The book is made up of parchment and paper in equal proportions, the outer and inner leaves of each quire being of parchment. Sixteen leaves of paper have been inserted at the beginning and twelve at the end of the book, easily distinguished by the water-mark and chain-lines from the paper originally used in the book itself. Most of these are blank, but some have writing, mostly in sixteenth-century hands. There are medical prescriptions and cooking recipes in English, selections of gnomic and other passages from the _Vox Clamantis_, among which are the lines ‘Ad mundum mitto,’ &c., which do not occur in the Digby text, four Latin lines on the merits of the papal court beginning ‘Pauperibus sua dat gratis,’ which when read backwards convey an opposite sense, the stanzas by Queen Elizabeth ‘The dowte of future force (_corr._ foes) Exiles my presente ioye, And wytt me warnes to shonne suche snares As threten myne annoye’ (eight four-line stanzas). With regard to the connexion between D and L see below on the Laud MS. L. LAUD 719, Bodleian Library, Oxford. Contains _Vox Clamantis_ (without Table of Chapters and with omission of Lib. i. 165-2150), _Carmen super multiplici Viciorum Pestilencia_, _Tractatus de Lucis Scrutinio_, _Carmen de variis in amore passionibus_, ‘Lex docet auctorum,’ ‘Quis sit vel qualis,’ ‘H. aquile pullus,’ and seven more Latin lines of obscure meaning (‘Inter saxosum montem,’ &c.), which are not found in other Gower MSS. Parchment and paper, ff. 170 (not including four original blank leaves at the beginning and several miscellaneous leaves at the end), in quires usually of fourteen leaves, but the first of twelve and the second of six, measuring about 8½ x 5¾ in., about 27 lines to the page, moderately well written with a good many contractions, in the same hand throughout with no corrections, of the second quarter of the fifteenth century. There is a roughly drawn picture of an archer aiming at the globe on f. 21, and the chapters have red initial letters. Original oak binding. The names ‘Thomas Eymis’ and ‘William Turner’ occur as those of sixteenth-century owners. The note on the inside of the binding, ‘Henry Beauchamp lyeing in St. John strete at the iii. Cuppes,’ can hardly be taken to indicate ownership.