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Full text of "Illustrations of the Book of Genesis; being a complete reproduction in facsimile of the manuscript British Museum, Egerton 1894"

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PRINTED IN ENGLAND 

LETTERPRESS AT THE OXFORD UNIVERSITY PRESS 
PLATES BY EMERY WALKER, LIMITED 



ILLUSTRATIONS OF 



THE BOOK OF GENESIS 

BEING A COMPLETE REPRODUCTION 
IN FACSIMILE OF THE MANUSCRIPT 

BRITISH MUSEUM, EGERTON 1894 



WITH AN INTRODUCTION BY 

M. R. JAMES, LittD., F.B.A., KS.A, 

PROVOST OF ETON COLLEGE 
SOMETIME PROVOST OF KING'S COLLEGE, CAMBRIDGE 



OXFORD 

PRINTED FOR PRESENTATION TO THE MEMBERS OF 

Eorfcurgfee du& 

M CM XXI 



CDc 



Club 



M CM XXI 

THE EARL OF ROSEBERY, K.G., K.T. 

PRESIDENT 

DUKE OF DEVONSHIRE, K.G., G.C.M.G., G.C.V.O. 

DUKE OF BUCCLEUCH, K.T. 

DUKE OF ROXBURGHE, K.T. 

DUKE OF PORTLAND, K.G., G.C.V.O. 

DUKE OF NORTHUMBERLAND. 

DUKE OF ALBA AND BERWICK. 

MARQUESS OF SALISBURY, K.G., G.C.V.O. 

MARQUESS OF CREWE, K.G. 

EARL OF CRAWFORD AND BALCARRES, K.T. 

EARL OF DERBY, K.G., G.C.B., G.C.V.O. 

EARL OF ILCHESTER. 

EARL SPENCER, K.G., G.C.V.O. 

EARL OF POWIS. 

EARL BEAUCHAMP, K.G. 

EARL OF PLYMOUTH, G.B.E. 

LT.-COL. THE EARL OF KERRY, D.S.O., M.V.O. 

VISCOUNT COKE. 

LORD C. FREDERICK BRUDENELL-BRUCE. 

LORD HILLINGDON. 

LORD ALDENHAM, Vice-P resident. 

HON. JOHN FORTESCUE, C.V.O. 

SIR JOHN STIRLING MAXWELL, BART. 

SIR EDWARD MAUNDE THOMPSON, G.C.B. 

SIR FREDERIC KENYON, K.C.B. 

LT.-COL. SIR GEORGE LINDSAY HOLFORD, K.C.V.O. 

SIR GEORGE FREDERIC WARNER, D.LITT. 

JOHN MURRAY, ESQ., C.V.O., Treasurer. 

SYDNEY RICHARDSON CHRISTIE-MILLER, ESQ. 

SYDNEY CARLYLE COCKERELL, ESQ. 

ARTHUR ERNEST COWLEY, ESQ., D.LITT. (Bodley's Librarian). 

GEORGE EDWARD BRISCOE EYRE, ESQ. 

CHARLES HARRY ST. JOHN HORNBY, ESQ. 

MONTAGUE RHODES JAMES, ESQ., LiTT.D. (Provost of Eton College). 

JOHN PIERPONT MORGAN, ESQ. 

CHARLES W. DYSON PERRINS, ESQ. 

CAPTAIN EDWARD GEORGE SPENCER CHURCHILL. 

BRIGADIER-GENERAL ARCHIBALD STIRLING OF KEIR. 

HENRY YATES THOMPSON, ESQ. 

CHARLES THEODORE HAGBERG WRIGHT, ESQ., LL.D. 



December, 



CONTENTS 

PAGE 

INTRODUCTION. THE MANUSCRIPT . i 

THE TEXT 9 

DESCRIPTION OF THE PICTURES . 23 



INTRODUCTION 

THE Egerton manuscript no. 1894 in the British Museum is a small 
quarto volume measuring 9 T 7 - in. by 7 in. and consisting of twenty leaves 
of vellum. 

To it is prefixed a printed paper title-page : 

c von Schonfeldsches Museum der Technologic. Zum Vortheil 
des Gewerbestandes errichtet im Jahre 1799. Franzosische 
Urschrift vom neunten oder eilften Jahrhundert.' 

on which Sir Frederick Madden has noted in pencil < about 1310-1320 '. 

The book was purchased for the Museum, the cost being defrayed 
out of the Farnborough Fund, on March 23, 1860, at Messrs. Christie, 
Manson, & Woods, at the sale of the c Vienna Museum'. 

The sale-catalogue of this Vienna Museum sets forth the history of 
the collection briefly in its first pages. It was sold as the property of 
Messrs. Lowenstein Brothers of Frankfort-on-the-Main, on Monday, 
March 12, 1860, and nine days following. This choice and interesting 
collection was commenced, we further read, by the Emperor Maximilian I, 
and increased by his grandson, the Emperor Rudolph II, and continued 
to be Imperial property until the year 1782, when, the building at 
Prague in which it was contained being required for barracks, it was 
sold to the Chevalier von Schonfeld, a distinguished amateur, who 
added his own collection to it, and opened it to the public under the 
title of the Technological Museum of Vienna. 

The circumstances under which it came into the control of Messrs. 
Lowenstein, and so into the market, are not narrated. 

The collection comprised i 291 lots, of which the greater part were 
articles of vertu, plate, porcelain, ivories, and so forth. Lots 1 2 3 f to 
1291 were illuminated MSS., cuttings from MSS., Chinese and Arabic 
books, engravings, early printed books, playing cards, prints of costumes, 
scrapbooks. Among the MSS. were a few Horae^ one or two said to be 
illustrated by Nicholas Glockenthor, a German Bible of 1^6^ written by 

B 



z THE MANUSCRIPT 

Georg Rorer of Ratisbon, a life of Christ in German with 27 pictures, 
and 14 more from another MS., and an alchemical book with pictures 
attributed, rashly perhaps, to Breughel and Goltzius. The last lot 
was the Visitors' Book belonging to the Museum. 

Our MS. was lot 12X6: it is described as being bound in velvet. 
It has now a red morocco cover. 

It is not too much to say that of all the illustrated manuscripts that 
I have seen this Egerton 1894 has been the most puzzling ; and also, in 
view of the wonderful qualities of its drawing and colouring, one of the 
most fascinating. 

It consists of twenty leaves, as has been said. They are devoted to 
the systematic continuous illustration of the Book of Genesis. The 
book is unfinished and imperfect. After the first leaf, which illustrates 
the seven days of Creation, one at least or perhaps two leaves are most 
unfortunately missing. They contained the story of the Fall and 
Expulsion, and of Cain and Abel, and perhaps the birth of Seth. The 
second leaf resumes with figures of Adam and his descendants in the line 
of Seth and there is no further gap until we reach the end. The ijoth 
and last subject in the book is that of Joseph meeting his brethren after 
the discovery of the cup in Benjamin's sack. At least one leaf and very 
probably two are needed to bring the story of Genesis to an end. 

In the manuscript as at present bound, two leaves (12 and 1 3) are in 
wrong order. The mistake is rectified in the present edition. 

There is a certain amount of text, in the form of inscriptions on 
the pictures. The language is French, and the writing is the work of 
two scribes, the first of whom writes the inscriptions for nos. 1-12, and 
14, of the pictures; the second does no. 13 and nos. 1^-47, ytf-tfy j 
nos. 48-5" f have no text. In other words, ff. 1-7, 9, loa (pp. 1-14, 
17-19) have inscriptions, ff. 8, 10^-20 (pp. 15-, itf, 20-40) have none. 

The colouring of the pictures is only carried out in part. On 
pp. 1-19 the artist has done all that he intended ; on pp. 20-26 he has 
only coloured trees and grass and put in a little shading; pp. 27-30 are 
pretty fully finished ; the remainder, pp. 3 1-40, are in outline only. 

The condition is by no means immaculate. Several pages are rubbed 
and faint, and an accidental mutilation has carried away the lower 
corners of ff. i and if (pp. i, 2, 29, 30). 



THE MANUSCRIPT j 

There are two propositions about the book upon which a general 
agreement may be said to have been reached : one, that it is a work of 
the fourteenth century and not early in that century, the other, that the 
second of the handwritings of the text (and most likely the first also) is 
English. The language of the text, moreover, is Anglo-French. 

When, however, it is asked of what nationality the artist was, 
where he worked, and what was the purpose of his book, I at least am 
reduced to conjecture. We know nothing of the history of the 
manuscript before it entered the Vienna Museum, and we do not even 
know when that happened. The text, written by two persons, neither 
of whom need have been the artist, only tells us by its writing and 
language that it comes from an English sphere of influence. 1 The 
pictures are the work of so original a hand that comparison with other 
illustrations of the time does not lead us far. 

There are doubtless many points in them which others will single 
out as distinctive. I will name three which strike myself. First, the 
manner in which trees are drawn: they are mushroom-like growths, 
masses of darkish green, with no branches projecting outside their 
firmly drawn outlines. Next, the care and interest lavished upon 
varying the expressions of the faces, which, one cannot but feel, are 
often designedly comic, and, in connexion with this, the rather cynical 
pleasure which the artist seems to take in illustrating incidents on which 
it is customary not to lay stress. Another technical matter is his interest 
in bold foreshortening effaces (see nos. yo, fi) and in unusual attitudes 
(e.g. Jacob's ladder no. lotf, Joseph in no. 132). A peculiar curl of hair 
in the centre of the men's foreheads is present in all parts of the book, 
but shows most prominently in the outline drawings at the end. The 
colouring, as the reproductions show, is of an unfamiliar type, rich and 
sober, and wonderfully taking. The mastery of line, reminding one of 
Aubrey Beard sley's work, is astonishing ; and there is in many of the 
pictures a quality recalling oriental drawings, which I find it hard to 
define, but which I cannot doubt others will agree with me in perceiving : 
no. 80, for instance, might at a first glance be taken for a Japanese 

J It may be a partial copy of a text already current : see the note on the inscription of 
no. <)6. 

B -L 



4 THE MANUSCRIPT 

drawing. I do not know another mediaeval book of which this 
could be said. 

All these traits (to which, as I say, others will add) seem to put our 
artist in a place by himself. Of course no one, artist, writer, or 
inventor, is really without his context ; yet here we have a man whom 
it is extremely difficult to fit into any setting. The publication of his 
work affords the best means of eliciting parallels to it, and, naturally, no 
one would be better pleased than myself if, as a consequence thereof, 
I were directed to a group of productions of the same school. I have 
sometimes thought that Italy would prove to have a word to say in the 
matter : sometimes (and perhaps more reasonably) that relationship with 
Spain would emerge. A connexion with Germany was suggested to me 
as possible by Professor Sir W. Ridgeway, on the ground that the 
peculiar leg guards (in no. 5-2, &c.) which form part of the saddle of the 
cavalry find their nearest parallels east of the Rhine. 1 It is true that the 
manuscript is first heard of at Vienna ; true also that exaggeration in 
portraying facial expression, and also perhaps non-avoidance of ugly 
subjects, are characteristic of some German art. But the language and 
script of the text are formidable obstacles to my acceptance of this view, 
the latter in particular. The best opinion that I can obtain or form 
pronounces it English. 

Up to the present I have heard no suggestion which has seemed to 
me more plausible than that of Mr. Cockerell, that we ought to look to 
the region of Bordeaux, where, at the date of the book, a blend of 
French and English influence existed, and where, moreover, a Spanish 
element would not be surprising. At this moment not much is known, 
I think, about works of art produced in that district under English 
auspices. A manuscript known as the Carew-Poyntz Home in the 
Fitzwilliam Museum can be referred that way, and at Bordeaux itself, 
in the church of S. Seurin, I have seen a series of alabaster reliefs 
illustrating the Life of Christ and those of SS. Martial and Severinus, 
which seemed neither purely French nor purely English. But this is 
a corner of the field of art-history which is in need of further explora- 
tion. In short, until further light comes from some quarter, guesses and 
suggestions are ail that I can contribute towards solving the question of 

' See p. 8. 



THE MANUSCRIPT 5- 

the origin of the book. There are other questions to which a more 
definite answer can be given, and I shall be better occupied in dealing 
with them. 

How far does our artist depend upon tradition for his selection of 
subjects and his compositions ? I should answer : in the main, very 
little. The disappearance of the illustrations of the Fall and of Cain 
and Abel deprives us of the opportunity of testing him by some of the 
most stereotyped subjects. But others remain, notably the Days of 
Creation, Deluge, Tower of Babel, Abraham and Melchizedek, Abraham 
and the Angels, Sacrifice of Isaac, Sale of Joseph, which are nearly as 
familiar. And in these, with the possible exception of Noah and the 
Dove (which allows little scope for originality), his independence of 
tradition, or, if the phrase be preferred, his anxiety to strike out a new 
line, is most conspicuous. For a very large proportion of his subjects 
he can hardly have had a model. 

To go a little more into detail. The series of the Days of Creation 
is most familiar in the initials of thirteenth-century Bibles. In almost all 
these we see the Creator on the right or left of the sphere or the objects 
created, not, as here, seated above it in the immovable sphere : and on the 
Fourth Day in particular He is seen holding up the Sun and Moon and 
placing them in the heavens, whereas in our picture He still sits above 
and does all things by a word. The depicting of Him reclining asleep 
among the trees on the Seventh Day is not easily to be paralleled not 
at all in my experience. 

In the Creation of Adam it is not uncommon, yet by no means 
normal, to see the lower part of the man still unformed, as here. 

We pass to the genealogies, which have been used as an opportunity 
for the display of studies of drapery and of varied expression not seldom 
bordering on the humorous. It is curious that Enoch is not distinguished 
by any reference to his translation. In 13 and 14 we meet the musical 
instruments, and the anvil and loom. The nearest approach to these 
pictures which I can cite is in the illustrations of the < Ca^dmon ' MS. 
(Junius u) in the Bodleian, and of the Anglo-Saxon Heptateuch (Cotton. 
Claudius B. iv). Nos. 1 7 and 1 8 give the death of Cain ; 1 7 calls for 
no remark, but 18, the death of the boy who guided blind Lamech's 
hand, is quite unusual. The arrangement of 19, the Entry into the 



6 THE MANUSCRIPT 

Ark, reminds us of that in Queen Mary's Psalter, but it is not likely that 
any other book but this can be found which shows the whole family of 
Noah carrying creatures into the Ark, or, as in 24, depicts the delight of 
the animals at getting out into the fresh air again. The scene 
of Abraham with Melchizedek has much more the flavour of an illustra- 
tion of a romance of chivalry than of a Bible picture ; and though, when 
we come to the Sacrifice of Isaac, we do see the type of the Cross 
indicated by the way in which Isaac carries the wood, the angel in the 
scene of the Sacrifice itself wholly departs from tradition. However, 
the mention of such details will be more in place in the general descrip- 
tion of the pictures : enough has been said to show upon what my belief 
in the independence of the artist is based. 

The next question is that of the date. Relying upon general 
impression, and upon the aspect of certain costumes (e.g. that of Joseph 
in 145-, ifo), I should date the book rather later than did Sir Frederick 
Madden (13 10-20), in fact 1360 does not seem to me too low a date. 
Architecture will be found in yi, 5-4, 64-66, which I believe does not 
contradict this guess j another indication may be found in the armour, 
which is very much that of the sepulchral effigies of 1360-70. The 
two scripts of the text might, but for these features, have inclined me to 
assign a somewhat earlier period. There is, however, a very wide gap 
between the style of this book and that characteristic of Richard IPs 
time, as we see it, for instance, in the Sherborne Missal, or again, between 
our book and the Paris work of the days of Charles V. 

Finally it may be asked, what was the purpose of this picture-book? 
Was it meant to stand alone ? or to be continued so as to cover other 
parts of the Bible ? or to be prefixed to some other book, a Psalter or 
a Book of Hours > 

I must confess myself quite uncertain. We have analogies which 
would justify us in saying 'Yes' to all three of the suggestions. Thus the 
two Greek Geneses of the fifth-sixth century (Cotton and Vienna) went 
no farther than Genesis, nor apparently did the picture-rolls from which 
their illustrations are believed to have been copied. Confined to Genesis 
also were the ninety scenes painted in the choir of Bury St. Edmunds 
Abbey when Samson was sacrist, and the fifty-six subjects carved in the 
Chapter-house at Salisbury. 



THE MANUSCRIPT 7 

Secondly, there are many examples of picture -Bibles which carry on 
the story sometimes into later Church history. An early example is 
that at Amiens (MS. 108) done in 1197 for a King of Navarre ; another 
of the fourteenth century, French or Flemish, belongs to Sir George 
Holford ; a third, also of the fourteenth century, English, is at Holkham. 
It begins with Genesis and then passes to the Life of Christ. 

Thirdly and perhaps most commonly we find Psalters to which Bible 
histories are prefixed. Such are the Huntingfield Psalter (cent, xii early, 
Morgan collection) beginning with twenty-four scenes of an imperfect 
series from Genesis, Queen Ingeborg's Psalter (c. 1200) at Chantilly, 
the St. Louis Psalter, those at St. John's College, Cambridge (no. 231), 
at Trinity (243), its sister at Munich (Clm. 835-), and Queen Mary's 
(2 B vii), perhaps the most nearly comparable to ours in date. These 
examples cover the twelfth, thirteenth, and fourteenth centuries the 
period, in fact, during which the production of elaborate Psalters 
is commonest. 

If we were to count heads, we should doubtless decide in favour of the 
last suggestion. But, as it is, it remains no more than a probability at best. 

I had at one time contemplated giving a list of all the cycles of 
mediaeval Genesis- pictures known to me; but I soon realized that it 
would make a very bulky addition to my preface, without being nearly 
complete. One result of my researches, however, does seem worth 
chronicling : it is that England is not only an early but also a continuous 
and a copious contributor of material. Our list begins with the so-called 
Csedmon MS. (Bodl. Junius n) of the tenth century, and ends perhaps 
with the series of bosses on the nave-roof of Norwich Cathedral. And 
this phenomenon adds, it may be ever so little, to the presumption of an 
English origin for the MS. Egerton 1 8 94. 

I may now proceed to the text and the pictures. 

The very fragmentary text of the MS. is taken partly from the Bible, 
but to a larger extent from the Historia Scholastica of Petrus Comestor 
(or Manducator) of Troyes. This needs no further demonstration than 
I have given by the extracts from the Historia appended to the several 
paragraphs of the text. 1 It is from this source that the non-Biblical 

1 I use the Lyons edition of 1 5-43 . It is worth noting that the writer of the text did not 
use the French version of the Historia made in the thirteenth century by Guiart des MouJins. 



8 THE MANUSCRIPT 

episodes and details come, the chief of which are Naama and the loom 
(14), the death of Cain (17, 18) Nimrod in 27, 28, &c., lonitus in 31, 
the destruction of the Tower in 3 5-. Nimrod and lonitus are derived 
by Peter Comestor from the spurious Revelation of St. Methodius, an 
apocalypse dealing with the beginning and the end of human history, 
which had a very great vogue throughout the mediaeval period. It 
seems to have been a Greek production (of cent, vii ?) but is current in 
many versions in other tongues, Eastern and Western, and in many 
recensions. Sackur's Sibyllinische Forschuugen affords the best modern 
reprint of it known to me. 

There are some few places in which the faintness of the writing, or 
an accidental mutilation, has prevented me from reading the text, even by 
the help of the Historia, but though I regret this, I cannot think it very 
serious. My transcript indicates the beginning of each fresh line of text 
in the manuscript. 

The text is followed immediately by the description of the pictures 
in which I call attention to anything in text or picture that seems to 
demand a note. But I have excused myself from describing in any 
detail the not infrequent coarsenesses which the artist has permitted 
himself. 



NOTE 

Professor Ridgeway refers me to Demmin's Illustrated History of 
Arms and Armour (tr. C. C. Blaek, 1911, pp. 35"? sqq.). Five examples 
of tilting saddles provided with elaborate leg-guards are there described ; 
at Ratisbon, Constance, Schaffhausen, Nuremberg, and the Tower of 
London. The Schaffhausen example is supposed to date from 1392. 
All five are of German or Swiss origin. In Sir Guy Laking's more 
recent history, now in course of publication, some of these are figured ; 
but that which resembles the saddles of our book most closely is from 
a Munich manuscript. I have not, however, as yet met with an exact 
replica. 



THE TEXT 

1 . Coment dieux le pier primerement creat ciel et terre et la terre i *, p. i . 
et tretoutz Jes ele/mentz estoient adonc en graunt oscurete auaunt qefi rs hand. 
dieux ordeinat lumer. 

2. Coment dieux ordeinat la secunde iour vn firmament lusaunt qi 
departi les eau<x>/desoutz le firmament et les eaux qeux sunt sour le fir- 
mament et apellat le firmament <ciel>. 

3. Coment dieux ordeinat le tierce iour touz lez eaux qeux furrunt 
desouz le firmament dasem/bler en un lieu qe la terre purreit estre veu 
et commaunda la terre de verder et porter arbres et frut. 

4. Coment diex ordeina le quart iour le solail et la lune et les 
esteilles et les comaunda/denluminer et gouerner la terre et toutz 
les elementz et toutz choses qex sunt en cans (? eux). 

j. Coment diex ordeina le quint iour touz les oiseaus de mound et f. i , p. i. 
touz les pessouns de la ma/re et fist teus grauntz peissouns . qex furrunt 
apelleez cees et les commaunda multiplier. 

6. Coment diex ordeina le syme iur toutz les bestes de terre et les 
fist a nostre profist/et les commaunda multiplier a nostre cops et donfc. 
forma adam a uauls debron (in the vale of Hebron). 

Hist. Schol. Genesis 13. Remansit homo in loco ubi factus est in 
agro scilicet damascene. 

7. Come le syme iour diex vist qe tot soun oueraigne estoit trebone 
done forma il adaw/a sa ymage demeigne et lui amena en paradis et laa 
forma il cue de une coste de son cost. 

8. Come le septisme iur deux reposa de tout soun ouerayn qil fist et 
cele iour benesqi/oue toutz ses oueraignes qil fist et acompli qaar cele iour 
acomplist tot son oueraygn. 

9. at top: f. 10, p. 3. 
Cest tut la generacioun de adam. Adam auoit en tut xxxij filcz et 

xxx filles et vesquist adam/noef cent anz mais cent anz auantqe seth fut 
nee fimanout adam et eue en la/vale de lermes iuste ebron mais il (or a) 
fourme la ou cain oscit abel et laa fust il et eue es. . . . 

C 



io THE TEXT 

Hist. Schol. Genesis Cap. 29. Additio. Legitur Adam xxx habuisse 
filios et totidem filias preter Cain et Abel. 

Cap. zj. Cain occidit Abel, et luxerunt eum Adam et Eua centum 
annis. 

Additio. Locus in quo luxerunt eum dicitur vallis lachrymarum iuxta 
ebron. 

In four columns : 

a. Adam vesquist cent/trent anz et engendra /seth et puis vesquist il/ 

yiii cetitz anz et morust. 

b. Seth vesquist cent/-v- ans et engendra /enos-et puis vesquist / il viii 

centz et vij /anz et auoit filcz et fil/les et morust. 

c. Enos vesquist/lxxxx anz et engendra / cainan et puis ves/quist viij 

cent anz / et engendra filcz et fil/les et morust. 

d. Cainan vesquist -lxx- / ans et engendra ma/laleel et puis vesquist / 

viij centz et xl anz et en/gendra filcz et filles et / puis morust. 

i o. In four columns : 

a. Malaleel vesquist / Ixv anz et engendra / iareth et puis vesquist / 

viij. cent et xxx anz et /engendra filcz et filles /et puis morust. 

b. Iareth vesquist cent / et Ixij anz et engendra / Enoc et puis ves- 

quist / viij centz anz et engen/dra filcz et filles et morust. 

c. Enoc vesquist Ixv / ans et engendra ma/tusaleem et puis vesquist / 

iii centz anz et engendra / filcz et filles et morust. 

d. Matusalem vesquist / clxxxvii ans et engen/dra lamech et puis / 

vesquist vii cent anz / Ixxxii et engendra filcz / et filles et puis 
morust. 

ii. In four columns : 

a. Lamech vesquist cent / Ixxxij anz et engendra / noe et puis ves- 

quist cinq (?) / cent Ixxxxy anz et en/gendra filcz et filles et 
morust. 

b. Noe vesquist v / centz anz et engendra / sem et cam et iaph/eth 

et puis vesquit / viij (!) centz et Ixx . . / ans et engendra / filcz 

et filles et morust. 

Above. La generacioun de Cain. 

c. Cain engendra / enoc et puis ordina (or orgina) vne/cite qe fut 

apellee / apres le noun de soun ficlz / enoc. 



THE TEXT ii 

Hist. Schol. I.e. 28 fecit ciuitatem et dixit earn Enos ex nomine filii 
sui Enoch. 

d. Enoc engendra / irad. 

12. In four columns : 

a. Irad engendra / mauiael. 

b. Mauiael engen/dra matusahel. 

c. Matusahel en/gendra lamech. 

d. Lamech qestpit . . . / le septisme apres adam / estoit tresmauueis 

. . / primerement fist / bigamie . car il auoit / ij. femes centre 
nature (?). 

Hist. SckoL 1. c. 28. Lamech qui septimus ab adam et pessimus : qui 
primus bigamiam introduxit et sic adulterium contra legem nature et 
dei decretum commisit. 

1 3 . In the second hand : f . 2, 
Cestui jabel founda primerment remuement as faudes / et seueri 

primes compaignies en deux . et iubal son frere/<f>u le primere mestre de 
musyke en harpe et en orgens . quel mu/syk il controua de la proporcioun 
des coups queux son frere tubal/caym dona a la forge. Ces deux freres 
engendra latnek de / Oda sa femme. 

Names Jubal. Jabel. Oda. 

Hist. Scbol. 1. c. 28 genuitque oda label, qui adiuuenit portatilia pas- 
torum tentoria ad mutanda pascua, et greges ordinauit, et characteribus dis- 
tinxit, separauitque secundum genera greges ouium a gregibus hedorum etc. 

Nomen fratris eius tubal (sic) pater canentium in cithara et organo 
etc. See on 14. 

14. In the first hand : 

Cestui lamech out deux femmes la vne out noun oda . lautre out 
noun sella / Sella auoit vn fille et vn filcz . cestui filcz fust faeure de tote 
manere de / erre et darrein et primerement troua cele arte et out a noun 
tubalcayn. Et la seur / tubalcayn out noun noemma . quele primerement 
troua larte de diuerse tiseure. 

Names. Lamech. Sella. Tubalcayn. Noemma. 

Hist. Scbol. 1. c. Sella genuit tubalcain qui ferrariam artem primus 
inuenit . . . quo fabricante tubal de quo dictum est sono metallorum 
delectatus ex ponderibus eorum proportiones et consonantias eorum que 

Ci 



THE TEXT 

ex eis nascuntur excogitauit . . . Soror vero tubalcain noema, que inuenit 
artem varie texture. 

i f . In the second hand, which writes all the rest of the text : 

Qvant noe fu cynk centz anz il engendra trois fitz Sem / Cam et 
lapheth. Adonqes dieu counta a noe coment il de/ueroit defaire tote la 
nature de horn par eawe par cause de lecherie / et lui command a qil 
deuereit faire vn nief en la quele lui sa / femme puarphara ses trois filz 
et lour trois femmes Parfia ceta/fluia et fluia . de bestes nient nettes deux 
de mal et deux de / femmale . de bestes nettes sept de lun et sept de lautre 
purroi/ent estre sauues . bestes nient nettes sont ceux q*? ne sont / pas 
mangeables . et counta dieu a noe la fourme coment / la nief seroit fair 
(or fait) en longeur . en leure . et en hautesse / com apres enorrez. 

Names. Noe. Puarphara. 

Hist. Schol. 3 3. ^dditio. Uxor noe phuarphara . uxor sem pharphia . 
uxor cham cathaflua . uxor iaphet flina (sic). 

Immunda . . . vel tune dicta sunt immunda que etiam tune naturaliter 
esui hominum non erant apta. 

1 6. Adonqes fist noe la nief en la manere come dieu lui auoit/com- 
mande cest assauer trois centz cubitz en longeur . cynkante / cubitz en 
leeure . et trente cubitz en hautesce et chescun cubit de / lour a ce 
temps amounte sys cubitz de noz que sont noef pies . car / chescun cubit 
du nostre contient vn pie et demy. 

Hist. Schol. 32. Dicit Rabanus cubitos arche fuisse geometricos, alio- 
quin tanta capere non valeret. Continet enim cubitus geometricus sex 
nostros uel nouem. Proprie enim cubitus pedem et dimidium habet. 
p. 5-. 17. Lamek pur ceo qil feut veugles il auoit vn enfaunt / de li 
mener quel enfaunt deueroit eymer sa mein / quant il deuereit trere 
a nulle beste et ensi happa il qil ferri / kaym dun saete en lieu dun autre 
beste et lui occi : adonc / quaunt il fut seu de la mort de cain soun cosin 
a poi qil/ne fust forcenee pur dolour. 

Names. Lamec. Cain. 

1 8. Adonqes Lamek pur corouce de la mort kaym baty len/fant qe 
lui menout issint qil morust et ensi occit/il deux j et pur ceo estoit 
il en graunt dolour long temps apres. 

Name. Lamec. 

Hist. Scbol. 28. Lamech vero vir Sagittarius diu viuendo caliginem 



THE TEXT ig 

oculorum incurrit et habens adolescentem ducem dum exerceret vena- 
tionem . . . casu interfecit Cain inter fructeta (frutecta) estimans feram 
quemque ad indicium iuuenis dirigens sagittam interfecit. Et cum ex- 
periretur quod hominem sc. Cain inter fecisset iratus illic cum arcu ad 
mortem verberauit eum. Occiderat ergo Cain in vulnere, adolescentem 
in liuore vulneris. 

19. En le sys cent' an le diseptisme iour du moys de May Noe entra 
la nief oue touz ceux qe dieu lui commanda/mais oysealx et autres bestes 
vindrent a lui en la nief molt plue par la volente de dieu qe par arte ou 
force de / horn et quant touz feurent dedeinz la nief qe deueroient 
adonqes pleut il quarant iours et quarant nuytz ass . . ke / qe leawe feut 
plus haut qe nul mountein par quinz cubite et ensi endura par vn an 
entier. 

Names. Puarphara. Noe. 

Hist. Scbol. 33. Sexcentesimo anno vite sue ingressus est Noe in 
arcam cum omnibus que dixerat ei dominus : que et nutu diuino et ange- 
lorum minister io adducta sunt mense secundo die xvij qui ab hebreis nisan 
dicitur, a latinis maius. 

/. c. 34. Et pluit super terram xl diebus et noctibus . . . et super omnes 
montes excreuit aqua alta cubitis xv. 

20. Adonqes apres quarant iours Noe lessa passer hors de la /nief vn f. 3 b y p. 6. 
corf liquel retourna a Noe pur ceo qil ne troua / nulle place sek* come 

dit Josephus le mestre de estoris dit qe / par auenture ou il fut nee en 
leawe ou il troua vn caroyne/flotant sur quel il demurroit et ne retourna 
mie a la nief. 

Hist. Scbol. 34. emisit coruum qui non reuertebatur, forte inter- 
ceptus aquis, vel inueniens supernatans cadauer in aquis est illectus eo. 
Tamen iosephus ait quod cuncta reperiens inundantia regressus est ad Noe. 

21. Apres cele corf Noe lessa passer vn columbe- la quele/ retourna 
a Noe pur ce qil ne troua nulle place sek* sur quele/ il purra reposerpur 
eawe. 

/. c. Emisitque post eum columbam que cum non inuenisset ubi 
requiesceret pes eius reuersa est ad Noe. 

22. Apres cella le septisme iour Noe lessa hors mesme la columbe 
la quele countre la vespree lui apporta vn branche / de Olyve ou foiles 
verts et le septisme iour apres ce il lessa hors mesme la columbe la 



THE TEXT 

quele ne retourna mie a / Noe par quei il sauoit certeinement qil 
y auoit terre sek* iadumeins Noe nala mie hors de la nief auant qil 
auoit / commandement de dieu : 

/. c. vidit quod exiccata esset terre superficies, sed egrediendi expectabat 
domini preceptum. 

40, p. 7. 23. Mesme le iour en vn an qe Noe entra la nief dieu lui commanda 
daler hors de la nief/ touz ceus qe furent dedeinz et les commanda qils 
deueroient crestre et multiplier. Adonqes fi<st il> / vn auter al honur de 
dieu et offri sur ce le septisme beste de touz nettes bestes et pur ce qils 
furent / doutifs qatant de bestes purroient defaire si pou come ils 
furent dieu lour dona seignourie de <eux> / et de tote chose en terre et 
mist larj* du ciel en le firmament en signe qe nulle tiel fluuie deu(eroit) 
iammes estre car ce dutoient ils souereinement. 

Hist. Schol 3 7. egressus est noe . . eadem die qua ingressus fuerat 
reuoluto anno. 

Crescite et multiplicamini . . . hoc dictum est eis in solatium ne pauci 
homines a pluribus bestiis opprimi timerent . . . 

quia maxime timebant ne dominus iterum aquas diluuii inundaret 
super terram. 

\ 4 b y p. 8. 24. Adonqes apres co Noe plaunta vins et fu yures du vine /pur co 
qil nauoit conissance de la fortresce du vine et issint / come il dormoit 
pur ce qe Cam son filz vist ses membres .../.. il moka son piere et ala 
counter a ses freres et les am/ena pur veoir mais il ne uoldroient regarder 
pur hount / <ma>iz mistrent lour mains entre lour oeux et la priuetee 
no/e (?) <l>our pier. Names. Sem. Caam. Noe. 

Hist. Schol. $6. sed ignorans vim eius inebriatus est. 
2;-. Les freres auoient hount et pristerent draps et tournerent / lour 
dos deuers lour piere et lui couererent issint qil semble / aussi come dit 
le mestre de Estories qe a celle hure horns ne vsoient point de brays : 
deuaunt la deluuie et longs/temps apres. Names. Cam. Sem. Noe. 
/. c. Patet quod nondum homines utebantur femoralibus. 
2.6. Adonqes Noe se veilla et quant il oy qe cam son filz lui/moska 
il maudia Canaan le filz cam . le quel mau/diement faut qil deueroit estre 
serf a sem . souent et plu/sours foicz auient qe les culpes du piere sont 
venges sur / les enfauntz moundeinement ; aussi come dit le mestre/ 
destoirs et puree il ne maudia mie son filz mais le filz / son filz . aussi 



THE TEXT if 

come horn purroit dire . si come io nai nulle/ioie de vous onkes mon. 
filz ensi neiez vous ioie de toun filz / Noe estoit del age de noef centz et 
cynkant ans quant il mo/rust. 

Names. Japeth. Cam. Sem. Canan. Noe. 

/. c. Maledixit autem non filio sed filio filii . . . Peccata quidem 
patrum sepe vindicantur in filios temporaliter. Et est sensus sic. Non 
leteris de filio tuo sicut nee ego de te. 

27. De Cam le filz Noe vint Nemroth si come dit le mestre/destoirs. 
Mais Metodie dit sicome mesme le mestre re/herce qe cestui Nemroth 
vint de hiron le filz sem . de le quel sem / come dit Alquyn auindrent 
vint et sept parenties et il oue / les soens occupia Asie la tierce partie du 
siecle. 

Names. Hiron. Cam. Nemrot Lacus. 

Hist. Scbol. 3 7. Chus dicitur filius Cham et filius Chus Nemroth . . . 
Hoc ideo diximus quia Methodius dicit hunc fuisse de filiis Hiron filii 
Sem. 

Texuntur autem ex eis Ixx due generationes quindecim de iaphet 
xxx de cham xxvij de sem . hi tres disseminati sunt in tribus partibus 
orbis secundum antiquinum (sic) . sem asiam cham aphricam iaphet 
europam sortitus est. 

28. Cestui Nemroth creust molt fers et vsa venerie et par /cause de f. $ 
coueitise de seignourie fist a plusours gentz / grantz duresces . et les fist 
honurer fu . et dist qe la feu fust / dieux . et cestui Nembroth primiere- 
ment prist seignurye / sur la terre et nomement sur cele lignage de qi 

il vint. 

Name. Nembroth. 

Hist. Schol. 37. Nemroth qui cepit primus potens esse in terra et 
robustus venator hominum coram domino idest extinctor et oppressor 
amore dominandi et cogebat homines ignem adorare. Nemroth accensus 
amore dominandi sollicitauit genus suum de Sem ut imperaret aliis etc. 

29. De Cam vindrent trente parenties . et il oue soens / occupia 
Affirik* lautre tierce partie du siecle. 

Name. Cam. 
See on 27. 

30. De lapheth vindrent quinze parenties . li quel Japheth/oue les 
soens occupia europe lautre tierce partie du / siecle. Philo dit qe de 



16 THE TEXT 

Noe trois filz viuant Noe vindrent / vint et quatre mil et cent horns 
forspris femmes. 

Name. Japheth. 

See on 27. 

Hist. Schol. 37 Narrat autem Philo . . . quod ex tribus filiis Noe 
adhuc ipso viuente sunt nati xxiiij milia virorum et -c- extra mulieres 
et paruulos. 

3 1. Adonqes Jonitus qe fa le filz Noe sicome Metodie dit/fu sachant 
en astronomie et le primer qe fust on/qes a qi Nemroth vint pur 
sauoir de les seignuries et roi/almes qe deueroient venir apres et Joni- 
tus lui counta qe / de sa linage deueroit primerment regner le primer / 
home du cecle et pur ceo fust nembroth plus ebaigfi. . 

Names. Noe. Jonitus. Jonitus. Nembroth. 

Hist. Schol. 3 7 natus est Noe filius . . et dixit eum lonithum . . . 

hie accepit a domino donum sapientie, et inuenit astronomiam ad 
quern veniens nemroth . . . eruditus est ab eo et accepit ab eo consilium in 
quibus locis regnare cepisset. lonithus iste futuros quosdam euentus 
preuidit et maxime de ortu iiij regnorum et occasu eorum per successionem 
. . . Et predixit discipulo suo Nemroth quod primi regnarent de Cham 
de quo Belus descend it, post de Sem medi et perse et greci, post de 
laphet romani. A quo rediens Nemroth accensus amore dominandi etc. 
as on 28. 

32. Adonqes sassemblerent le plus rour du saunk Noe en les 
chaumps de sennaar et pur doute de fiuuie/qe porroit apres auenir par 
looement de Nemroth qi coueita a regner ilz firent la toure / babiloigne 
de teules et de bitume qest troue flotans en les blank de Jnde ( Jude) mais 
en (syr)ie il est troue buillant hors de la tere la quele tour estoit large et 
haute. 

Name. La tour de babilon. Nembroth. 

Hist. Schol. 3 8 conuenerunt duces in unum in campum Sennaar et 
timentes diluuium consilio Nemroth volentis regnare ceperunt edificare 
turrim . . . habentes lateres pro saxis et bitumen pro cemento, 

id. 32 (bitumen) In lacubus iudee supernatans colligitur. In Syria 
limus est a terra estuans. 

33. Adonqes dieu oue/ses angles suf/flirent et abatirent la /tour oue 
grant vent et / tempest et ensi deuisa / la parlance de ceux/qe lorn (loum ?) 



THE TEXT 17 

qe nul entendi autre et pur ce/fu la tour apelle babel qest tant/a dire 
come confusioun ou ho/nisement des launges qar / adonqes furrount 
toutz / les launguages chaun/ges et pus esparpoiles par le secle. 

Name, la tour de babiion. 

Hist. Scbol. 38 dominus ait ad angelos venite et confundamus 
linguam etc. 

. . Dii vero ventos immittentes euerterunt turrim etc. 

34. Kant Sem le filz Noe estoit cent ans engendra Ar/faxath. Arfaxath 
engendra Salem Salem engen/dra Heber. Heber engendra Phaleth. 
Phaleth engendra / Ragau. Ragau engendra Sarug./Sarug engendra 
Na/chor. Nachor engendra Thare et quant Thare estoit cessant / et 
dys ans il engendra Habram Nachor et Aran . come / apiert desoutz. 
Names. Sem. Salem. Phaleth. Sarug. Thare. 

Arfaxat. Heber. Ragau. Nacor. 

Hist. Scbol. 41. 

3 f . Aran engendra Loth et Jescan . et morust auant / Thare son 
piere en hur qe fu vne citee entre les/Caldeis come dit Josephus. 

Names. Abraham. Nacor. Aran. Loth. Jesca. 

Hist. Schol. 41. Aran genuit Loth et Melcham . . . et mortuus est 
ante patrem suum in Hur chaldeorum. Et est nomen ciuitatis Hur 
secundum Josephum. 

3 6. Adonqes Thare quoi pur doel de la mort son filz Aran/qe pour f. 6 b, 
tortz qils lui firent en eel pays pur ce qils lui / vorroient auoir faitP- I2< - 
honurer fu : il sen parti dilloeqes / et dona a Nachor son filz Melcha 
a femme et a Habra/ham son autre filz sarai a femme qele fust baray/gne 
long temps apres. 

Names. Nacor. Melcha. Abraham. Sarai. 

Hist. Schol. 41. Thare ergo odio habens terram propter luctum aran 
nee volens sustinere iniurias que fiebant ei ut ignem coleret statuit 
peregrinari: et dedit Nahor Melcham uxorem, Abre vero Sarai qui et 
Loth fratrem uxoris in filium adoptauit, quia Sarai sterilis erat. 

3 j. Et en le lieu de Aran il prist Loth le fils Aran le/frere Sarai come 
pur son filz, car sarai feut baraigne / et ensi vindrent ils ensemble a la 
citee de Aram en / la quele citee Thare morust quant il estoit del 
age / de deux centz et cynkante ans. 

Names. Loth. Saray. Abraham. Thara. 

D 



i8 THE TEXT 

Hist. Schol. 41 see on 3 6 and 42. Et facti sunt dies Thare ccv 
annorum et mortuus est in aram. 

38. Adonqes parla dieux a habram et / lui commanda qil deuereit 
aler / hors de sa terre et hors de sa conissance / et hors de la meson son 
piere. Adonqes / prist habram sarai sa femme et loth le/frere sarai one 
lour enfantz et autres cho/ses qils auoient et vindrent a Sichem/en la 
terre de Canaan ou il leva vn auter al ho/nur de dieux en la quele terre 
auoit merueilleus/ment molt grant feime qe dura grant piece. 

Names. Loth. Sarai. Abraham. 
Hist. Schol. 43, 44, 4? init. 

39. Par cause de quele feime habram oue Sarai sa/ femme alerent 
vers egipt et pur doute qe les egypci/ens lui vodroient auoir occis sils 
eussent sceu qele / estoit sa femme pur ce qele estoit si beale par cause 
qils / estoient molt licherous horns il la commanda dire / qele estoit sa 
soer a chescun qe ele demaundra et ensi/dist ele tote vdies a chescum. 

Names. Sarai. Abraham. 

Hist. Schol. 4f timensque libidinem egyptiorum ne eum propter 
speciem mulieris occiderent etc. 

40. Adonqes les gentz pharao qestoit roi de egypte virent/ sarai et 
sassemblerent entour ele de lauoir amene / au Roi par cause qele estoit si 
beale qar ils ne virent /si beale femme en cele terre et pur ceo ils bioient 
dauoyr / grauntz mercies du roi par cause de ele et ensi fut il. 

Names. Sarai. Abraham. 

41. Adonqes alerent acun de eux au Roi et lui counte/rent dune 
tiele beale femme qestoit venuz et (il) / les commanda de la faire venir 
a lui en tote maner si / el vodroit ou noun qar il bia de lauoir a amie 
mais/ dieux pensa aultrement et lui fist failir de sa purpose, 

Name. Roi pharao. 

42. Adonqes amenerent ils sarai a Pharao le Roi oue/groundelande 
contenance de qi venue le Roi es/toit lees et vorroit auoir pecche 
ouesq#e ele mais dieux / ne lui lessa de honir la prodefemme en tiele 
manere. 

Names. Abram. Sarai. Roi Pharao. 

43. ladumeins dieu lui mist en maladie issint qei I /estoit destourbe 
de sa volente et quant prestres qe (offri)rent pur lui auoient conissance 
par la monstrance de/dieu qe sarai estoit la femme habram et qe ce feut 



THE TEXT 19 

la / cause de la tnaladie : le roi : ils lui counterent et / donqes le roi 
commaunda de faire venir Abram deuaunt/lui. 

Names. Sarai. Roi Pharao. 

Hist. Schol. 45- Deus vero desiderium regis imped iuit ne tangeret earn 
egritudine et tumultu causarum (sic) cumque pro salute regis sacrificarent 
sacerdotes, per iram dei hoc accidisse significauerunt quia uxori peregrini 
iniuriam inferre voluisset. 

44. Adonqes manda Pharao le Roi apres Habram et lui / blama pur f. 7 
ce qil dist qele estoit sa soer et lui deli/uera sa femme et commanda ses P- I 
gentz qils deueroient con/dure habram et sa femme ou qils vorroient hors 
de sa / terre en saufe conduit sauntz ascune desturbaunce et / donqes 
kaunt Abraham vint hors de Egipt oue sa femme / et Loth et aultres 
choses si vindrent a vn lieu qe fust / apellee Sichim iuste la contree de 
Sodom qore est mort mer / et illoeqes firent lour mansioun ensemble 
Abraham et / loth oue lour bestes et aultres biens tanqa vn iour qe 

Names. Pharao. Sarai. Abraham. 

4f. Come les pastours de Abraham et de loth estriuerent / entre 
eaux et firent grant debate par cause de la pasture / de lour bestes queux 
furrount ensemble qare la pasture / estoit moult scarce pur eaux et 
pur ceo Abraham fut corouce / greuousement qaunt il le sceut. 

Name. Les pastours. 

46. Adonqes vindrent les pastours habram et firent / pleint qe les 
pastours loth lour auoient meffait / pur la pasture de lour bestes 
qestoit moult scarce pur / lour bestes et pur ceo Abraham estoit coroucee 
greuouse/ment qar il dotout qascun debate sourdereit entre / lui et loth 
soun cosin pur la debate qe fut entre lour / pastours pur la pasture -et 
pur ceo il pensa aultrement / faire et done il fist venir loth deuaunt soi 
et lui are/sona en consaillaunt moult bealement et bonement. 

Names. Sarai. Abram. Lour pastours. 

47. Adonjfc loth et habraham departirent pur la debate qestoit 
par / entre lour pastours par cause de la pasture de lour bestes / dist 
Abraham a Loth qestoit filz de Nachor soun friere nous / sum frieres et 
nous ne volom mye estre en debate par nule voie / et pur ceo elisez vous 
daler uers cele parte de la contre oue vooz bes/tes et ioe demorai ici ou 
demoretz vous ici et ioe men irrai vers / cele partie de la contree qare 
mief est destre en pees qen con/tetz et issint poms estre en pees sauntz 

Dz 



xo THE TEXT 

contet des ormes. / blacker ink. Adonc ala loth oue ses bestes et aultre 
biens a la centre / de Sodom et illeoqes demorra tanqe la cite de Sodom 
estoit / foundree pur lour pecches come apres enorretz. 

Names. Loth oue sa femme et sa megnee. Abram one sa femme et 
sa meine. 

Text from Gen. xiii. 9. 
pp. iy, i tf, have no text. 

$6. Kant Abram fut repeiree de lestour le roi de Sodome/lui en- 
contra et lui pria corteisement de lui doner / les horns quex il auoit 
restour^s et faire des altres cho/ses ceo qil uodroit et Abram lui respount 
qe de toutes / choses rien voldroit auer forsqe ataunt come ils auoi/ent 
espendu en vitailes et les trois partes partenauntz / a les trois friers 
auantditz qe vindrent en aide de lui. 

5-7. Adonqes lui encountra melchisedech qestoit prestre / et roi de 
Jerusalem et lui offera pain et vyn et dona a/ les soens grauntz douns come 
dist Josephus et benesq^i diex / qi lui dona victoire de ses enemy s a qi 
abram dona/disme primierment Les Hebreus diount come dist Josephus / 
qe cestui Melchisedech estoit Sem le filtz Noe et diount qe a /ceste victorie 
commencea laane de grace qest le cinkatime / ane car adonqes estoit 
loth cinkaunt/ans come ascuns / diount ou pur ceo qe adonqes estoit le 
cinkatime ane de co/qe diex parla ouesj* abram en la chemine alaunt 
vers / sodome. 

Hist. Scbol. 46. Quod quasi exponens Josephus ait Ministrauit 
exercitui exenia et muitam abundantiam rerum opportunarum simul 
exhibuit et super epulas benedixit deum qui Abre subdiderat inimicos 
. . . Hunc Melchisedech aiunt Hebrei fuisse sem filium Noe. 

47. de hac victoria tradunt iubileum initium habuisse . . . ob hoc 
autem institutus est quinquagesimus quia tune erat Loth ut dicunt quidam 
L annorum, uel tune erat quinquagesimus annus ex quo locutus erat 
dominus Abre in via. 

y 8. Adonqes pramist diex a Abram heir de soun corps /en qi serroient 
toutz gentz beneqis / et lui dona tote la terre qil porroit vere / entoure 
et lui dist qe sicome nul porra / noumbrer les esteiles de ciel issint nul/ 
porroit noumbrer sa linage et abram lui / demanda signe et diex lui 
comanda de / prendre vne vache vne cheure et/ vne tope chescune 
de trois ans vne tourtre et vne co/lumbe et abram seuera les trois bestes 



THE TEXT IT 

chescune parmi / et miste chescune parte encountre aultre mes les oisels / 
ne seuera mie et puis countre ceyr qant le solail fu co/chee vindrent fu 
et fumer de ciel et degastirent trestote / par qel signe Abram sauoit qe 
verroiment auendreit ceo/qe diex lui pramist. 

Hist. Schol. 48 et apparuit ignis quasi clibanus transiens inter 
diuisiones illas et consumens illas. 

f?. Mes pur ceo qe sarai la femme abram bien sauoit qe ele estoit/ 
baraigne ele congea abram de conustre charnelment / agar sa auncele pur 
ceo qe ele estoit ieouenes et issint fist / abram et done' fust agar 
enceintes dun enfaunt qi fut / apellee ysmael par langel auant qil fu 
nee done' agar des/pisa sarai sa dame et sarai se pleina a abram son 
baroun / et abram le dist qe ele deuereit faire de sa auncele ceo qe ele 
pleroit . car il ne lui voldroit medler entre lui et sa ser/uaunt '. 

do. Mes qant agar oia qe ele fu misse en la baundoun/ Sarai sa dame p b, 
et sauoit bien qe sarai lui auoit / souent greuee deuaunt' ele fua en P- I ^- 
egipte car ele / estoit nee de eel pais. 

Hist. ScboL 49. iniit fugam volens redire ad patriam quia egyptia erat. 

6 1. Et si come el fu encheminaunt vers /egipte en le desert de sur 
vn / angel de ciel lui commanda retourner / et seruir sa dame come 
adeuant et lui / dist qe ele deueroit enfanter et ele lui / deueroit apeller 
ysmael car sa mayn / serreit a contre totz et les mains de / totz encontre 
lui qe tant amount come dist le / maistre des estoires qe les saraciens qex 
vendre(r)unt / de lui tuerount prestres en leues seyntz et illeoqes coche/- 
rount oue femmes et lierount lour chiuals a les sepulcres / des seyntz pur 
peches de cristiens qa donqes serrount. 

Hist. Schol. 49, quoting Ps.-Methodius : In sacris locis interficient sacer- 
dotes, ibidem cum mulieribus dormient, ad sepulchra sanctorum religabunt 
iumenta et hoc pro nequitia christianorum qui tune erunt. 

62. Habram estoit octant et sept ans/qant ysmael fu nee et apres 
ceo qant / il fust nonaunt et noef ans diex lui pra/mist de multiplier sa en- 
gendrure et / lui nomaa habraam qest a dire pier / de meint gentz car 
auant estoit apelle / habram cest a dire hault pier et lui com/manda 
nomer sa femme sara qest a dire/princesse car deuant estoit apelle Sarai/ 
cest a dire ma princesse et lui pramist dauer / vn filtz de ele qi serroit 
apelle ysaac qest adire / riaunce pur ceo qe habraam son pier adonqes rist 
qant / diex lui en park. 



-L-L THE TEXT 

Hist. Schol. 5-0. Dicebatur enim abram ... id est excelsus pater et ad- 
dita ea litera a dictus est abraam . . quod sonat pater multarum subauditur 
gentium. 

cum diceretur sarai id est prince ps mea, et quasi unius gentis, dicta 
est sara id est princeps absolute. 

Isaac quod interpretatur risus, a risu scilicet patris. 

63. Mesme le iour diex lui commanda de circumcidre / soy mesmes 
et totz les altres qe furrount ou de sa / linage ou de sa menage ouesqe 
lui madles issint qils / porroient estre conutz pur especial gentz de diex 
seueri / par cest signe de totz aultres gentz et issint fist il. 

Hist. Schol. yo. Volens itaque dominus quasi quodam charactere 
poptilum suum ab aliis discernere induxit eis circumcisionem. 
f. 10 a, 4. Apres ceo vn iour auint qe habraam sist en le huis de sa / mei- 

P- I ^ < soun et vist treis damisels venir uers lui les qeux / furent treis angels- des 
qeux lun fust misse de nouncier a ha/braam de son filcz qil dust auoir et 
les altres deus furrount misse /pur la citee de Sodome enfoundrer come 
dit Joseph us mes eusebi / dist qe lune apparust en fourme de nostre 
seignour et pur ceo habra/ham lui fist honurer et les requist de demorer et 
manger oue / lui et issint firent. 

Hist. Schol, fi. Dicit Josephus tres angelos in specie humana missos 
ut unus nuntiaret abrae verbum dei de filio suo et duo subuerterent 
Sodomam. Eusebius vero ait . Primo omnium prophetarum abrae verbum 
dei cum in figura apparuisset humana vocationem gentium pollicetur. 
Et sic apparuit ei filius quern et adorauit. 

6?. Adonqes habraam les dona a manger et a boiure mes la/viaunde 
estoit consumee en lour bouche come leawe / est consumee par chalour de 
le feu com dist le meistre / des estoires et celui q/ apparust principal de 
eax pramist de reue/nir a habraam mesme eel temps au chef del ane le 
quel / temps il lui pramist qe sara sa femme enfantereit : et done' pur / 
cele parole sara rist pur ceo qils estoierent treueux. 

Hist. Sckol. f i. De cibo quern sumpserunt potest dici quod in masti- 
cando exinanitus sit sicut aqua calore ignis. 



DESCRIPTION OF THE PICTURES 

i a, p. i. i-5. The scheme is uniform in the pictures of the Six Days of 
Creation. In each, God, represented as a venerable bearded figure with long hair, 
and cross-nimbus, clad in a cope or mantle fastened by a morse on the breast, 
sits upon a bow or arch representing the immovable sphere. Below His feet is an 
inner sphere, the Earth, surrounded by a band of conventional clouds, and within it 
is shown the work of each Day. God's r. hand is extended downwards in the 
attitude of blessing, and His /. hand rests on a closed book on His knee, over 
which His fingers are carefully portrayed. The only variations to be noted are in 
what goes on in the Earth. 

i. Nothing is seen but a mass of water and a mound of matter indicated in the 
centre. 

2,. An arched firmament with water below it and above it: a clear space 
divides them. 

3. The firmament and waters above, which appear in all the rest. Below, 
a mound with trees on it in the midst of water. 

4. ought to show the sun, moon, and stars, but is rather effaced and mutilated, 
and in fact hardly distinguishable from the last. 

f. i b, p. i. _f. Fish, large and small, are in the waters, and on the trees 
which grow on the central mound are birds eagle, parrot, magpie ?, wren : a water- 
bird below. 

6. On the trees sit a monkey and a squirrel. A great stag's head appears over 
the horizon. On the earth are a horned beast, bear, lion, ox, another ox or cow 
emerging from the waters. 

7. In a thick grove of trees God facing /. bends over Adam, who rises with 
joined hands from a shapeless mass of earth. 

8. The Seventh Day. Between two hills with trees on them God re- 
clines on the earth, sleeping, with His hand supporting His head. 

[Lacuna : the story of the Creation of Eve, Prohibition of the Tree, Fall, 
Conviction, Expulsion, Toil, Cain and Abel, are wanting.] 

f. 2,0, p. 3. -12,. Each of the four compartments contains four draped 
figures, nearly all long-haired and bearded : their attitudes are cleverly varied, and 
their expressions. One, Methuselah, stands back to the spectator. The first ten are 
Adam and his descendants in the line of Seth, viz. : 



14 DESCRIPTION OF THE PICTURES 

p. Adam. Seth. Enos. Cainan. 

10. Mahalaleel. Jared. Enoch. Methuselah. Enoch's translation is not 
noted either in the text or the picture. 

11. Lamech. Noah. 
Then begins Cain's line. 
Cain. Enoch. 

n. Irad. Mehujael. Methusael. Lamech. 

f. i, p. 4. 13, 14 represent the family of Lamech. 

13. In the foreground sits Jubal playing a harp, the lower part of which as 
usual is encased in a bag. Above him stands a bearded figure, who may after all be 
Jubal himself, 'the father of all such as handle the harp and organ', the player, 
who is younger, being a son. 

In the f. is a shepherd's house on wheels and a shepherd (note his dress) 
standing in the door. Jabal (Jabel) the inventor stands by it. Then Octa (Adah) 
the mother. 

14. Lamech and 'Sell a. Lamech is thus standing between his two wives, who 
severally point to their sons. Lamech, as the text says, was the first to commit 
bigamy. Tubakayn stands next, hammering, upon a cylindrical anvil, a blade or 
piece of iron which he holds in pincers. Facing him sits Noemma (Naamah), in- 
ventress of weaving, working at a carefully-drawn loom. I cannot at present trace 
the statement that she invented the art farther back than the Historia Scholastica. 
It does not appear in Josephus or in any of the Byzantine chronographers whom I 
have consulted. The Chronicle of Jerahmeel, the only Hebrew source in which 
I have yet found it, appears to be copying the Historia. 

15-. The command to build the Ark. Three figures, standing: God, Noe and 
Puarphara his wife. Noah has an axe, his wife holds three pegs : a beam lies on 
two trestles in front. 

i<5. The making of the Ark. Trees form the background. In front is the 
ship of the Ark supported on trestles, and in it the tall upright square framework. 
On /. Noah with an axe or adze works at a plank on trestles, and a young son 
stands with a round basket of pegs on his head. 

f. 3 0, p. 5-. 1*7, 18. The death of Cain. 

17. A tree in c. Lamech on /., his face not seen, has just shot an arrow. 
His boy-guide (sometimes called Tubal) looks up at him and points to r. In front 
of three small trees on r. stands Cain in a long robe. An arrow has pierced his 
neck right through. 

1 8. Trees form the background. Lamech on /., whose closed eyes indicate 
his blindness, has felled the boy with his bow, which still lies on the body. 

The subject is derived by our artist from the Historia Scholastica^ and it is 



DESCRIPTION OF THE PICTURES 

current in a much earlier Jewish tradition, though it does not occur in any extant 
apocryphal text. The earliest story of the death of Cain is that in the Book of 
Jubilees^ which says that Cain perished through his house falling upon him : he had 
slain Abel with a stone, and with a stone he was killed. We hear of a Book of 
Lamech in lists of apocrypha, and very probably it contained our story, the 
raison d'etre of which is to furnish an explanation of the Song of Lamech in 
Gen. iv. 23. 

ip. Half-page picture. The Entry into the Ark. 

The Ark, approached by three ladders, stands on r. The wives of Noah's sons 
are seen at the openings. One bends over the ship's side to help Shem (let us say), 
who is about to mount the r. ladder, and drags a lion by the hind legs. Ham 
at the top of the next ladder has a monkey (or two) astride of his shoulders which 
is greeted by his wife. Japhet on the third ladder carries a pair of bears. On /. in 
front of a line of trees Noe^ supporting himself by a distaff, approaches carrying a 
ram on his back, and Puarphara beside him has a bull on hers. The names 
Puarphara, Parfia, Cetafluia, and Fluia, given in the text to Noah's wife and sons' 
wives, are of uncertain origin. The Hist. SchoL gives them as Phuarphara, 
Pharphia, Cathaflua, Flina. An annotator of Claudius B. iv (f. 14) writes Phiapphara, 
Parsia, Cataphua, Fura. The same set of names has lately turned up in an early 
homily which Dom Amelli is to edit: I have not the exact forms. There are 
many other traditions : the prose Anglo-Saxon Salomon and Saturn (ed. Kemble, 
p. 185-) has Dalila (Noah), Jaitarecta (Ham), Catafluvia (Japhet), and the (fifteenth- 
century) Master of Oxford's Catechism (1. c., p. 2,18) practically the same, Dalida, 
Cateslinna (Shem), Laterecta (Ham), Aurca (Japhet). In these the names Cateslinna 
and Aurca are doubtless the same as Catafluvia and Fura. The other traditions 
show no similarity with this. It may eventually be possible to show that the 
names go back to one of the Greek dialogue-books still imperfectly known 
which profess to answer questions left uncertain by the Scripture. 

f. 3 , p. 6. 20-21. The Raven and the Dove. 

20. Noah at the window of the Ark lets the raven go. 

21. Similar: he lets the dove go. 

22 (half-page). On /. hilly ground and trees showing above the water: on one 
tree perches the dove, plucking a sprig. On r. it returns with drooped wings and 
the sprig in its beak to Noah. 

f. 44, p. 7. 23 (full page). The Exit from the Ark. In the upper /. corner 
the head and hand of God are seen emerging from a cloud. The middle distance is 
occupied by the Ark on a mound on r., and a row of trees on /. : the rainbow 
connects them. At the central window of the Ark we see Noah adoring God. 
The three sons and one of their wives are occupied about the ship, the sons clamber- 

E 



T.6 DESCRIPTION OF THE PICTURES 

ing down in excellent attitudes, the woman letting down a ram by the hind legs. 
A dragon is leaping into the air offShem's shoulders, a monkey clasps his legs. The 
foreground, unfortunately somewhat rubbed, is full of animals rejoicing in their 
release: rams are butting each other, an ox is lowing, a lion and bear aie gravitat- 
ing slowly back to their former occupations, and so on. The picture is full of 
delightful fancy. 

4^, p. 8. 24-2,5. The Shame of Noah. 

24. The ground slopes up, and on it are vines bearing grapes bound to upright 
stakes. On /. Shem with his hand to his face, and Ham laughing and drawing his 
attention to Noah, who lies on /. : a round-bellied bottle is beside him, with a saucer 
turned over on the top to act as stopper. 

2,5-. The scene, and Noah and his bottle, as before. On /. Ham laughing and 
pointing, Shem with averted face holding up the cloak to cover Noah. 

26. On /. stand Japhet, Ham, Shem, Canaan (younger). Japhet gesticulates, 
Shem and Ham stand with folded arms, Ham looking sulky, Canaan with fingers 
lightly clasped. Noah reclines on r., head on hand, and speaks to them. 

There is a similar diffuse treatment of this episode in Claudius B. iv (Anglo- 
Saxon Heptateuch). 

27 2p. The progeny of Ham : Nimrod. 

2/7. The background consists of two hills, one (/.) with trees, in front of which 
stands a group of men and women, of whom two have names, viz. Cam and Hiron^ 
who, according to Methodius, was Nimrod 's father. Next stands Nemroth> much 
taller, leaning on a long staff, knobbed and with an iron spike. On r. is a piece 
of water, named Lacus, of which the significance is not clear to me. 

f. 5- #, p. p. 28. Nimrod, a huge figure on /., holds out his great staff 
threateningly over the heads of a group of suppliant people on r. On /. is a fire 
which he is compelling them to worship. 

2p. A large group of draped figures, representing the thirty families of Ham's 
descendants. Ham is prominent among them, and is named. 

30. The progeny of Japhet. A similar group representing the fifteen families 
descended from Japheth, who stands near the centre. 

The text (following the Hist. Schol^) cites Philo on the number of Noah's 
descendants. The source is the Pseudo-Philo's Biblical Antiquities^ an apocryphal 
text recently translated by me for the S. P. C. K. 

31. Nimrod and Jonitus. Two scenes. On /. Noe stands pointing to a river 
which flows between him and Jonitus. We are here dealing with a passage in 
the Pseudo-Methodius's Revelation which it will be well to translate. 

'In the icoth year of the grd millennium a fourth son was born to Noe 
according to his likeness, and he called his name Jonithus: and in the gooth 



DESCRIPTION OF THE PICTURES ^7 

year . . . Noe gave gifts to his son Jonithus and sent him away into the land of 
Etham. (After the confusion of tongues) Jonithus the son of Noe occupied the 
entering into Etham as far as the sea, which region is called Heliochora, that is, 
the Region of the Sun, wherein the rising of the sun takes place, and dwelt there. 
This Jonithus received of God the gift of wisdom for all arts, and was the first 
inventor not only of letters and certain arts, but also of all astronomy. To him 
came Nemroth, who was a giant, and in many things instructed of God, and received 
counsel from Jonithus under what influences of the stars he should begin to reign 
over the earth. . . . Descendants of Japhet, skilled in building, came down into 
Etham to Jonithus and built a city calling it by his name, and there was much 
peace in the land of Jonithus and Nemroth unto this day. But the realm of 
Nemroth, and of the son of Shem, and of Pontipius the son of Cham, and Japhet, 
rebelled against each other. Now Jonithus wrote an epistle to Nemroth, saying 
that the kingdom of the son of Japhet should destroy the kingdom of the sons of 
Cham, ' This story is peculiar to Methodius, as far as is known. Our artist takes 
it from the Hist. SchoL, in which a somewhat fuller text of Methodius than the 
printed one (in Grynaeus' Orthodoxographa) which I have copied is used. 

On r. is Jonitus pointing upwards and instructing Nimrod. Jonitus is youth- 
ful in both scenes. 

$ b, p. 10. 32, (full-page). The Building of the Tower of Babel. A magni- 
ficent drawing. On r. stands Nembwth towering above a group of people whom 
he is addressing. The process of the building of the tower is full of interest: note 
the wattled scaffolding on brackets, the wattled kdders, and the wonderfully varied 
attitudes of the workmen. The great figure of Nimrod in this scene goes back as 
far as Junius 1 1 (Caedmon) at least. 

f. 6 a, p. n. 33. The Destruction of the Tower. Occupying the /. hand 
half of the page from top to bottom. In the r. upper corner the head and hand of 
God emerge from a cloud : He addresses the four winds, four winged heads in 
a cloud in the opposite corner, who have blown down the upper part of the 
tower. 

This story of the destruction of the tower by a great wind is non-Biblical. 
The source of it is the very ancient Third Book of the Sibylline Oracles (iii. 101), 
which is quoted by Josephus, who is the medium by which it reached mediaeval 
writers and artists. 

34. The progeny of Shem. A large crowd of figures, nine of whom, from 
Shem to Terah (father of Abram) are named. 

35-. A group of five: Abram, Nahor, Haran, Lot, and Iscah (children of 
Haran). 

In all these groups the variety of attitude and expression is most notable. 

Ei 



x8 DESCRIPTION OF THE PICTURES 

f! 6 , p. ii. 36. Two couples: Nahor and Milcah, his wife; Abram 
and Sarai. 

3^7. Lot (young, as he should be: in 35- he is bearded), Sarai, Abram, and 
Terah. They are on their way to the city of Haran, where Terah died. 

38. Gen. xii. 7, 8. Abram 's altar. In the upper r. corner God appears in 
a cloud. Below is the altar, vested. God addresses Abram, Sarai, and Lot, who 
stand on r. 

3P. Abram and Sarai, leaning on staves, journey towards Egypt. Gen. 
xii. 10. 

f 7#, p. 13. 4.0-44. The episode of Pharaoh and Sarai. Gen. xii. 11-2,0. The 
pictures tell the story admirably. 

40. Abram is telling the Egyptians that Sarai is his sister. Two of them on 
r. are moving off to tell the king. 

4.1. They report excitedly the arrival of a beautiful woman: Pharaoh is 
delighted. 

41. Sarai, struggling, is brought before him : he reassures her. Abram on /. is 
in distress. 

43. Pharaoh is ill in bed. Sarai stands by the bed. Three tonsured priests at 
the foot of the bed tell him that his action with regard to her is the cause of his 
sickness. 

f. 7 , p. 14. 44. Pharaoh in bed, much disgusted, waves away Sarai and 
Abram, who are surrounded by an armed guard which is to conduct them out 
of the country. 

The armour and weapons here are noteworthy. 

4^. Gen. xiii. 7. The herdsmen of Abram and Lot quarrelling. There are 
six men engaged, but one is hardly seen : the vigour of the struggle is wonderful. 
The cattle feeding on r. are very interestingly drawn. 

45. The herdsmen complain to Abram and Sarai, who are seated together. 
They point in the direction of their antagonists, and show their broken heads, and 
bewail themselves. 

47. Gen. xiii. 8. Abram and Lot agree to part. A tree in c., and the cattle, 
separate the two ' meinies '. 

f. Sa, p. ij*. 48. Gen. xiii. n. They part, Abram to r., Lot to /. ; there are 
children in his party, none in Abram's. 

4P. Gen. xiii. 14. The promise to Abram. He kneels in c. in prayer, and 
looks up to God, whose head and hand are seen in a cloud on r. 

5-0, 5-1. Gen. xiii. 18. Abram settles in Mamre. 

50 is a pretty pastoral scene showing the shepherds undisturbed. Three of 
them sit on a hill, and the one in the middle looks straight upwards, his face being 



DESCRIPTION OF THE PICTURES ^ 9 

boldly foreshortened. An older one stands on /. shading his eyes. Cattle feed 
on r. The trees on the hill are odder than ever. 

fi. The building of the altar. Two workmen are putting finishing touches 
to a very rich tabernacle, a mass of pinnacles, small windows, and gables, supported 
on four columns, beneath which is the altar, elaborately vested. On /. of it Sarai 
arranges the cloth : Abram's head is seen on r. 

8, p. 16. fi-n. The Battle of the Kings. Gen. xiv. This page is 
splendid in colour, quite the best in the book in that respect. Perhaps it is on 
account of its beauty that no text has been written upon it, or on the page 
before. 1 

jfi. The battle of the four kings, Chedorlaomer, Tidal, Amraphel, and Arioch, 
against the five kings of Sodom, Gomorrah, Admah, Zeboiim, and Bela (Zoar). 
The four bending over their horses' necks are charging to r.: the five are fleeing 
to r. 

5-3. The victorious four riding from r. drive before them Lot (resentful) and 
a boy, with hands tied behind them, and a quantity of cattle. 

^4. Two messengers on r. inform Abram and Sarai of the disaster. Abram 
is seated on the steps, under the porch of his house, and clasps his hands in grief: 
Sarai is behind him. 

The building is interesting : note among other things the projecting oven on 
/. with its chimney. 

S?. Abram routs the four kings. The scene is like 5-2,. The kings are 
fleeing to r. One man's head is falling, and another man lies among the horses' 
feet. 

f. $a, p. 17. $6. The King of Sodom meets Abram, and the latter refuses the 
spoil. This ought really to follow the next picture. 

77. The meeting with Melchizedek. Abram bareheaded kneels in c. with 
a cloth over his hands in which are round objects, probably money, representing 
the tithes which he offered. Melchizedek, on horseback, is tonsured, and holds out 
a large chalice and a loaf. Behind Abram we see Lot unarmed on horseback. He 
holds the rein of Abram's caparisoned horse. The cattle, and the rest of the troup, 
make up the group. 

5-8. Gen. xv. The promise to Abram. He reclines on the ground with both 
hands to his head : God addresses him from a cloud above on r. 

1 There is an indication in the text of 56 that a text should have been here ; namely, in 
the words < les trois friers auantditz ' (sc. Aner, Eshcol, and Mamre), who of course have not 
been mentioned. Possibly we ought also to conclude that our whole text is a copy of one 
already existing. 



30 DESCRIPTION OF THE PICTURES 

j-p. Gen. xvi. i. On /. Abram and Sarai. She points to Hagar, who 
stands at a distance on r., and gives permission to Abram to take her as a con- 
cubine. 

f. $b, p. 1 8. 60. Gen. xvi. 6. Sarai beats Hagar with a large pointed spit on 
which are four or five metal disks. A late hand has written the names on the 
picture. 

61. Gen. xvi. 7. Hagar stands with clasped hands and distressed face looking 
up to r., where an angel appears out of a cloud. Below in c. is a well * the 
fountain on the way to Shur ' and trees are on r. 

62. Gen. xvii. i. Abram 's name is changed, a son is promised, and circum- 
cision commanded. 

Abraham lies prostrate and God speaks out of a cloud. 

63. Gen. xvii. 2,3. Abraham and the men of his family are circumcised. 

f. 10 a, p. ip. 64. Gen. xviii. i. Abraham receives the * angels'. He with 
Sarah behind him is in the porch of his house, which is meant to be exactly like that 
in 5-4. Before it stand God, a robed figure with cross-nimbus, and two other 
figures not nimbed or winged. 

6.J-. Gen. xviii. p. The promise to Sarah. She is in the doorway with her 
hand before her face. Abraham standing points to her with his r. arm, across his 
body. On r., out of doors, a table, with God seated at it between His two com- 
panions. In front a crouching servant blows with his mouth at a fire beneath 
a tripod, on which is a cauldron. 

66. Gen. xix. i. Half-page. Lot receives the angels. On r. God stands 
talking to Abraham and pointing to /. The /. portion is occupied by a city, Sodom. 
The gate has flanking circular towers, and the buttressed wall is circular. Buildings 
are seen above within it, and among them are scenes of violence and lust. Below 
outside the wall is a constable or other official girt with a sword, and a man dressed 
as a jester, who with a long bat is beating the heads of two beggars on /. (The in- 
hospitality of the men of Sodom is emphasized in Jewish story.) In the port- 
cullised gateway kneels Lot : he takes hold of the garments of two angels who 
stand before him. 

f. 10 , p. 2,0. From this part to p. z6 we have mainly outline pictures: the 
artist has put in colour hills, trees, hair, and little else. 

67. Gen. xix. 4-10. The house of Lot. In the doorway the angels pull the 
daughters into the house. The man in the jester's dress feels the wall to find 
the door. Lot expostulates with other men similarly attired, and points to his 
daughters. 

68. Gen. xix. ij-. On /. a cloud. A hill with a zigzag road up it and a tree. 
At the bottom the cities sinking into water (the Dead Sea). Lot's wife a jagged 



DESCRIPTION OF THE PICTURES 31 

mass of salt with the face still seen. An angel pushes Lot and the daughters to r. 
and points to /. A tower (of Zoar) is on /., towards which they go. 

<%>, 70. Gen. xix. 30. Lot and his daughters. The scene indicated in each is 
a cave in a hill with a tree on the top. There are curious details, one daughter 
blowing out a candle on a bracket, the bottle with saucer on top by Lot's bed, 
as in 24, &c. 

f. ii *, p. ii. 71-73. Abraham and Abimelech. Gen. xx. 

71. Abraham in hairy cloak and broad hat, with wallet and staff: a man seizes 
Sarah's arm to lead her to Abimelech, who sits on r. looking like Pharaoh in 41. 

72. Abimelech ill in bed (head to r.), Sarah covers him with clothes. Abraham 
kneels by the bed and prays : two sad attendants kneel at the foot. Back to them 
stand two tonsured doctors, one holding up an urinal. In the sky on /. God 
appears in a cloud. The robes of the doctors are noteworthy. 

73. Abimelech sits up in bed, Sarah supprts him. He points to Abraham at 
the foot, who holds a bag of money. Another figure kneels back to the spectator. 

74. Gen. xxi. 1-4. Birth and circumcision of Isaac. Sarah is in bed (head 
to r.). Abraham kneeling at the foot circumcises Isaac, who is in a curious chair. 

f! ii , p. 2,2,. 7^-77. Story of Hagar and Ishmael. Gen. xxi. p-2i. 

7^-. A feast. Above, God in a cloud. At the table six figures; three guests. 
Sarah pointing to the children in front, Abraham, and Hagar. In front of the 
table Ishmael and Isaac fighting. 

76. Among trees. On /. a well with stream flowing from it towards r. 
Hagar in prayer : a bottle with a strap on the ground. Ishmael crying. Above, 
an angel speaks from a cloud. 

77. Hagar on r. joins the hand of Ishmael to that of his wife, who wears a 
bridal wreath. On /. in two rows stand the twelve sons of Ishmael (Gen. xxv. 12, 
sqq.). Trees are behind. 

78. The well of Beer-sheba. Gen. xxi. 2^-3 2. 

On /. Abimelech and another : they point to the well, surrounded by little 
trees. On r. stands Abraham in a hat, travelling cloak, and laced-up boots. A 
spade, iron-shod, is by him. He points to the seven ewe lambs which were to be 
a witness that he had dug the well. 

f. 120, p. 23. 7p-8i. The Sacrifice of Isaac. Gen. xxii. 

7p. The background a two-peaked hill covered with little odd trees. On /. 
God speaks from a cloud and points down at Isaac, who is playing with a ball 
which he hits or picks up with a stick cleft and tied to form a loop. Abraham 
standing almost back to the spectator raises his hands in consternation. 

80. Abraham, girt with a sword and carrying fire in his /. hand, walks (back 
turned) up the mountain, which is covered with trees and has a stone altar near the 



DESCRIPTION OF THE PICTURES 

top. Isaac follows him bearing two bundles of sticks which cross behind his neck. 
This is intentional, to bring out the type of the Bearing of the Cross. Our artist 
does not often show this tendency. 

8 1. On /. among trees is the ram: projecting stumps of the trunk have 
passed through the curls of his horns. Above, a curious angel, footless, with a bird- 
like tail, and covered with feathers, holds the blade of Abraham's raised sword near 
the hilt. Only Abraham's head is left, his body and that of Isaac are effaced. 
The flaming altar is above. 

81. The burial of Sarah. Gen. xxiii. a. A coped coffin with pall on a bier 
stands in front. Behind it three clerks in copes, full face, one with a book. On /. 
two men digging a grave, one with a pick-axe. On r. Abraham and another con- 
verse and point to the grave. 

f. n^, p. 24. 83-87. The marriage of Isaac and Rebekah. Gen. xxiv. 

83. Eliezer's oath. On /. Abraham's house, as we have seen it before. 
Abraham sits in the porch, and Eliezer in surcoat, showing gorget and sleeves of 
mail, and plate armour on the legs, raises the hinged visor of his peaked helmet, 
kneels, and swears to Abraham, touching his thigh. On r. are at least nine beasts 
which should be camels, and a groom. 

84. Z,. the camels kneel ; their very small double humps are seen. Eliezer, 
not in armour, kneels back to the spectator. A spring of water on a hillock with 
a tree. Rebekah approaches carrying a wooden bucket, and followed by three 
maids with other vessels. Above, God's head in a cloud. 

8^. Eliezer holding what may be gold rings. Five camels drink, a sixth 
looks up. Rebekah (back turned) pours water for them. Maids with vessels go 
off on r. 

86. A house : there are odd little wattled annexes to it. In one on /. sits an 
old woman with her handkerchief to her nose. In the door stands a man, and 
another person before him kisses Rebekah, who is in a travelling dress ; another 
person holds up her broad hat. On r. Eliezer stands by the camels whose hind- 
quarters are seen. 

f. 13 a, p. 2,y. 87. L. a porch. Young Isaac stands and points into the house. 
Rebekah facing him in travelling dress raises her hat. Eliezer and camels on r. 

88. Gen. xxv. 1-6. The porch and steps of Abraham's house. Isaac and 
Rebekah beside it. Abraham in c. Keturah and her six sons walk off to r, 

89 Gen. xxv. p. The burial of Abraham. Isaac, Ishmael, and another lay 
his body (in a shroud tied up at the top of the head) in a stone tcmb, one of four 
standing side by side. The lid of it, on which a long cross is carved, lies against 
a hill behind. Trees. 

po. Gen. xxv. 22,. On /. a porch, on r. a steep hillock : on the top of it 



DESCRIPTION OF THE PICTURES 33 

Rebekah kneels in prayer facing r., and God speaking from a cloud tells her of 
Esau and Jacob. 

13 , p. 16. pi. Gen. xxv. 14. Birth of Esau and Jacob. 

Note the oblong cradle on rockers, in front. 

pa. Gen. xxv. 2,p. Esau sells his birthright. On /. a porch, and Jacob seated 
in front, with a tripod, pot, and fire, before him: a ladle is in the pot. Jacob 
hands a shallow bowl to Esau, whose long bow rests in the crook of his arm. He 
has arrows at his girdle. 

P3~p8. Episode of Isaac and Abimelech. Gen. xxvi. 

P3. xxvi. 8. A house with a tower. Abimelech, crowned, looks out of a 
window and points to Isaac on r., who caresses Rebekah 's face. Two men on /. 
talk to the king and point the same way. 

P4. xxvi. 1 2,. On r. are reapers at work. The /. part of the picture is effaced 
but for one head. The picture ought to show Isaac's prosperity. 

140, p. 17. pp. 2, 7-30 are pretty completely coloured, and very excellent 
in workmanship. 

pj-. xxvi. 2.0. Two pairs of men digging wells in c. On /. Isaac turning 
away to /. On r. Abimelech speaking to him, and an attendant. 

pd xxvi. 2,3. On /. a porch, on r. a hill. At the bottom are two men stand- 
ing in water and digging a well. At top Isaac kneels by an altar, and God 
appears in a cloud. 

P7. xxvi. 30. A feast. Abimelech seated in c. with a cloth of state behind 
him. Two guests on either side. One of them on /. is Isaac, who addresses the 
king. 

p8. xxvi. 31. On /.a spring of water. Three figures face r. (Isaac and two 
others) one kneeling. On r. Abimelech and two others face /. 

f 14 , p. 28. pp. On /. a porch, and Isaac (old) seated before it. On r. 
Esau takes the hands of his two wives, Judith and Bashemath. Gen. xxvi. 34. 
Esau is here robed and bearded. 

100-104. The Episode of the Blessing. Gen. xxvii. 

ico. L. a porch, and Isaac seated in it. He addresses Esau, who stands before 
him holding his long bow, and with arrows at his belt. Esau's face and legs are 
covered with black bristles. On r. Rebekah stealthily goes off with the young 
Jacob. 

101. The porch and Isaac seated, with a little square table by him. Jacob, 
who now has a collar and gloves of hair, approaches, pushed on by Rebekah, and 
holding in both hands a bowl in which a small animal is visible. 

loi. A large tree on /. Esau beneath it shoots at a hare running away on a 
hill on r. Two rabbits are seen in burrows. 

F 



DESCRIPTION OF THE PICTURES 

f if a, p. 2,9. 103. The porch : Isaac, and the table. Jacob, kneeling, places 
the bowl on it, and Isaac feels his head and neck. Rebekah stands on r. with 
spread hands, watching. 

104. The porch: Isaac and the table. Esau with hands clasped before him 
stands with his face distorted with grief. On r. Jacob, amused, points at him : 
Rebekah, by him, is also amused. 

icy. The porch, and Isaac. Rebekah with her hands on Jacob's shoulder, 
who stands with folded arms. Isaac is telling him not to take a wife of the daughters 
of Canaan. On r. Esau (?), no longer hairy, approaches a young girl, probably 
Mahalath. His two previous wives on r. look on. Gen. xxviii. i-p. 

106. Gen. xxviii. 12. Jacob's ladder. The ladder crosses the picture diago- 
nally, the base of it on /. On it are two angels climbing it : they have curious 
short-cropped hair. At the top is God also ascending : so drawn that the cross- 
nimbus on the top of His head is completely seen. The corner of the leaf below, 
with Jacob sleeping, is gone. This mutilation was the reason why this page, of 
which the colouring is very beautiful, was not chosen for reproduction in colour. 

f. if b, p. 30. 107. Gen. xxviii. 18. On /. the towered and walled city of 
Bethel. In c. Jacob facing r. pours oil from a bottle on the square stone which he 
supports with his r. hand. God's head seen above on r. 

108-118. The story of Jacob and Laban. Gen. xxix-xxxi. 

108. xxix. i, &c. On /. a woman, Rachel (?), and a flock by her. In c. a 
well with a square stone covering it. On r. cattle, two shepherds, Jacob, and a man 
in a broad hat, Laban (?). The cattle are very small, and odd. 

i op. xxix. ii. Mutilated by the loss of the corner of the leaf. On /. we see 
Jacob kissing Rachel, and in c. the well and the stone removed, but nothing else. 

no. xxix. 16. On /. Jacob. On r. Laban stands in a porch with his two 
daughters before him. Leah is taller and the defect in her eyes is indicated 
here and throughout. 

From this point the pictures are all in outline only: some of them are a little 
difficult to interpret. 

f. 16 a t p. 31. in. Jacob, Leah, and another in bed. At the foot are cattle, 
and a wattled fence. 

112,. A porch. Laban seated joins the hands of Jacob and Rachel? Leah? 
stands behind her. 

ng. L. Leah and three sons. In c. Jacob; on r. Leah brings Bilhah to him. 

114. Jacob in c. holding a ploughshare? Leah on /. takes his hand and 
points to the boy Reuben on /. who holds two mandrakes : plants of which the 
roots end in human figures. Rachel on r. lays her hand on Jacob's shoulder. 
xxx. 1. 



DESCRIPTION OF THE PICTURES 3? 

f. i6b, p. 31. ii.?. A porch: the four women, Leah, Rachel, Bilhah, Zilpah. 
Laban sits in the door. Jacob points to two flocks ; behind them are eleven 
boys. xxx. 2,5-. 

116. L. women and cattle. R. Jacob sticks rods upright in a well out of 
which cattle on r. drink, xxx. 37. 

117. Z. armed men, then a river, then Laban in. armour and Jacob (?) before 
a porch in which Rachel sits smiling and protesting. Laban has gone to search 
for his household gods. xxxi. 3 3 . 

1 1 8. L. Jacob with staff, and cattle facing him. C. and r. the four women in 
pairs face to face : between them stand a number of boys: eleven heads can be 
counted. 

f. 170, p. 33. up. A stream. Cattle in it, and two of the women, carrying 
and leading children, wade through it with skirts kilted up. Beyond it Jacob 
wrestles vigorously with the angel, who is not robed but covered with feathers, 
and has close-cropped hair. 

12.0. In c. Esau and Jacob meet and kiss. On /. are the wives and some 
children. Esau's followers on r. are all robed : none are armed. 

12,1-12,4. The episode of the Shechemites. Gen. xxxiii-xxxiv. 

12.1. xxxiii. 1 8. Jacob arrives at Shechem. On /. an altar, and behind and 
over it a workman fixing the arch of the door of a wooden frame-hut of hexagonal 
shape. In c. Jacob, pointing down to some small cattle, speaks to King Hamor. 
There is an indication of tapestry hung on a wall. 

12,1. xxxiv. i. The king on /. Two maidens join hands. On r. Dinah and 
another look into an open booth in which hang straps, knives, purses, &c. She 
points to things on the counter, and the shopman speaks to her. In front on r. 
the rape of Dinah. 

f. 17^, p. 34. 12,3. xxxiv. 13. Z,. the city gate with two towers. The 
king and two more stand and speak to Jacob, who takes his hand. Inter eos 
Sichimita quidam sedens in terra circumcidit seipsum. On r. four of Jacob's sons 
talk. 

12,4. xxxiv. 2,5-. Within a circular buttressed wall, flanked by two towers, 
Simeon and Levi in armour massacre the king and four or five others. Jacob 
watches in horror with cksped hands. 

i2,y. xxxv. 4. On /. a large tree: at the root a man digs with a pick-axe. 
Another supports what looks like a child but is meant for one of the idols which 
Jacob hid under the oak. 

xxxv. 7. . Jacob kneels at an altar with a goat on it ; other victims lie in 
front. God appears above. 

126'. Gen. xxxv. 16. The birth of Benjamin. Jacob near the foot of the 

Fa 



16 DESCRIPTION OF THE PICTURES 

bed stands with clasped hands looking at a man who is digging Rachel's grave with 
a spade on r. 

180, p. 33-. 127. xxxv. 22. On /. a tower the tower of Edar. In c. 
Reuben and Bilhah in bed. On r. a porch, and Jacob, horrified, standing in it. 

128. xxxv. 29. Esau and Jacob lay the shrouded body of Isaac in a stone 
tomb. A woman kneels in c. Four other tombs are seen on /. Behind are hills 
and trees. 

i2p. xxxvii. y. Joseph's dreams. He lies in bed, head to r., on his pillow on 
either side are stars (ten easily visible), the moon is above. In front, at the foot, 
and beyond the bed, the eleven brothers are reaping and binding sheaves. 

130. xxxvii. 1 8. In front on /., cattle. Above, a group of the brothers 
seated on the ground under a tree and consulting. One points to the r. corner, 
where the young Joseph is seen approaching with stick and bundle on shoulder. 

f i8, p. 36. 131. xxxvii. 23. In the /. corner is a winged dragon with 
open mouth, curled up on the ground a very odd feature. Does he represent the 
devil inspiring the brothers, or is he an indication that the scene is the desert ? In 
r. in front three of the brothers engaged in killing a kid : one holds a bowl for the 
blood. On r. another brother strips Joseph, pulling his robe over his head. In the 
background the large pit, irregularly circular, and trees behind. 

132. On /. two Midianite merchants in travelling cloaks, strange conical hats, 
shortish boots, and large spurs. One gives a bag of money to a brother who kneels 
and points backward over his head. Two more are engaged in pulling Joseph, by 
a rope round him, out of the pit ; he clings to the edge and to a tuft of grass, in 
a most cleverly conceived posture. In the r. corner a brother pours out the bag of 
money on to a square cloth or stone, and another watches him. 

133. Two scenes. L. a porch; Jacob seated with clasped hands and woeful 
countenance. Two brothers show him the coat. 

R. Judah, Tamar behind him, approaches his son Er to betroth him to Tamar. 
xxxviii. 6. 

134. xxxviii. 7 sqq. L. a porch. Tamar and Shelah (a child) standing, 
Judah speaks. In r. a bed with Er and Onan dead in contorted attitudes. 
R. a porch : Tamar retires into it. 

f ip#, p. 37. 135-. xxxviii. 12-18. Judah's sin with Tamar: his staff? 
bracelet, and signet rings lie on the ground. On r. a shearer and some sheep. 

136'. xxxviii. 24. L. Judah in consternation. A man shows him his staff, 
bracelet, and ring. R. Tamar held by two men points and protests. A fire on r. 

137. xxxviii. 27. Birth of Zarah. 

138. xxxix. i. On /. a porch. An officer in cape and close tunic with short 
loose skirt takes Joseph's hand and points him to the door. On r. a figure (like 



DESCRIPTION OF THE PICTURES 37 

Joseph) in ample cloak and robes gives a bag of money to a merchant habited just 
as in 132. 

f. ip, p. 38. i^p. xxxix. ii. Potiphar's wife sitting before a porch holds 
on to the garment which Joseph, going out on r. and looking back, also holds with 
one hand. 

140. xxxix. 20. A prison-tower on /. with closed door. A gaoler in close 
tunic, with curly topped cap, girt with a sword, and holding a long-handled axe, 
takes Joseph by the shoulder. On his arm hangs a pair of manacles rings con- 
nected by a jointed iron bar. Joseph, admirably drawn, in single garment, with 
bound hands, looks back appealingly at an officer (Potiphar ?) on r. in cape and 
close tunic, hand on belt. 

14.1. xl. $. Dreams of the Butler and Baker. They are in one bed, at oppo- 
site ends. The Butler, head to /., is gathering grapes from a prettily drawn vine 
above him. On the Baker's head are three flat baskets, and birds are to be seen in 
the topmost one. The coverlet of the bed is striped. 

142. xl. 21. On /. the Baker in a shirt, hands bound behind him, hangs on 
a gallows which is probably meant to have two uprights. The slack of the rope 
is wound round that on r. 

On r. a table: Pharaoh and another seated at it. The Butler kneeling on /. 
hands the large cup to him. 

f. 20 0, p. 3p. 143. xli. 4. Pharaoh's dream. He lies in bed head to 
/., the crown on his pillow : at the foot two corn-plants, one bending to the 
other. Beyond the bed, the lean kine swallowing the fat ones. Beyond them, 
water. 

144. xli. 14. On /. the prison-tower: on a stool before it sits Joseph : a man in 
cape and tunic combs his hair, and he seems to be taking off his upper garment. 
On r. another officer holds a garment on his arm. 

145-. xli. 43. Pharaoh throned on /. ; a man kneels before him. Beyond him, 
a square two-wheeled chariot of planks in which is Joseph, bearded, facing Pharaoh. 
The hind-quarters of the horse are seen on r. 

146. xlii. 2^. On /. nine brothers kneel, beyond them are their beasts. 
Simeon stands with arms bound behind him. Joseph in long robe speaks. On r. 
is a palace, and indistinct figures are seen in the doorway. 

f. 20 , p. 40. 147. xliii. ly. L. Jacob seated in a porch, woeful. The 
brothers walk off to r. with their beasts, on the nearest of which is the child 
Benjamin supported by one of them, who points to r. 

148. xliii. 33. The Feast. Joseph (it is really Jacob, whom the artist has 
drawn here by mistake) sits at the cross-table on /. alone. At the further of the 
lower tables, full face, sit four Egyptians : at the nearer the eleven brothers in 



3 8 DESCRIPTION OF THE PICTURES 

a row, back to the spectator. The viands and plate and the table-manners of the 
Egyptians are remarkable. 

149. xliv. 12,. The cup found. Most of the brothers and their beasts 
face /. One kneels by the opened sack from which an officer on r. takes the 
covered cup. 

15-0. xliv. 14. On /. stand the brothers, robed, and taller than usual. In c. 
Joseph, holding a long wand and standing at the door of an oblong building with 
/ a central lantern, faces them : he has a forked * Richard II ' beard. On r. a group 
of six robed Egyptians talk and look on. 



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27 DESCENDANTS OF HAM: HAM AND NIMROD 




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34 DESCENDANTS OF SHEM Fol. 6d 
35 ABRAHAM, NAHOR, HARAN, TERAH, LOT 



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38 THE CALL OF ABRAM 



37 TERAH TAKES ABRAHAM TO HARAN 
39 ABRAM AND SARAI GO TO EGYPT 




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48 THEY PART 49 THE PROMISE TO ABRAM Fol. 8d 

50-5 I THEY SETTLE IN MAMRE AND BUILD AN ALTAR 




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52-53 THE KINGS CAPTURE LOT 



54 ABRAM IS TOLD 



55 HE GOES TO FIGHT THE KINGS 



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56 HE MEETS THE KING OF SODOM 
58 GOD APPEARS TO HIM 



57 HE MEETS MELCHIZEDEK Fol. QCI 

59 ABRAM, SARAI AND HAGAR 



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62-63 THE COVENANT WITH ABRAHAM: CIRCUMCISION INSTITUTED 



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64 THE ANGELS VISIT ABRAHAM 65 THE PROMISE OF A SON TO SARAH Fol. IOCI 

66 THE ANGELS RECEIVED BY LOT AT SODOM 



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67 THE MEN OF SODOM BLINDED 68 THE CITIES DESTROYED 

69-70 LOT AND HIS DAUGHTERS 



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7 1-73 STORY OF ABRAHAM AND ABIMELECH, GEN. XX 
74 BIRTH OF ISAAC 



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Fol. lib 75 THE FEAST. ISHMAEL MOCKS ISAAC 

77 ISHMAEL, HIS WIFE AND CHILDREN 



76 HAGAR AND ISHMAEL IN THE DESERT 
78 THE WELL OF BEER-SHEBA, XXI 28 




79 ABRAHAM COMMANDED TO SACRIFICE ISAAC 
8 I THE SACRIFICE 



8O THEY GO TO MORIAH Fol. I2O. 

82 BURIAL OF SARAH 



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84 HE MEETS REBEKAH 
86 SHE TAKES LEAVE OF HER PARENTS 










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87 ISAAC MEETS REBEKAH 
89 BURIAL OF ABRAHAM 







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ABRAHAM SENDS AWAY HIS OTHER CHILDREN, XXV 5, 6. Fol. 

90 REBEKAH ENQUIRES OF GOD, XXV, 22 





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91 BIRTH OF ESAU AND JACOB 







92 ESAU SELLS HIS BIRTHRIGHT 



93-94 STORY OF ISAAC AND ABIMELECHI ISAAC'S PROSPERITY, XXVI 8, 12 





95 QUARREL OVER THE WELLS, XXVI 19 96 THE PROMISE TO ISAAC, XXVI 24 Fol. 

97-98 FEAST AND DEPARTURE OF ISAAC: THE WELL OF BEER-SHEBA 





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99 ESAU AND HIS WIVES 
102 JACOB'S FRAUD 



IOO ESAU SENT TO GET SAVOURY MEAT 
IOI HIS HUNTING 






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IO3 JACOB BLESSED 
105 JACOB FLEES: ESAU'S OTHER WIVES 



104 ESAU'S RETURN 
106 JACOB'S LADDER 










107 JACOB ANOINTS THE STONE, XXVIII I 8 IO8 JACOB AT THE WELL: RACHEL APPROACHES 
109 JACOB AND RACHEL AT THE WELL I IO LABAN RECEIVES JACOB 









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I I I LEAH GIVEN TO JACOB, XXIX 23 
113 RACHEL, JACOB, LEAH, ZILPAH 



112 HE MARRIES RACHEL Fol. l6d 

I 14 REUBEN AND THE MANDRAKES, XXX 14 








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117 LABAN SEARCHES RACHEL'S TENT Il8 JACOB, HIS WIVES AND CHILDREN 






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119 HE WRESTLES WITH THE ANGEL 
121 HE SETTLES AT SHECHEM 



I 2O HE MEETS ESAU Fol. 

122 THE RAPE OF DINAH 







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Fol. Ijb 123 THE COVENANT WITH HAMOR 

125 JACOB'S SACRIFICE: IDOLS BURIED, xxxv 1-7 



124 MASSACRE OF THE SHECHEMITES 
126 BENJAMIN BORN: RACHEL BURIED 



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127 REUBEN S SIN 
129 JOSEPH'S DREAMS 



128 BURIAL OF ISAAC Fol. 1 8(1 

I3O HIS BRETHREN SEE HIM COMING 



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Fol. i8b 131 HE is STRIPPED: THE KID KILLED 

133 JACOB TOLD OF HIS DEATH 







132 HE IS SOLD 
134 DEATH OF JUDAH'S SONS 































135-137 STORY OF JUDAH AND TAMAR 



138 JOSEPH SOLD TO PQTIPHAR Fol. 













Fol. igb 139 POTIPHAR'S WIFE 

141 DREAMS OF THE BUTLER AND BAKER 




I4O JOSEPH IMPRISONED 
142 THEIR FULFILMENT 






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143 PHARAOH S DREAM 
145 PROMOTED BY PHARAOH 



144 JOSEPH RELEASED 
146 SIMEON BOUND 



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Fol. 20b 147 BENJAMIN SENT BY JACOB 

149 THE CUP FOUND IN THE SACK 



148 THE FEAST TO THE BROTHERS 
O JUDAH INTERCEDES FOR BENJAMIN