In the second the same person appears, drawn on a larger scale, and standing by the stream. In the third he occurs nearly in the same position, with his hands raised, and on the opposite side a lady dressed in white, in the costume of Richard the Second’s and Henry the Fourth’s time, buttoned tight up to the neck, with long hanging sleeves. Her hair is plaited on each side, and on her head is a crown. In the fourth we see the author kneeling by the water, and beyond the stream is depicted a castle or palace, on the embattled wall of which appears the same lady, with her arm extended towards him. The poem commences on fol. 39, and consists of one hundred and one twelve-line stanzas,[68] every five of which conclude with the same line, and are connected by the iteration of a leading expression. It concludes on fol. 55b. 2. Then follow two more illuminations; in the first of which Noah and his family are represented in the ark; in the second the prophet Daniel expounding the writing on the wall to the affrighted Belshazzar and his queen. These serve as illustrations to the second poem, which begins at fol. 57, and is written in long alliterative lines. It concludes on fol. 82. 3. Two illuminations precede, as before; one of which represents the sailors throwing the prophet Jonas into the sea, the other depicts the prophet in the attitude of preaching to the people of Nineveh. The poem is in the same metre as the last, and commences at fol. 83. It is occupied wholly with the story of Jonas, as applicable to the praise of meekness and patience; and ends on fol. 90. 4. The Romance intitled _Sir Gawayne and the Grene Knyȝt_ follows, fol. 91. Prefixed is an illumination of a headless knight on horseback, carrying his head by its hair in his right hand, and looking benignly at an odd-eyed bill-man before him; while from a raised structure above, a king armed with a knife, his queen, an attendant with a sabre, and another bill-man scowling looks on. Here and elsewhere the only colours used are green, red, blue, and yellow. It ends on fol. 124b., and at the conclusion, in a later hand, is written “Hony soit q̃ mal penc,” which may, perhaps, allude to the illumination on the opposite page, fol. 125, representing the stolen interview between the wife of the Grene Knyȝt and Sir Gawayne. Above the lady’s head is written: Mi mind is mukel on on, þ{a}t wil me noȝt amende, Sum time was trewe as ston, & fro schame couþ{e} hir defende. It does not appear very clearly how these lines apply to the painting. Two additional illuminations follow; in the first of which Gawayne is seen approaching the _Grene Chapel_, whilst his enemy appears above, wielding his huge axe; and in the second Sir Gawayne, fully equipped in armour, is represented in the presence of king Arthur and queen Guenever, after his return to the court.