-133);

• Detail of a drawing of the city of Gloucester., Historia regum Britanniae (index Gesta Britonum) (ff. 1-133), prologue to the Prophecies of Merlin, and the epistle to Alexander, bishop of Lincoln

an abridgement of Geoffrey of Monmouth: inscribed with his name 'Ponticus Virunius' (f. 1).Added marginal annotations in a 16th-century hand. John Theyer (bap. 1598, d. 1673), antiquary: his monogram (f. 133) and notes in his hand (e.g., ff. 1, 132v-133);

• Detail of a miniature of John and representatives of churches., Apocalypse, with commentary (The 'Queen Mary Apocalypse'), with the prologue of Gilbert de la Porrée translated in French.

a miniature of John and representatives of churches. According to Sandler 1986, illuminated by three artists: The Queen Mary Master (ff. 1-16v), Hand II (ff. 17-24v, 30, 34-45v), Hand III (25-29v, 31v-32v). The attribution to the Queen Mary Master or

• Detail of a miniature of John, and the Son of Man between seven candlesticks., Apocalypse, with commentary (The 'Queen Mary Apocalypse'), with the prologue of Gilbert de la Porrée translated in French.

a miniature of John, and the Son of Man between seven candlesticks. According to Sandler 1986, illuminated by three artists: The Queen Mary Master (ff. 1-16v), Hand II (ff. 17-24v, 30, 34-45v), Hand III (25-29v, 31v-32v). The attribution to the

• Detail of a miniature of John writing, with an angel before him., Apocalypse, with commentary (The 'Queen Mary Apocalypse'), with the prologue of Gilbert de la Porrée translated in French.

a miniature of John writing, with an angel before him. According to Sandler 1986, illuminated by three artists: The Queen Mary Master (ff. 1-16v), Hand II (ff. 17-24v, 30, 34-45v), Hand III (25-29v, 31v-32v). The attribution to the Queen Mary

• Detail of a miniature of John and the angel pointing to the walls of New Jerusalem., Apocalypse, with commentary (The 'Queen Mary Apocalypse'), with the prologue of Gilbert de la Porrée translated in French.

a miniature of John and the angel pointing to the walls of New Jerusalem. According to Sandler 1986, illuminated by three artists: The Queen Mary Master (ff. 1-16v), Hand II (ff. 17-24v, 30, 34-45v), Hand III (25-29v, 31v-32v). The attribution

• Detail of a miniature of John being raised by an angel, with the head of God above., Apocalypse, with commentary (The 'Queen Mary Apocalypse'), with the prologue of Gilbert de la Porrée translated in French.

a miniature of John being raised by an angel, with the head of God above. According to Sandler 1986, illuminated by three artists: The Queen Mary Master (ff. 1-16v), Hand II (ff. 17-24v, 30, 34-45v), Hand III (25-29v, 31v-32v). The

• Detail of a miniature of John kneeling before Christ., Apocalypse, with commentary (The 'Queen Mary Apocalypse'), with the prologue of Gilbert de la Porrée translated in French.

a miniature of John kneeling before Christ. According to Sandler 1986, illuminated by three artists: The Queen Mary Master (ff. 1-16v), Hand II (ff. 17-24v, 30, 34-45v), Hand III (25-29v, 31v-32v). The attribution to the Queen Mary Master or to

• Detail of a miniature of John, the lamb on the mount, and worshippers., Apocalypse, with commentary (The 'Queen Mary Apocalypse'), with the prologue of Gilbert de la Porrée translated in French.

a miniature of John, the lamb on the mount, and worshippers. According to Sandler 1986, illuminated by three artists: The Queen Mary Master (ff. 1-16v), Hand II (ff. 17-24v, 30, 34-45v), Hand III (25-29v, 31v-32v). The attribution to the Queen

• Detail of a miniature of John, a flying angel, and kneeling figures., Apocalypse, with commentary (The 'Queen Mary Apocalypse'), with the prologue of Gilbert de la Porrée translated in French.

a miniature of John, a flying angel, and kneeling figures. According to Sandler 1986, illuminated by three artists: The Queen Mary Master (ff. 1-16v), Hand II (ff. 17-24v, 30, 34-45v), Hand III (25-29v, 31v-32v). The attribution to the Queen Mary