This manuscript represents one of the high-points in Cambrai illumination in the 1270s, firmly assignable to Cambrai itself because of the presence of the Ordo for the Synod of Cambrai accompanied by an illustration showing the synod in action. It was probably made for the synod of 1277 and certainly for Enguerrand de Créquy, Bishop of Cambrai from 1273 to 1285.

ff. 3+188(first and last pasted to covers)

16th century, Toledo (Janini and Gonzàlvez, 221): brown leather over boards, tooled on front and back with a simple pattern of double fillets forming two intersecting rectangles joined by single fillets forming a saltire in the centre. Parchment label on spine, with a 13th-century inscription: Ut cur evangeli/inter...er/ anno ab eo non referamus quia in ip...'. Two clasps.

Written in litera textualis semiquadrata formata, below top line, in dark brown ink by one main hand (ff. 12–178), here attributed to Johannes Phylomena, who wrote Cambrai, Méd. mun. 189-90 (Cat. III-43) in 1266.

Square notation on a four-line stave ruled in red. Script of ff.1-11 in a later formata hand (cf. the work of Ubaldus de Sartis, scribe of Cambrai Méd. mun. 33–5), in 2 columns of 20 lines, within a text block of 228 x 157; script of ff. 179–88 also by this hand, in 2 columns of 29 lines within a text block of 232 x 157. On f. l88 there are further later additions in 14th or 15th-century cursive. Textual emendations in this hand occur in the Common of Saints, Ordination and Consecration sections of the book.

Foliation in Roman numerals at the tops of rectos from f.12[i] to f.187 [ciiii/xx/vii], probably by the same hand.

Pen-flourished initials ff. 179-188 by one of the pen-flourishers of the Marquette books (see the Marquette Bible in Table of Bibles).

Burnished gold one-line champie initials on red and blue grounds with abundant red, white and blue pen-drawn decoration. Guide letters in ink in gutters.

Leaf and dragon two-line initials alternating with painted gold two-line initials on a deep maroon ground, simulating émail brun (cf. Cambrai, Méd. mun. 189-190, Cat. III-43 and Table of Gospel Books).

163 historiated initials with borders, mainly two-lines high; larger initials of 4–5 lines are so indicated below; scenes in the borders on ff. 32, 47, 137, 176.

One full-page miniature (f.100v).

Illustrations by two principal artists (here designated First Master and Second Master), and assistants. The Second Master is the Bute Painter (see Cat. III-52). Many of the subjects are the same as those in the Evangeliary and Epistolary, Cambrai, Méd. mun. 189–90 (Cat. III-43) and cross-references (to Cambrai 189 and 190) are given below. The quire structure is important to understanding the nature of collaboration among the artists so quires are listed below; many original quire signatures are preserved in the centre of rectos. The following list of illustrations includes major textual divisions of which the first initial is historiated. In anticipation of a complete edition of this text, and for the sake of brevity, minor initials and their accompanying texts are omitted although they often mark divisions similar to those marked by historiated initials, such as Septuagesima Sunday, Ash Wednesday, the Second and Fourth Sundays after the Octave of Easter, etc. Abbreviations for biblical books are cited according to the edition by R. Weber, Biblia sacra iuxta vulgata editionis, Stuttgart, 1969.

Contents:

Table of Contents, unillustrated (f. 1). Ordo of Mass, Preface, Canon, unillustrated (f. 2). Petitions for Pope, Bishop, King, unillustrated (f. 10). Benedictions at Mass for the Temporal: A 10 (12–21v [i-x]) Illustrations by the First Assistant and the Second Master (Bute Painter). First Sunday in Advent: O (Mt 21, 1), Bishop blessing kneeling acolytes (First Assistant, f. 12). Christmas: First Mass: O, (Lc 2, 1) Priest at altar, hands raised; marginal note, 'paint pr(e)sbiteri' (First Assistant, f. 14). High Mass: B (Io 1, 1), Nativity (Virgin does not hold book) (Second Master, f. 15v). John the Evangelist (27 December): O (Io 21, 15), John as scribe, eagle (cf. Cambrai 190, f. 11v). Holy Innocents (28 December): O (Mt 2, 16), Massacre of the Innocents (cf. Cambrai 190, f. 11v). Epiphany (6 January): D (Mt 2, 1), Adoration of the Magi (cf. Cambrai 189, f. 12); note: 'arande des iii rois' (Second Master, f. 18). First Sunday after Epiphany: D (Mt 3, 13-17), Christ among the Doctors, found by Virgin Mary (cf. Cambrai 189, f. 13v) (Second Master, f. 18). Second Sunday after Epiphany: D (Io 2, 1), Marriage at Cana, Christ, Virgin Mary, couple at table; Christ points to vessels on floor; note, 'deus' (cf. Cambrai 189, f. 15) (Second Master, f. 18v). Third Sunday after Epiphany: O (Mt 8, 1), Christ healing Centurion's Servant, laying hand on head of kneeling man (cf. Cambrai 189, f. 17) (Second Master, f. 19). Fourth Sunday after Epiphany: T (Mt 8, 23), Miracle of Stilling the Storm, apostles wake Christ asleep in boat; note, 'd' (cf. Cambrai 189, f. 19) (Second Master, f. 19). Fifth Sunday after Epiphany: D (Mt 13, 24), Parable of the Tares, man asleep in bed; border: soldier in chain mail scatters tares from cloth wrapped around waist, sword and spear hanging on tree; note: 'zizania' (Second Master, f. 19v). Sixth Sunday after Epiphany: D (Mt 6, 47), Miracle of Walking on Water: Peter and Christ on water, apostles in boat; note, 'deus...at' (First Assistant, f. 20). Sexagesima Sunday: D (Lc 8, 4), Parable of the Sower: sower scatters seed from cloth wrapped around neck onto ploughed ground and rocks; birds eating seed (cf. Cambrai 189, f. 22v) (First Assistant, f. 20v). Quinquagesima Sunday: L (Lc 18, 31) Healing of Blind Bartimaeus, who kneels before Christ and apostles (no haloes); Jews in left border (cf. Cambrai 189, f. 25v) (First Assistant, f. 20v). First Sunday in Quadragesima: B (Mt 4, 1), First Temptation of Christ, Devil points out stones to Christ (cf. Cambrai 189, f. 28v). note: 'pain pieres' (First Assistant, f. 21v).

B10 (22-31v [xi-xx]) Illustrations by the First Assistant and the Second Master (Bute Painter). Third Sunday in Quadragesima: O (Lc 11, 14), Miracle of Healing Demoniac, Christ expelling devil from kneeling man (cf. Cambrai 189, f. 42v) (Second Master, f. 22). Fourth Sunday in Quadragesima: D (Io 6, 1), Miracle of the Loaves, Christ handing bread to seated figures; illegible note (cf. Cambrai 189, ff. 50v, 13) (Second Master, f. 22). Fifth Sunday in Quadragesima: A (Io 8, 46), Christ answering Boastful Jews: Christ and two Jews (First Assistant, f. 23). Palm Sunday: B (Io 12, 12), Entry to Jerusalem, donkey rides across left bar of initial (cf. Cambrai 189, f. 1) (First Assistant, f. 23). Wednesday in Holy Week: O (Lc 22, 23), Judas receiving the Silver, Jews handing money-bag to Judas (First Assistant, f. 23v). Maundy Thursday: B (Io 13, 1), Last Supper, Judas absent; note, 'monni' (cf. Cambrai 189, f. 96) (First Assistant, f. 24). Easter Sunday: D (Mt 28, 1), Resurrection, Christ stepping from tomb, holding cross staff, sleeping soldiers below (cf. Cambrai 190, f. 72) (First Assistant, f. 24). Second Benediction of Easter: B (Mc 16, 1), Three Maries at sepulchre, sleeping soldiers (Second Master, f. 25). Monday after Easter: I (Lc 24, 13), Christ and the Pilgrims of Emmaus, Christ and two men holding staffs (Second Master, f. 25). Tuesday after Easter: D (Io 21, 1-14), Christ appearing at Tiberias, Christ and one in a boat, four on shore; note, 'monni' (this subject corresponds to the Gospel, John 21, 1-4, for the Wednesday after Easter, marked in this manuscript by a decorated initial on f. 26 (Second Master, f. 25v). Thursday after Easter: D (Io 20, 11), Noli me tangere, Christ and Mary Magdalen converse (First Assistant, f. 26). Friday after Easter: D (Mt 28, 16), Christ appearing in Galilee, Christ holding a scroll saying 'Data est mihi omnis potestas' and apostles (First Assistant, f. 26v). Saturday after Easter: O (Io 20, 1), Peter and John at the sepulchre (First Assistant, f. 27). Octave of Easter: D (Io 20, 19), Doubting Thomas; note, 'paint' (cf. Cambrai 189, f 154v) (First Assistant, f. 27v). First Sunday after the Octave of Easter: P (Io 10, 11), Christ as Good Shepherd, in the centre of the Apostles, holding a scroll saying 'Ego sum pastor bonus'; note, 'dor' (Second Master, f. 28). Third Sunday after the Octave of Easter: D (Io 16, 5), Facing the Apostles, Christ holds a scroll saying 'Vado ad eum qui me misit' (Second Master, f. 28v). Note, 'monni' next to black and gold minor initial (f. 28v). Note, 'paint' next to champie initial in gold on pink and blue ground (f. 29). Ascension: B (Mc 16, 14), Virgin Mary present, Disappearing Feet of Christ (cf. Cambrai 190, f. 82v) (First Assistant, f. 29v). Note, 'monni' beneath the paint on a black and gold initial (f. 30). Penetecost: D (Io 14, 23), Virgin Mary present (cf. Cambrai 190, f. 88v) (First Assistant, f. 30v). Note, 'monni' beneath the paint of a black and gold initial (f. 31). Trinity Sunday: O (Io 3, 1), Two Persons and Dove (cf. Cambrai 190, f. 175v) (Second Master, f. 31v). First Sunday after the Octave of Pentecost: D (Lc 16, 19), Parable of Dives and Lazarus, Dives and friends at table, Lazarus at door outside frame, licked by dog (Second Master, f. 31v).

C10 (32-41v) [xxi-xxx]. Illustrations all by the Second Master (Bute Painter). Second Sunday after the Octave of Pentecost: D (Lc 14, 16), Parable of the Great Supper, King at table holds scroll, pointing it out to a man standing in the initial bar, holding a spear; top border: the lord directs a man holding spear towards a ploughman working a plough drawn by oxen; bottom left: three couples dancing and a man leaving the dancers pointing at another man wearing an orange hood and short blue tunic, holding a spear and gesticulating to the right; bottom right: the same man with the spear follows the lord who points to a castle (f. 32). Third Sunday after the Octave of Pentecost: M (Lc 15, 1), Christ as Good Shepherd, shepherd with sheep, one on his shoulders (f. 32v). Fourth Sunday after the Octave of Pentecost: P (Mathew 14, 15), First Miracle of the Loaves, Peter hands bread to seated men and women (f. 33). Fifth Sunday after the Octave of Pentecost: D (Lc 5, 1), Christ beside Lake Gennesaret: Christ on boat addressing seated men and women on shore; notes, 'monni’, 'dor' (cf. Cambrai 189, f. 109v) (f. 33v). Sixth Sunday after the Octave of Pentecost: X (Mc 8, 1), Second Miracle of the Loaves, Christ, with a cloth round waist, and apostles (outside frame), hand bread from three baskets to a large group of seated and standing men and women (cf. Cambrai 189, f. 113) (f. 34). The following initial (also on f. 34) illustrates the Gospel for the Seventh Sunday after the Octave of Pentecost, not the Sixth Sunday (Mt 5, 20-24), which is missing. The omission is not made up, and from this point on, the subjects represented and the benedictions that they accompany are identified by rubrics that place them one week too early, and two weeks too early when the word 'octave' is omitted. This would have made the book difficult to use. Seventh Sunday after the Octave of Pentecost, V (Mt 7, 15), Christ preaching, False Prophets, Christ and disciples (outside frame), with sheep and wolves, man with axe cuts tree, next to fire (cf. Cambrai 189, f, 115) (f. 34). Eighth Sunday after the Octave of Pentecost: D (Lc 1, 1), Parable of the Unjust Steward, seated king holding sword, man seated on ground holding tables (cf. Cambrai 189, f. 117) (f. 34v). Ninth Sunday after the Pentecost (hereafter the word 'Octave' is omitted): D (Lc 19, 41), Christ with disciples, weeping over Jerusalem (cf. Cambrai 189, f. 119) (f. 35). Tenth Sunday after Pentecost: D (Lc 18, 9), Parable of the Pharisee and the Publican, two standing men and a Jew at altar, kneeling man (cf. Cambrai 189, f. 120v) (f. 35v). Eleventh Sunday after Pentecost: R (Mc 7, 31), Healing of the Deaf and Dumb Man, Christ touches mouth f kneeling man; disciple, man and woman watch; note, 'monni' (f. 36). Twelfth Sunday after Pentecost: B (Lc 10, 30), Parable of the Good Samaritan, standing man with staff and pack outside building, three seated soldiers (f. 36). Thirteenth Sunday after Pentecost: O (Lc 17, 11), Miracle of Healing Ten Lepers, Christ and kneeling men (cf. Cambrai 189, f. 125v) (f. 36v). Fourteenth Sunday after Pentecost: C (Mt 6, 24), Sermon on the Mount, men look at lilies, birds in trees (cf. Cambrai 189, f. 127) (f. 37). Fifteenth Sunday after Pentecost: D (Lc 7, 11), Miracle of the Raising of the Widow's Son, Christ, kneeling widow, four men carrying son's bier (cf. Cambrai 189, f. 129) (f. 37). Sixteenth Sunday after Pentecost: S (Lc 14, 1), Healing a Dropsical Man on the Sabbath, Christ and Pharisees (cf. Cambrai 189, f. 130v) (f. 37v). Seventeenth Sunday after Pentecost: D (Mt 22, 35), Christ questioned about the Commandment, Christ and a disciple holding a scroll, two men with scrolls (cf. Cambrai 189, f. 134) (f. 38). Eighteenth Sunday after Pentecost: X (Mt 9, 1), Miracle of Healing a Paralitic, two men carry a child in a sheet before Christ who holds a scroll saying 'Remittuntur tibi peccata' (cf. Cambrai 189, f. 136) (f. 38v). Nineteenth Sunday after Pentecost: P (Mt 22, 1), Parable of the Marriage of the King's Son, two men and a woman at table (cf. Cambrai 189, f. 137v) (f. 38v). Twentieth Sunday after Pentecost: D (Io 4, 46), Miracle of Healing the Son of the Ruler, Christ give scroll to king; woman stands by boy lying on ground (cf. Cambrai 189, f. 140) (f. 39). Twenty-first Sunday after Pentecost: D (Mt 18, 23), Parable of the Unmerciful Servant, Christ and a disciple with standing king and two fighting men (cf. Cambrai 189, f. 141v) (f. 39v). Twenty-second Sunday after Pentecost: M (Mt 22, 15), Tribute Money: Christ holding scroll facing three Jews (cf. Cambrai 189, f. 143) (f. 40). Twenty-third Sunday after Pentecost: F (Mt 9, 18), Miracle of the Raising of Jairus' Daughter, Christ and Peter, Jairus and wife kneeling, girl lying on the ground (cf. Cambrai 189, f. 144v) (f. 40).

Benediction for a Dedication, minor initial (f. 40v).

Benedictions at Mass for the Sanctoral: Conversion of St Paul (25 January) D (Acts 9, 1), Christ in cloud holding scroll saying 'Saule saule qui me'; Paul falls forwards from horse (cf. Cambrai 190, f. 129v) (f. 41). Purification of the Virgin (Candlemas, 2 February): O (Lc 2, 22), Presentation: Virgin holds Christ Child at altar to Simeon (cf. Cambrai 190, f. 131v) (f. 41v).

D 10 (42-51v [xxxi-xl] Illustrations all by the Second Master (Bute Painter). Peter and Mathias (24 March): D, Peter with key, Mathias with sword; note, 'S. Piet' (Second Master, f. 42). Annunciation to the Virgin (25 March): D (Lc 2, 22-38), Virgin holding book, Gabriel holding scroll inscribed Ave gratia plena; note, 'Lanonc.nostre dame' (f. 42v). Invention of the Cross (3 May): B, Helen and two women, a man, a figure in a winding-sheet, two crosses; note, 'monni' (f. 43). Gervais and Protais (19 June): D, two kneeling saints, two executioners with swords raised (f. 43v). John the Baptist (24 June): B, Annunciation to Zacharias, Elizabeth kneeling, Zacharias as high priest at altar before God in cloud (cf. Cambrai 189, f. 152) (f. 44). Peter and Paul (29 June): B, Peter and Paul and man, idol falls from tower (cf. Cambrai 189, f. 153v) (f. 44v). Mary Magdalen (22 July): B (Lc 7, 36), Christ in the house of Simon the Leper, Mary Magdalen washes his feet with her hair (cf. Cambrai 189, f. 67) (f. 44v). Peter in Chains (1 August): D (Acts 12, 1), Angel releases Peter from prison (cf. Cambrai 190, f. 138v) (f. 45). Invention of St Stephen (3 August): Q, Two bishops digging (f. 45). Lawrence (10 August): T, Lawrence roasted on gridiron by two men (f. 45v). Assumption of the Virgin (15 August), D, Mary in winding sheet on bed, apostles, Dove (f. 46). Nativity of the Virgin (8 September), O, Joseph riding donkey, angel with sword (cf. Cambrai 189, f. 163, Jesse Tree) (f. 46v). A note indicates that the Decollation of St John (30 August) is to be found at the end of the Benedictions. All Saints (1 November), B, Three martyrs with palms; border; man playing rebec (cf. Cambrai 190, f. 152) (f. 47). Martin (11 November): C, Martin dividing his cloak with a beggar (placed outside frame) (f. 47v). Andrew (30 November): D, Andrew tied to a Latin cross (cf. Cambrai 189, f. 170) (f. 47v). All Angels: D, Michael spearing dragon (cf. Cambrai 189, f. 165v; Cambrai 190, f. 149) (f. 48). Apostles: D, Christ among the Apostles (headed by Peter), holding scroll saying 'Ego dimitto vos' (f. 48). Evangelists: P, Four Evangelist symbols (cf. Cambrai 190, f. 76v) (f. 48). One Martyr: B, Kneeling male saint, soldier raising sword (cf. Cambrai 189, ff. 179, 181) (f. 49). Martyrs: B, Three kneeling men, soldier raising sword, bodies on ground (cf. Cambrai 189, ff. 184v, 186; Cambrai 190, ff. 162, 164v) (f. 49). One Confessor: Standing bishop with crozier, two candles; note, 'monni' (cf. Cambrai 189, f. 188v; Cambrai 190, f. 165v) (f. 49v). One Virgin Martyr: B, Kneeling woman, man raising sword (f. 50). One Virgin non-martyr: D, Standing woman holding fleur-de-lis and book; note, 'paint' (cf. Cambrai 190, f. 173v) (f. 50v). Anniversary of a Dedication: D, Bishop reads to kneeling populace (f. 51).

Rites of Ordination Ordination of a Bishop: D, Bishop blesses kneeling bishop; note, 'be...' (f. 51v).

E 10 (52-61v) [xli-l]. Illumination all by the First Assistant. Benediction of a King: B, Bishop blesses standing king and two men (f. 52). Decollation of John the Baptist (29 August): D, Soldier hand Salome a charger with St John' head on it (cf. Cambrai 189, f. 161); note, 'mon' (f. 52).

Ordines for Ordinations Doorkeepers: Q (large initial), Bishop orders archdeacon to hand keys to doorkeepers (f. 53). D, Archdeacon leads doorkeepers to door of church (f. 53v). Readers: A, Bishop gives book to readers (f. 54). Exorcists: Bishop gives book to exorcists (f. 55). D, Bishop blesses exorcists (f. 55v). Acolytes: A, Bishop gives urceolus to acolytes (f. 56). D, Bishop blesses acolytes; note, 'monni' (f. 57). Subdeacons: V, Bishop gives urceolus, aquamanile, and manutergium to subdeacons (f. 58). A, Bishop gives maniple to subdeacons (f. 58v). Deacons and Priests: A, Bishop blesses deacons and priests (f. 59). O, Bishop lays hands on heads of deacons (f. 59v). E, Bishop blesses deacons (f. 60). P, Bishop reads to deacons; note, 'ensi com ...les diak' (f. 60v).

F 10 (62-71v) [li-lx] Illustrations by First Assistant and First Master. D, Bishop hands Gospel Book to deacons (First Assistant, f. 64). Priests: A, Bishop hands dalmatic to priests (First Assistant, f. 64v). O, Kneeling priest with veiled head (First Assistant, f. 65). P (large initial), Bishop blesses priests (First Assistant, f. 65v). A, Bishop places stoles round priests' necks (First Assistant, f. 65v). V, Bishop and priests kneel at altar (First Assistant, f. 69v). A, Bishop gives chalice with wine and paten with obley to priests (First Assistant, f. 70). Mass of Ordination: P, Consecration, Bishop (without mitre), at altar with covered chalice; priest holds book on altar, another holds fan, another raises host in veiled hand (First Master, f. 71).

G 10 (72-81v) [lxi-lxxii]. The original foliation shows that two leaves are missing between ff.72v and 73 (presumably a Crucifixion preceding the Canon of the Mass) and between ff. 80v and 81 (where part of the text is missing). Illustrations by the First Master and First Assistant. Consecration: Te igitur (large initial T), Bishop elevates host in veiled hand; priest holds fan, another raises hands, covered chalice on altar, hood over altar; male hybrid terminal with dragon body, praying hands (First Master, f. 73). Per omnia (large initial P), Bishop elevates host in veiled hand, priest holds fan, another blesses uncovered chalice (First Assistant, f. 76v). Per omnia(large initial P), Two priests, one holding fan, bishop with raised hands, uncovered chalice on altar (First Assistant, f. 77v). O, Bishop blesses kneeling priests (First Assistant, f. 77v). C, Bishop distributes hosts to priests (First Assistant, f. 79v). A, Bishop lays hands on heads of priests (First Assistant, f. 79v). B, Bishop blesses seated priests (First Assistant, f. 80). O, Bishop tonsures clerics (First Assistant, f. 81).

H 10 (82-91v) [lxxiii-lxxxii]. Illustrations by the First Assistant and Second Master (Bute Painter). Masses of Ordination for Advent, Lent, Days of Fasting. V, Kneeling cleric, Christ in cloud (Second Master, f. 82v). D, Three Children in fiery furnace (Second Master, f. 83v). M, Bishop kneels at altar, Dove in cloud (First Assistant, f. 86v). V, Kneeling clerics (Second Master, f. 90).

I 10 (92-101) [lxxxiii-lxxx/xii]. Illustration by First Master and First Assistant. Ordo for the Consecration of a Church A, Bishop and cleric outside church, blessing (First Assistant, f. 92v). D, Bishop and clerics blessing two barrels of water, acolyte holds book (First Assistant, f. 94). Full-page miniature (badly defaced): Bishop on the bottom border writes the alphabet with the tip of his crozier, in Latin and Greek, with holy water and ashes on the church floor, in the shape of a saltire cross, from the south-east to the north-west corner, and from the north-east to the south-west corner; Evangelist symbols on the corners of the miniature. The miniature is badly damaged: the background has been scraped off, leaving only traces of black and gold; on the cross formed by the letters, only traces of red and gold survive. (First Master, f. 100v). E, Bishop exorcises salt in a situla held by acolyte who also holds a book (First Assistant (f. 101).

J 10 (102-111v) [lxxx/xiii-cii]. Illustrations by First Assistant D, Bishop blesses wine in a cruet held by acolytes; erased notes in bottom margin (First Assistant, f. 105v). D, Bishop asperges church, acolyte holds situla (First Assistant, f. 108v). Per omnia (large initial P), Bishop elevates host in veiled hand, priest holds fan, another holds outstretched hands over covered chalice on altar, book on altar (First Assistant, f. 109v).

K 10 (112-121v) [ciii-cxii]. Illusrations by First Assistant. Note, 'monni' in blank space left for minor initial (f. 114). S, Bishop, watched by two clerics lays hand n altar and makes a cross in oil on it; note on right, 'dor'l note in bottomm border: 'li oint lautel del s. oile... po... la fait une grand cros p(ar)mi lautel e aolsat cor une petit'; sketch showing a mitred figure, arm stretched out over altar (First Assistant, f. 114). S, Bishop, watched by two clerics, lays hand on altar, making a cross in chrism on altar; note, 'ci oint il lautel de craisme faites ensi kile est p(our)trait desure' (First Assistant, f. 116). Note in bottom margin, 'felkist' (f. 116v). L, Three sclerics sing at altar with cross on it; note, 'faites deus (sic) ki can)tero(nt) e(n) un livre deva(n) un autel et sour lautel u a une crois' (First Assistant, f. 117). D, Two clerics hold dish and censer, bishop blesses incense; note, 'li benco(n)s de le(n)cens' (First Assistant, f. 121). Note, 'flekist' in bottom margin (f. 121v).

L 10 (122-131v) [cxiii-cxxii] Illustrations by First Assistant and Second Master (Bute Painter). P (large initial), Three priests, one holding gloves, bishop reads from book held by exorcist in vair almuce, before altar with a fire on each corner (First Assistant, f.123). D, Bishop reads from book held by acolyte (Second Master, f. 125). O, Bishop blesses altar-cloths and vessels held by acolytes (Second Master, f. 126v). S, Two acolytes, one holding tray with chalk and sand the other holding book, bishop blessing chalk and sand; illegible note in bottom margin (Second Master, f. 128). A, Acolyte holds book for bishop before altar with two candles and relics covered with a pink veil (Second Master, f. 128v). C, Clerics follow bishop who carries reliquary to door of new church (Second Master, f. 128v). D, Relics placed in new altar: bishop stands behind altar, arms raised; altar has opening in side. Tray of sand and trowel on ground (First Assistant, f. 130). T, Two clerics sing from book; bishop at altar with book on it (Second Master, f. 131v).

M 10 (132-141v) [vii/xx iii-vii/xx xii] Illustrations by First Assistant. C, St John's Vision on Patmos: kneeling saint, trees, church in cloud (First Assistant, f. 133). I, St Luke seated, holding book, accompanied by ox symbol (First Assistant, f. 135).

Ordo for Blessing the Altar A, foliate initial; top border: large group of clerics, one holding open container, on either side of bishop, who extends his arm over the altar (First Assistant, f. 137). E, Bishop exorcises water in a barrel, group of clerics hold book; illegible note in bottom margin (First Assistant, f. 138v). O, Bishop blesses ashes in a dish held by two acolytes; two clerics, one holds book (First Assistant, f. 140v). F, Bishop blesses mixture of salt and ashes acolyte holds dish and situla, bishop puts hand in situla (First Assistant, f. 141).

N 8 142-149v) [vii/xx xiii-vii/xx xx] no apparent gap in text. Illustrations by First Assistant. D, Bishop blesses wine in open cruet held by cleric, another cleric holds book; illegible note in bottom margin (f. 142). S, Watched by cleric, bishop lays hand on altar (making cross on altar with water and wine) (f. 143). S, Acolyte holds open a pyx-like container, bishop lays hand on alter (makes cross on altar with oil) (f. 144v). Note, 'flekist' in bottom margin (f. 145). D, Bishop blesses incense, cleric holds dish, acolyte holds censer; note, 'il benico(n) de lencens' in bottom margin (f. 147). D, Cleric, acolyte holds book, bishop blesses altar with a fire on each corner and a cross on its surface; note, 'sour lautel a fere coi(n)s iiii feus...' in bottom margin (f. 148). P (large initial), Consecration: bishop elevates host in veiled hand, priest holds fan, another raises hands at altar with covered chalice and book on it; hood over altar (f. 149).

O 8 (150-157v) [vii/xx xxi-vii/xx xxviii] no apparent gaps in text. Illustrations by First Assistant. O, Bishop blesses tray with two vessels and cloths held by two clerics ; note, 'dou corporal' (f. 152v). D, Bishop censes altar; three clerics (f. 153v). S, Bishop blesses chalk and sand in tray on floor with trowel (f. 153v). F, Translation of relic: no left, canopy over altar; relics, covered in a blue veil, and two candles on altar; bishop raises hand, cleric and veiled figure watch; at new altar (right), three clerics with raised hands (f. 154). D, Bishop prepares for mass, standing with two clerics at altar (First Assistant, f. 156v). I, Moses kneeling at altar before God in cloud (f. 157).

P 10 (158-167v) [vii/xx xxix-vii/xx xviii] Illustrations by the First Assistant and Second Master (Bute Painter). I, Matthew seated with book, angel in cloud holding scroll inscribed 'S. Matheus' (First Assistant, f. 158).

Ordo of Reconciliation of a Church O, Two men fighting outside church (Second Master, f. 159v). A, Bishop and cleric outside church, acolyte holds book; illegible note (First Assistant, f. 160). Consecration: Per omnia (large initial P), Three clerics, bishop reading from book held by acolyte, altar with fires on corners, cross marked on altar (Second Master, f. 161v). D, Bishop and two clerics at altar (Second Master, f. 166). I, St Matthew seated at desk, head veiled, angel flying down to him, holding out a scroll saying 'S. Matheus evangeliste' (First Assistant, f. 167v).

Q 10 (168-177v) [vii/xx xix-viii/xx viii] Illustrations by the First Assistant. O, Bishop at altar blessing kneeling populace (f.168v).

Ordo for Blessing a Graveyard P (large initial), Six clerics holding books; chapel, bishop kneeling at covered kneeling desk before central cross of five crosses in cemetery (f.169v). Note, 'A le crois v(ou)s ne fait il ainsi kil a fet deseure' (f. 174).

Ordo for the Synod of Cambrai Q, Amidst standing clerics, bishop kneels at covered desk before altar ; note, 'li veske e(n)si...'; top border: The Synod: Bishop enthroned among seated abbots and clerics; lawyer in academic hat stands holding scroll (f.176). O, Seated bishop and clerics addresses by standing cleric (f. 177v).

Additions: Rites of Confirmation, Tonsuring, Blessing Vestments, Corporals and Patens; Ordines for the Reconciliation of a Violated Graveyard, for the Reconciliation of Churches, for the Blessing of the New Fire on Holy Saturday, ending on f. 188 col. 1. No Illustrations. R 3 (178-180v) [viii/xx ix-viii/xx xi] no apparent gap.
S 8 (181-188) [viii/xx xii-viii/xx vii (+ i)] ff.181 and 182 are both numbered viii/xx xii; f.188 has no original folio number and is glued to the back cover. Additions to f. 188: Benedictions for the Use of the Sainte Chapelle, Paris: for the Feasts of the Crown of Thorns, the Translation of the Relics of St Louis, the Translation of the Head of St Louis. No illumination.

This manuscript represents one of the high-points in Cambrai illumination in the 1270s, firmly assignable to Cambrai itself because of the presence of the Ordo for the Synod of Cambrai accompanied by an illustration showing the synod in action. It was probably made for the synod of 1277 and certainly for Enguerrand de Créquy, Bishop of Cambrai from 1273 to 1285, for whom was most likely also made the Terrier de l'Évêque (Cat. III-54), a manuscript of a very different type, illustrated by another artist altogether. Perhaps Enguerrand was also the patron of other books illuminated by the painters of the Pontifical. For his death date, see the summary in A. Stones, 'The Terrier de l'Évêque and some Reflections of Daily Life in the Second Half of the Thirteenth Century', in Tributes to Jonathan J.G. Alexander: The Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art and Architecture, ed. S. L'Engle and G.B. Guest, London and Turnhout, 2006, 371-84.

*The illumination by two major artists, the First Pontifical Master and the Second Pontifical Master, the latter artist also known as the Bute Master on account of his work throughout the illustrations of the Psalter formerly in the collection of the Marquis of Bute (Cat. III-52). He was a prolific artist, capable of working in different artistic modes; his work here is qualitatively his best. It is notable that his work includes the marginal scenes of the Parable of the Wedding Feast, a use of marginal space rare in the period. The First Pontifical Master is less well-known elsewhere but clearly derives his style--including his use of winged dragon bars and biting dragon terminals, marginal scenes, and lively gestures and actions--and much of his iconography from the major artist of the Epistle and Gospel books written for Enguerrand's predecessor, Nicolas de Fontaines, in 1266, Cambrai Méd. mun. 189-90 (see Table of Gospel Books and Cat. III-43). It is possible that he is in fact one and the same painter a decade later, displaying very much more artistic sophistication and working at a somewhat larger scale. However, he was personally responsible in the Pontifical only for the important Consecration miniature on f.100v and the large initials on ff. 71 and 73, both depicting the Consecration in the Mass of Ordination. It is likely that he also did a Crucifixion miniature, now missing. He is less easy to trace in other books but may be identified as the only artist in two manuscripts in French, the Decretals, BNF fr. 491 (Cat. III-50), the Image du monde BNF fr. 14964 (Cat. III-51), and the Judith leaf in Enschede, most likely from the Rylands/Brussels Bible (see Table of Bibles); and the New York Public Library Bible occ. 4 may be a still later work by him or a reflection of his style since the colour palette is very much darker than his. An assistant participated in the Bible — he reappears as the major painter in the Tournai Psalter-Hours Bibl. de la Ville 31bis (Cat. III-66) and related manuscripts. The First Master's style is closely imitated in the Pontifical by his First Assistant who painted 83 historiated initials; the remaining 78 were done by the Second Master, here working in a secondary capacity; but all three artists executed some of the large initials, whereas the First Master did only large initials and the one remaining full-page miniature. Many notes in lead-point, in French, are located in the margin next to the illumination unless otherwise stated, and are clear indications that directions were left most likely by the First Master for the First Assistant and the Second Master to follow. Sometimes a subject is clearly indicated, as for the Epiphany, but other times the meaning of the annotation, such as the frequently used words 'monni' and 'flekist' is unclear. A marginal sketch in lead-point is preserved on f. 114.

The Pontifical is a remarkable witness to close collaboration among these painters, justifying, in my view, the concept of a 'workshop' since the collaboration is at least in part within quires, suggesting that both painters and most likely their assistant were sitting at adjacent desks in the same space and were not operating in different places of work. The First Master and First Assistant divided between them the illustration in quires F, G and I; the First Assistant alone did quires E, J, K, M, O, Q; the First Assistant and the Bute Painter both worked on quires A, B, H, L, P; the Bute Painter (Second Master) worked alone in quires C and D.

The iconography of the Pontifical is no less important. Whereas many subjects in the Temporal and Sanctoral are the same as those in Cambrai 189 and 190, others are new or infrequent, especially those that illustrate the Ordines, a section in which notes of instruction are prolific, underlining the artists' need for instruction about the appropriate subjects. Prior to this, the only other important French manuscript to devote comparable pictorial attention to the actions performed by the bishop is the Pontifical of Beauvais now in Besançon, Bibl. mun. MS 138 (reproduced on Enluminures), dating to the second quarter of the thirteenth century and also adopting the format of historiated initials, as do the Pontifical of Lyon at the end of the thirteenth century (Cat. V-1) and the Italian thirteenth-century Pontificals discussed by E. Palazzo, in L'Évêque et son image: l'illustration du pontifical au moyen âge, Turnhout, 1999. The Pontifical of Renaud de Bar of the early fourteenth century departs from these earlier models in using predominantly long miniatures the width of the text block (Cat. IV-9, 19). Another Pontifical for use at Cambrai, again illustrated with historiated initials, was commissioned by Bishop Guy de Boulogne et d'Auvergne who held the see of Tournai from 1301 to his transfer to Cambrai in 1324 where he died in 1336 (Gams 527): Wroclaw UB I F 380 (Sredniowieczna ksiazka rekopismienna jako dzielo sztuki, Gniesno 1993, 54-55, no. 11, pl. VII; N. Czeckalska, Pontyfikal Kamieniecki. Miniatury kodeksu, Ph.D. University of Posnan, 1995; ead., 'Ze studiów na czternastowiecznym Pontyfikalem z Kamienca Zabkowickeigo,' in Res Historiae, 3, 1998, 101-11). Guy most likely commissioned it from artists he knew in Tournai since the lesser artist of the Wroclaw manuscript is clearly the painter singled out by Bober as one of the minor hands in the Bodleian Alexander, Oxford, Bodl. Bodley 264, and as the major painter in the Chronique d'Ernoul et de Bernard le Trésorier, Brussels, BR 11140 (H. Bober, 'Flemish Miniatures from the Atelier of Jean de Grise’, Revue belge d'archéologie et d'histoire de l'art, 17, 1947, 15-21). Further manuscripts that may be ascribed to him are the Cartulary of Bruges of 1328 (The Hague, KB 75 D 7, f. 3v), the fragmentary antiphoner cut up by John Ruskin and dispersed, the Arthurian romances, BNF fr. 1422-24 (Agravain, Queste, Mort Artu), to which the Roman de la Rose of Gui de Mori, Tournai, Bibl. de la Ville 101, copied in 1330, is also related. The major painter of the Wroclaw Pontifical remains obscure, however.*

PROVENANCE. For the use of the bishop of Cambrai because of the inclusion of the Ordo for the Synod of Cambrai, most probably made in connection with the synod of 1277 and certainly for Enguerrand de Créquy, Bishop of Cambrai (1273-1285). The additions for the Sainte-Chapelle were perhaps added by Bishops Guillaume d'Auxonne (1336-1342) or Robert de Genève (1368-1372) who were canons of Paris before being transferred to Cambrai; or the additions could have been added for the ceremony of the transfer of the Head of St Louis to the Sainte-Chapelle in 1306. The manuscript was in Avignon by the early fifteenth century: a note on the front flysheet reads, 'Istud pontificale completum existimatum quinquaginta scutis auri qui fuittraditus Guillelmo de Felhisort fabro avinionensi in pignus pro quatuorscutorum aurei et debeo ego Robertus de Furno ipsum redimere huic ad unum mensem. Datum xxvii ianuarii anno domini MCCCC quarto.' Perhaps taken to Avignon by Robert de Genève, who left Cambrai in 1372 on being created cardinal; in 1378 he was elected antipope as Clement VII and died in Avignon in 1394. Another explanation, probably more likely, is that the book was seized earlier in the fourteenth century as papal spolia (see D. Williman, Records of the Papal Right of Spoil, Paris, 1976, nos. 422, 486, 836). I am grateful to M. R-H. Bautier for this suggestion and these references. Purchased in Avignon while a student by Alfonso Carrillo, cardinal and future Bishop of Osma (1411-1424) and Siguenza (1424-1434): inscription on the front flysheet reads, 'Istud pontificale est domini Alfonsi Carrillo cardinali sancti Eustachii quod emit in Avinione tempore quo studebat ibidem et fuit monasterii sancti Marcialis datum per priorem et conventum cuidam monacho pro certa quantitate sibi debita ratione vestiarii temporis retroacti quod de eorum consensu vendidit.' Alfonso Carrillo was succeeded as Bishop of Siguenza at his death by his nephew, Alfonso Carrillo de Acuñtia (1434-1446), who was transferred to Toledo as Archbishop in 1446 and remained there until his death in 1482. The Pontifical presumably moved to Toledo with him. Cathedral Archives, Toledo, inventory nos.36.10, 30. 22, 56.19.

LITERATURE. J. Domínguez Bordona, Manuscritos con pinturas, 2 vols., Madrid, 1933, no. 1823, fig. 589; J. Janini and R. Gonzálvez, Catálogo de los manuscritos litúrgicos de la Catedral de Toledo, Toledo, 1977, no. 216, pl. 19; A. Stones and J. Steyaert, Medieval Illumination, Glass and Sculpture in Minnesota Collections, Minneapolis, 1978, 12, fig. 14; A. Stones, 'Indications écrites et modèles picturaux, guides aux peintres de manuscrits enluminés aux environs de 1300’, in Artistes, artisans et production artistique. (Actes du colloque, Rennes, 1983), ed. X. Barral I Altet (Paris: Picard), vol. III, 321-349, at 328, figs. 10, 11 (f. 114). ead. lllustrated Chrétien, 247-48, figs. 58, 62; Bräm, Literaturbericht, 78, fig. 8a; Stones, Bute Painter, 14-15 n. 9-17, figs. 2, 3, 4, 6; A. Bräm, Das Andachtsbuch der Marie de Gavre, Wiesbaden, 1997, 171, 219, figs. 44 (32), 45 (f. 176); Stones, Madame Marie, 20-21, figs. 19 (f. 71), 34 (f. 27). S. Castronovo, La Biblioteca dei conti di Savoia e la pittura in area savoiarda (1285-1343), Turin, London, Venice, 2002, 54; The Splendor of the Word: Medieval and Renaissance Illuminated Manuscripts at the New York Public Library, ed. J.J.G. Alexander, J.H. Marrow, L.F. Sandler, New York, 2005, 56 n. 3; A. Stones, 'The Terrier de l'Évêque and some Reflections of Daily Life in the Second Half of the Thirteenth Century', in Tributes to Jonathan J.G. Alexander: The Making and Meaning of Illuminated Medieval and Renaissance Manuscripts, Art and Architecture, ed. S. L'Engle and G.B. Guest, London and Turnhout, 2006, 371-84, at 379, 380 fig. 1 (f. 100v detail). A. Stones, 'Why Images? A Note on some Explanations in French Manuscripts c. 1300’, in Quand la peinture était dans les livres: Mélanges en l'honneur de François Avril, ed. M. Hofmann and C. Zöhl, Turnhout and Paris, 2007, 312-29, at 321; Wirth, Marges, 61; A. Stones, 'L'enluminure au temps de Jeanne de Constantinople et de Marguerite de Flandre,' in Jeanne de Constantinople, comtesse de Flandre et de Hainaut, ed. N. Dessaux, Lille and Paris, 2009, 177-89 at 182, 185, 189.

EXHIBITED: Avril in Rois maudits, 292–3, no. 197.