We have been overwhelmed by the response to the British Library's new exhibition, Magna Carta: Law, Liberty, Legacy, sponsored by the global law firm Linklaters, which opened to the public on Friday. The first reviews have been extremely positive ('rich and authoritative' according to The Daily Telegraph, 'gripping' according to The Guardian), and there have been long queues of visitors this weekend. The exhibition, which is the largest and most significant ever devoted to Magna Carta, one of the most famous documents in the world, has been four years in the making. In the coming months we are going to feature blogposts devoted to the themes of the exhibition and to the individual exhibits -- you may be aware that we have everything on display from original manuscripts of the Declaration of Independence and US Bill of Rights (both of which are visiting the UK for the very first time) to two of King John's teeth! You can also find out more about Magna Carta on our dedicated website and in the catalogue that accompanies the exhibition. Here, however, we're going to show you pictures of the official opening on Thursday night, when HRH The Prince of Wales came to the British Library.

HRH The Prince of Wales arriving at the British Library, flanked by Baroness Blackstone, the Chairman, and Roly Keating, the Chief Executive

The Prince of Wales being shown the genealogy of King John by Julian Harrison, curator of the Magna Carta exhibition

The Prince of Wales being shown the Articles of the Barons by Julian Harrison

The Prince of Wales being shown a replica of the tomb of King John by Claire Breay, curator of the exhibition

The Prince of Wales and Claire Breay examining Thomas Jefferson's manuscript of the Declaration of Independence, loaned to the exhibition by New York Public Library

The Prince of Wales being shown the Treaty of Waitangi (on loan from The National Archives) by Alexander Lock, researcher for the exhibition

Looking at British government papers proposing to give the USA a copy of Magna Carta in 1941, on loan from The National Archives

The Prince of Wales, Claire Breay and Roly Keating with one of the British Library's manuscripts of the 1215 Magna Carta

The reception to mark the opening of the British Library's Magna Carta exhibition

The Prince of Wales being presented to Tony Marx, President of New York Public Library (lender to the exhibition)

The Prince of Wales being presented to Clive Izard and Alex Kavanagh from the Library's Exhibitions team

Baroness Blackstone gives a specially-bound copy of the exhibition catalogue to the Prince of Wales

The Prince of Wales declares the exhibition open

Front cover of Add MS 39603 (binding of wooden boards covered with blue velvet, much worn. On both covers is a cross with a patterned border, between corner-ornaments, all gilt)

In Saturday's blog post, we featured Add MS 39591, a manuscript that was ‘improved’ in the 19th century for its owner Robert Curzon, 14th Baron Zouche. Today, we provide the first of a two-part guide to Curzon’s Greek manuscripts. Most of the 42 Greek manuscripts from Curzon’s collection have now been digitised as part of the Greek Manuscripts Digitisation Project. Curzon’s manuscripts are especially significant for two reasons: first, he almost always leaves detailed notes about his acquisition of individual items in the manuscripts (much material for future #FlyleafFridays here!), and second, a large number of his manuscripts retain Byzantine-style bindings. For these reasons, details are given below of provenance and/or bindings where these are particularly interesting or significant.

Add MS 39583, f 20r. Miniature of St Mark in the Byzantine style of the ?13th century, probably from a Greek Gospel-book

Add MS 39583. Fragments collected by Robert Curzon to illustrate the history of writing. The volume originally contained both Western and Oriental fragments, but the latter have now been transferred to their appropriate departments (Egyptian Antiquities, British Museum, and Asian and African Studies, British Library). The Greek contents are a fragment of a Greek Gospel lectionary (Gregory-Aland l 182); a leaf from a manuscript containing Ephraem the Syrian, Sermo Compunctorius (CPG 3908); and a miniature of St. Mark in the Byzantine style of the ?13th century, probably from a Greek Gospel-book.

Add MS 39584. Parchment roll containing Ἀκολουθία τῶν Ἐγκαινίων: Office for the dedication of a church, with connected or similar offices. 14th century. This roll has been photographed and will appear on Digitised Manuscripts in the coming weeks.

Add MS 39585, front cover

Add MS 39585. Octateuch (Rahlfs 426), imperfect. 11th century, possibly written in Constantinople, where it was by the early 15th century. Bound in boards covered with black leather, blind-tooled with a plain double-line border and a saltire cross, fastened by a leathern thong. On the front cover has been fastened a late Byzantine icon (which may be as late as the sixteenth cent.), given to Curzon (according to a note inside the cover, f i) at Jerusalem by his English servant, William Fuller. It is attached to the binding by a silver frame, in the corners of which are set four stones from Mount Sinai, while in each of the upper lower rims are six stones from the bed of the Jordan. The icon is on wood. The faces are raised, perhaps by means of wax, and the whole is varnished. A double row of saints is shown, which are as follows:-Top row, St John the Baptist, St Nicholas, St George, St Demetrios, Bottom row, Prophet Daniel, Holy Barnabas, Holy Sophronios, St Christophoros. The fore-edge image is listed on Digitised Manuscripts as f vi recto. Curzon acquired the manuscript at the Monastery of St Sabba near Jerusalem (f iii recto).

Add MS 39586. Psalter and Canticles (Rahlfs 1090), with later additions on extra leaves, original and inserted, at beginning and end. Much-defaced miniature of the Psalmist, f 1v. Decorated headpiece, f 2r. Initials, headings and points in red. Some scribblings and drawings in the margins. Early 11th century. Bound in boards covered with blind-tooled leather, originally red (17th century), each studded with five brass bosses, most of which are lost, and with traces of a clasp. On the board of the front cover (f i recto) is written Γαβρηλ Βγ. The fore-edge can be viewed on Digitised Manuscripts as f viii recto. Acquired at the Karakallou Monastery on Mount Athos, according to Curzon’s printed catalogue, though a note in the manuscript (f iv recto) states that the MS was bought from the Monastery of St. Sabba, near Jerusalem.

Add MS 39587. Psalter (Rahlfs 1091). According to Rahlfs, this manuscript and Add MS 39588 (Parham MS VI) were originally a single manuscript. 12th century. Binding is half black, modern English, by Charles Lewis, of black velvet studded on each cover with five silver bosses of open work in silver set with crystals. Acquired at the Monastery of St Sabba near Jerusalem (f i recto).

Add MS 39588. Canticles and other Services, imperfect (Rahlfs 1091), the continuation of the previous manuscript. 12th century. Initials and decorated headpieces in red. Two rough drawings on f 40v. Binding of brown leather. A note by Curzon on f i recto states 'I forget whether I got this MS. at Therapia, of an old woman, who lived at the top of the hill, behind Ld. Ponsonby's stables; from whom I got 4 bad MSS. of the 16th century or whether I got it at Athens, from a certain schoolmaster'. Rahlfs' belief that this manuscript was originally part of Add MS 39587 makes it more probable that Curzon acquired it at St Sabba (the source of Add MS 39587)

Add MS 39589. Psalter (Rahlfs 1092) with introduction and commentary based on that of Euthymius Zigabenus (PG 128), attributed in the manuscript to Nicephorus Blemmydes, imperfect. 2nd half of the 12th century. Initials and headings in red. Ornamental headpieces in red and green before the introduction to the commentary and the Psalter (ff 1r, 12r). On f 11v are the remains of a miniature, representing the Psalmist. Almost all the colour has flaked off, leaving only the outlines; the nimbus was of gold, and Δα(υεί)δ is written in red on the right of the head. Modern binding of blue velvet. Purchased by Robert Curzon in Therapia in 1837 for 1 dollar (f i recto).

Add MS 39590. New Testament, without the book of Revelation (Gregory-Aland 547). Contains Euthalian prefaces to the Epistles and prefatory notes and epigrams to the Gospels. 11th century, the flyleaves are taken from a 10th-century manuscript of sermons by John Chrysostom. In wooden boards covered with brown leather (possibly 15th century), blind-tooled, with ornamental borders and stamped medallions containing dogs, etc., metal bosses in the middle and at the four corners, several of which have been lost and, in two cases, replaced by modern nails. The fore-edge is listed on Digitised Manuscripts as f ix recto. Acquired at the Karakallou Monastery on Mount Athos (f ii recto).

Add MS 39591. Four Gospels (Gregory-Aland 548). At the end a 14th-century hand has added the oikoi (acrostic "αβγ-ο") from the Office of the Akathist. Mid-12th century. Initials, titloi, and numbers of Ammonian sections in gold and over red. Headpieces illuminated in gold and colours. Before each Gospel is a miniature of the Evangelist. The first of these (f iii verso) is modern, and it is not certain that there was an original miniature of St Matthew. The three original miniatures (ff 44v, 70v and 124v) have in each case a plain gold ground and show the Evangelist seated. These were significantly overpainted at the same time as the miniature of St Matthew was added.The first 8 lines of St. John's Gospel are written in gold over red. Some of the earlier folios (ff 2r-4r, 15v-16r) have been furnished with neums in red, and notes of lessons have been made as far as f 5r, in both cases by a later hand. The manuscript was "improved" for Robert Curzon in the 19th century.

Add MS 39592, front cover

Add MS 39592. Four Gospels (Gregory-Aland 549), with marginal commentary. 11th century. Gospel headings and initials on the first page of each Gospel in gold; other initials in magenta. Bound in a comparatively modern binding of boards covered with red velvet, with a leaf-like plate of silver-gilt at each corner, formerly clasped by cords of red and yellow. Images of the fore-edges can be foudn on Digitised Manuscripts as ff iii-v. Acquired at the Xenophontos Monastery on Mount Athos (f i recto).

Add MS 39593. Four Gospels (Gregory-Aland 550), with prefaces taken from the commentary of Theophylact, and synaxaria. 12th century. Decorated headpieces. Initials, lists of chapters, Ammonian section-numbers, and lection notes in red, much-faded. Binding of boards covered with black leather, blind-tooled, with cross on front cover, much rubbed. Acquired at the Karakallou Monastery on Mount Athos (f 2v).

Front cover of Add MS 39594

Add MS 39594. Four Gospels (Gregory-Aland 551), with capitula, Ammonian sections, lection notes, and subscriptions. 12th century. Followed by synaxaria, added on paper in the late fifteenth century. Full-page miniatures of the Evangelists. Illuminated headpieces and initials. Other initials, headings, titloi, lection notes, and section numbers in varying tints. Binding is probably 16th century. Boards covered with dark brown leather. The upper cover has a blind-stamped border with a cross in the middle, the spaces left being filled irregularly with stamped designs, rosettes, rings containing birds, etc. The lower cover has a more regular pattern, also blind-stamped, a border enclosing a panel divided by diagonal lines crossing, the spaces being occupied by conventional designs. The fore-edge can be viewed on Digitised Manuscripts as f ii recto. Acquired at the Karakallou Monastery on Mount Athos (f i recto).

Add MS 39595. Four Gospels (Gregory-Aland 552). 2nd half of the 12th century. Illuminated headpieces and initials. The first page of each Gospel is written in gold over magenta. Initials and titloi in magenta. In a binding of wooden boards, covered with brown leather, probably 16th-17th century, with a blind-tooled pattern of a saltire in a panel. Acquired at the Monastery of St Sabba (f iii recto).

Add MS 39596, fore-edge

Add MS 39596. Four Gospels (Gregory-Aland 553). 13th century. Illuminated headpieces and Gospel initials. Titloi, chapter-numbers, subscriptions, intials, and capitula in red. Binding of wooden boards covered with dark brown leather, probably 16th century. The fore-edge can be viewed on Digitised Manuscripts as f iv recto. Acquired at the Monastery of St Sabba (f i recto).

Add MS 39597. Four Gospels (Gregory-Aland 554). Written in 1272. Illuminated headpieces and Gospel initials, other initials and titloi in red. Binding of blind-panelled black leather over wooden boards, 16th-17th century. Acquired at the Monastery of St Sabba for 10 dollars (f i recto).

Add MS 39598. New Testament, Acts and Epistles (Gregory-Aland 910), with Euthalian headings, preceded by Dorotheus of Tyre, Index Apostolorum et Discipulorum. Completed in 1009. Decorated headpiece in red and black before Acts. Headings, subscriptions and the first few words of each paragraph in red. Binding of wooden boards, covered with black leather: 16th-17th cent. Acquired at the Monastery of St Sabba (f ii recto).

Add MS 39599. New Testament, Acts and Epistles (Gregory-Aland 911), with ekphonetic neums, lection notes, and a marginal commentary, being a combination of the commentaries of Theophylact and Oecumenius on Acts, an abbreviated version of the commentary of Oecumenius on the Pauline Epistles, and a selection from the text now in Cramer's Catena (1840) on the Catholic Epistles. Imperfect at the end. The volume also contained Revelation, which was cut out by the Hegoumenos of the Karakallou Monastery, and which is now bound separately as Add MS 39601 (see below). The missing portion of the Catholic Epistles, now lost, may have been cut out at the same time. 11th century. In boards covered with brown leather, blind-tooled with a panel pattern and varnished, perhaps of the 16th century. Acquired at the Karakallou Monastery on Mount Athos (note on the inside front cover).

Add MS 39600. New Testament, Acts and Epistles (Gregory-Aland 912), with the prefaces of Euthalius and Theodoret. 13th century. Decorated headpiece in red at the beginning of Acts. Initials, subscriptions, titloi, and lection notes in red. The manuscript also contains a line-engraving of the Monastery of Simonopetra, dated 1836, which was included in the volume when it was rebound in red velvet in the 19th century. Acquired at the Simonopetra Monastery on Mount Athos (f i recto).

Add MS 39601. Revelation (Gregory-Aland 911 [=2040]), imperfect at the end, expl. 20:11, καὶ ὁ οὐρανός, καὶ τόπος, with a marginal commentary by Andreas of Caesarea, Commentarii in Apocalypsin (TLG 3004.001). Originally part of Add MS 39599 (see above), but the hand of the text (perhaps not that of the commentary) is different and a good deal smaller. 19th century binding of red velvet. Acquired at the Karakallou Monastery on Mount Athos (f ii verso).

Add MS 39602, front cover

Add MS 39602. Gospel lectionary (Gregory-Aland l 181). Written at Ciscissa in Cappadocia for the bishop Stephanos in 980: f 220v.Revised by Michael, a notary, at Ciscissa in 1049: f 221r. There is a note in Georgian on f 1r, discussed in a blog post by Adam McCollum. Decorated head-pieces and initials in red and blue, headings and neumes in red. A number of the initials are of zoomorphic or anthropomorphic form, e.g. O in the form of a fish (ff 6r, 138v, 157v), and E with a human hand for a cross-bar (ff 1r, 7v). Bound in red velvet with a clasp, the front cover studded with five gilt buckles. Acquired at the Karakallou Monastery on Mount Athos, according to Scrivener, Codex Augiensis p. 51.

Add MS 39603, f 112r, text in the shape of a cross

Add MS 39603. Cruciform Gospel Lectionary (Gregory-Aland l 233). 12th century. Illuminated initials and finial ornaments at each angle of the cruciform text. Fully illuminated cruciform borders enclose the text on ff 1r, 42r, 112r. Tail-piece on f 196v. Neums in red, headings and rubrics in gold over red. The first two pages of text are also in gold over red. Modern but not recent binding of wooden boards covered with blue velvet, much worn. On both covers is a cross with a patterned border, between corner-ornaments, all gilt. The cross on the front cover has the inscription "IC XC NIKA".

Keep an eye out on the blog for the second part of this journey through the manuscripts of Robert Curzon, which will also include a bibliography.

- Cillian O’Hogan

Illuminated manuscripts of the Gospels often have portraits of the Evangelists preceding individual Gospel books. This is because leaves at the beginning and end of manuscripts tend to be the most likely to be lost or damaged, especially if manuscripts are left unbound for some time. You can see many examples of manuscripts with somewhat discoloured first and last leaves on Digitised Manuscripts

What this means for Gospel manuscripts is that St Matthew is on occasion missing from volumes nowadays  - this is the case, for instance, in Add MS 24376 (Gregory-Aland 696), a Greek Gospel book we have looked at previously on the blog. Today, we’re highlighting a rather unusual manuscript – one for which a later owner commissioned a new portrait of St Matthew.

Robert Curzon, 14th Baron Zouche, was a renowned 19th-century traveller and manuscript collector. He journeyed widely in Greece and in the Near East, and amassed a sizeable collection of Greek and Oriental manuscripts. On his death, over two hundred of these manuscripts were placed on loan in the British Museum, and were bequeathed to the Museum in the will of his daughter, Darea Curzon, in 1917. These now constitute Add MSS 39583-39671, along with Oriental MSS 8729-8855, the latter being cared for by our colleagues in Asian and African Collections. Curzon published a catalogue of his collection in 1849. He retained a personal copy, which he annotated in subsequent years. This was presented to the British Museum along with the other manuscripts, and is now held as Add MS 64098. In a future blog post we will go into more detail on all of Curzon’s Greek manuscripts, but today we have space to focus on one.

Add MS 39591, ff iii verso-1r

Add MS 39591 (Gregory-Aland 548) was created in the mid-12th century, at which time, presumably, portraits of all four evangelists were added. But by the time Curzon acquired the manuscript from the Monastery of St Sabba, near Jerusalem, in 1834, the portrait of Matthew was no longer to be found. As a result, a new portrait was created, to complete the volume, and this is now f iii verso. You can see the clear difference between the quality and condition of the parchment of this leaf and that of f 1r, the beginning of the 12th-century manuscript proper.

Burney MS 19, f 1v, St Matthew, 2nd quarter of the 12th century

Burney MS 19, f 63v, St Mark, 2nd quarter of the 12th century

In addition, the colouring is not characteristically Byzantine, and the image of Matthew is rather closer to that of Mark than that more typically associated with Matthew, as in, for example, Burney 19, above.

Add MS 39591, f 44v, St Mark, 12th century, overpainted in the 19th century

Add MS 39591, f 74v, St Luke, 12th century, overpainted in the 19th century

Add MS 39591, f 124v, St John the Evangelist, 12th century, overpainted in the 19th century

The same later artist has also touched up the other portraits in Add MS 39591. Here are Mark, Luke and John.

Add MS 39591, f 44v, detail of Roman script or type transferred to the red cushion during the 19th-century overpainting

But the artist has left a tiny trace of his work in the portrait of St Mark. On Mark’s red cushion, some letters in Roman script can be seen. Presumably, a page containing these letters was put against the portrait of Mark while it was still damp, and these letters were transferred. The fact that they are in Roman script makes it more likely that this restoration work was done after the manuscript had left the Monastery of St Sabba, rather than before.

- Cillian O’Hogan

As we draw to the end of Paris fashion week, let us turn to a manuscript that exudes the best of Parisian style. The haute couture of book illumination, this glorious Book of Hours showcases the work of the French capital’s most in-demand fifteenth-century illuminators. 

Miniature of the Visitation by the Egerton Master, from ‘The Hours of René of Anjou’, France (Paris), 15th century, Egerton MS 1070, f. 29v

It is the eponymous manuscript of the Egerton Master, whose mastery is elsewhere illustrated in the stunning two-volume Bible historiale that starred in our exhibition, Royal Manuscripts: The Genius of Illumination. The Egerton Master collaborated on several occasions with other fashion­able painters of the day. These included the Mazarine Master, who helped to complete the miniatures and decoration towards the end of this lavish manuscript, along with two lesser-known Parisian artists.

Detail of a miniature of The Last Supper by the Mazarine Master, Egerton MS 1070, f. 113r

One of the more unusual characteristics of Egerton MS 1070 is the unique border decoration. Angels carry freshly unearthed branches of acanthus, roots intact, which extend up the vertical margins.

Miniatures of Saint Denis and his companions, and Saint George, with border decoration of angels carrying branches of acanthus by the Egerton Master, Egerton MS 1070, f. 90v

A book fit for a king? Well, it was actually owned by several…

Following the original commission, this exceptional Book of Hours passed into the hands of a number of monarchs, including Henry VII, before entering the British Library’s collection (via a short residency at a Jesuit College in Krakow). Today the manuscript is identified by the name of one of its fifteenth-century owners, René of Anjou. ‘Le bon roi René’ (‘good king René’) was an influential European leader, patron of the arts and occasional author, whose many titles included duke of Anjou, duke of Lorraine and Bar, and count of Provence, as well as king of Naples, Sicily and Jerusalem.

Full-page miniature of René’s coat of arms, Egerton MS 1070, f. 4v

Full-page miniature of Jerusalem with the Church of the Holy Sepulchre and the Dome of the Rock, Egerton MS 1070, f. 5r

When the book came into René’s possession, it was carefully customised to suit its new owner and assert his status. This is evident from the beginning of the book: two full-page miniatures depict firstly René’s coat of arms and, on the facing page, Jerusalem, the capital of his kingdom in the Holy Land. Painted by Netherlandish artist Barthélemy d'Eyck, they reflect the early stages of the close relationship between this artist and his patron.

Texts were also added to personalise the manuscript for René’s own private devotion, such as the prayer below which incorporates his name.  

Detail of added prayer including René’s name [Renatum], Egerton MS 1070, f. 43v

The additions also permeate into the borders: many of the angels find the burden of their flight eased by billowing sails, which carry René’s motto 'En Dieu en soit' (‘in accordance with God’s will’). As well as furthering his devotional appropriation of the book, they function as a graffiti artist’s tag, stamping René’s ownership in his own distinctive manner.

Detail of border decoration including the addition of René’s motto 'En Dieu en soit', Egerton MS 1070, f. 16r

Why not delve deeper into this fascinating codex by exploring it in full on our Digitised Manuscripts website.

- Hannah Morcos

The countdown continues until the opening of our major exhibition, Magna Carta: Law, Liberty, Legacy. Today we're delighted to announce that the show will feature a number of stunning loans from Canterbury Cathedral, which will illuminate the story of how and why Magna Carta was first granted in 1215. As ever, we're indebted to the generosity of our friends at Canterbury for so kindly agreeing to lend these items to our exhibition at the British Library.

The mitre of Archbishop Walter (courtesy of Canterbury Cathedral)

The Canterbury objects on display in London comprise the vestments and crozier of Hubert Walter (Archbishop of Canterbury and Chancellor of England under King John), a 13th-century seal press (remember, Magna Carta was sealed, not signed) and a letter excommunicating the rebel barons. The vestments are outstanding examples of Opus Anglicanum (medieval English embroidery), and were found in Hubert Walter's tomb when it was opened at Canterbury Cathedral in 1890. Magna Carta: Law, Liberty, Legacy will feature the archbishop's mitre, slippers, buskins (boots) and stole, as well as his crozier, made of beechwood and featuring settings for four jewels.

The buskins of Archbishop Hubert Walter (courtesy of Canterbury Cathedral)

The stole of Archbishop Hubert Walter (courtesy of Canterbury Cathedral)

The seal press was made for the monks of Canterbury Cathedral around the year 1232. A similar press would have been used to create the impression on both sides of the Great Seal of England and to attach it to Magna Carta. It would have applied pressure to two metal matrices engraved with the design on the seal, two discs of beeswax, and the plaited silk cords which joined the seal to the document.

The letter is dated 5 September 1215, and it commands Stephen Langton, Archbishop of Canterbury, to excommunicate the rebel barons, on the grounds that they had violated the terms of Magna Carta. Nine barons are singled out for condemnation, together with six clerics, including Giles, Bishop of Hereford. This signalled the start of a new rebellion, which continued up to and beyond the death of King John in 1215.

We are very excited to have these magnificent objects in our exhibition, and are extremely grateful to Canterbury Cathedral for so kindly agreeing to lend them to us. Magna Carta: Law, Liberty, Legacy opens to the public on Friday, 13 March, and closes on 1 September 2015. Book your ticket now, they're selling fast!

Julian Harrison (@julianpharrison)

To find out more about the London Rothschild Hours, take a look at our post A Calendar Page for January 2015. 

Calendar page for March, with decorative border comprising a Zodiac sign, architectural column and suspended roundel, and bas-de-page scene, from the London Rothschild Hours, Southern Netherlands (?Ghent), c. 1500, Add MS 35313, f. 2v 

In this month’s border decoration, a roundel for the Feast of the Annunciation is suspended from a perpendicular gothic column. This elaborate architectural design itself encloses a scene showing the Mass of St Gregory, who died on 12th March 604. According to Paul the Deacon’s 8th-century biography of Gregory, the Man of Sorrows appeared as Gregory celebrated mass as Pope, in response to his prayers to convince someone of the doctrine of transubstantiation – that is, Christ’s physical presence in the consecrated host. 

At the top of the page, there is the Zodiac sign for March: Aries the Ram. At the bottom, there is another scene of agricultural industriousness. Three peasants labour in a fenced-off garden: the men digging and planting fruit trees, the woman pulling up weeds. They are overseen by a gentlewoman, who is holding a small lapdog in her arms, and her female attendant. A large and imposing building, presumably the woman’s residence, stands in the background. 

Detail of a bas-de-page scene of peasants labouring in a garden, Add MS 35313, f. 2v 

Detail of an architectural column enclosing the scene of the Mass of St Gregory, Add MS 35313, f. 2v 

- James Freeman