Folio 82 verso depicts the Entombment scene, which is heavily influenced by the Italian compositional approach while integrating Northern Gothic figures. A crouching figure, mourning Christ's death with outstretched arms that hold the arm of Christ, resides in the foreground of the Entombment miniature. The figure wears a heavy robe that “obscures the articulation of the body” and is positioned to the right of the central axis. Both her gaze and gesture supporting the limp arm of Christ “lead the eye from the foreground to the middle ground and to the focal point of the composition, the faces of Christ and the Virgin,” while relieving the horizontal line of Christ's recumbent body with her form. Judging from the foreground position, the fact that she is embracing Christ's arm, and her rippled hair exposed by the fallen hood of her cloak, all of which are “compositional and iconographic attributes in accordance with Mary Magdalene’s active role in the Lamentation found in the visual arts and devotional literature” the figure crouching in the foreground of the Entombment miniature is Mary Magdalene, of which the inclusion, according to Gerard Cames, is a Western innovation of the 12th century. The Annunciation page introduces a couple of compelling themes and symbols that are connected to the central miniature. On the outer bas-de-page margins, the musical angels and the animals, such as rabbits, ape, and squirrel, portrayed in the foreground “have an immediate relevance minutely rendered allusions to fertility, the Fall of man, and Redemption”. The Betrayal page presents us with a mock-tilt composition and “two riders mounted on a goat and a ram (both beasts of multiple sinful connotation), [which are engaged in a joint action of evil intent as they charge the keg set on a post between them”.