The description for the Manuscript Missal, Chant Book is quoted directly from the appraisal document written by John Lawrence Sharpe of Cultural Properties and Resources Management, Inc. in Durham, North Carolina. The appraisal document was written in July of 2009. Mr. Sharpe states this about the book, "The Missal was almost certainly written and bound in northern Spain in the vicinity of Pamplona. There it was once the property of the church of the monastery of San Francisco according to a handwritten exlibris pasted to the inside of the lower cover; it reads 'Soy de San Francisco de Pamplona.'; According to the Spanish historian Madoz, the structure was demolished in 1850 and the collection of manuscripts and liturgical books was dispersed. The Elon Missal contains the choir parts for the following in as many as eight tones for several different settings of the mass: Kyrie eleison ('Lord, have mercy'); Gloria ('Glory to God in the highest'); Credo ('I believe in one God'); the Nicene Creed; Sanctus ('Holy, Holy, Holy'), the second part of which, beginning with the word 'Benedictus' ('Blessed is he'), was often sung separately after the consecration, if the setting was long; Agnus Dei ('Lamb of God'). Among other items found in the manuscripts are the following: 'Caelestis Agni nuptias.'; (To be the Lamb's Celestial Bride) Hymn for Vespers and Matins on 19 June, feast of Saint Juliana Falconieri. It was written by Francesco M. Lorenzini (1680-1743). Missa Pascha Jerusalem de 6 tono for August 19. Missa de el Conv de Aranzazu. The manuscript consists of some 117 folios bound in full leather over thick wooden boards (approximately 18 mm thick). The binding measures 56.5 cm tall and 37 cm wide, with a square of some 3 cm at the head, fore-edge, and tail. The text block was sewn on four thick double cords with coarse, unbleached linen in a packed wrapping technique. Woven end bands appear to be of the same thread as the sewing. The spaces between the raised cords on the spine have been lined with parchment. Originally there were 5 brass bosses on each cover; those from the lower cover are now wanting. Also, the binding was equipped with a single large, heavy metal fore-edge clasp attached to the upper cover. The catch-plate which was on the lower cover is now wanting. The reddish brown leather of the cover has not been tooled. The text block was originally two different manuscripts-the section inside the upper cover is narrower by an average of 35 mm narrower than the rest of the manuscript. The parchment of the folios (17 - 29 μm average thickness; 515 x 360 mm) is thick and varies in color tone from near white to yellow. Added in the 18th century are parchment fore-edge tabs (3 cm wide and 5 cm long) that identify the various sections, notably the creed, the Kyrie, and particular masses. In the first section of the manuscript there are dates from the first half of the 1700s. The date, 1756, at the end of the first section is apparently in the same hand as that of the captions in cursive at the beginning of individual sections. The hand of the text is a consistently formal liturgical square ductus and is represented by at least three distinctive hands. The scribal hand is in a large letter format typical of the missal tradition. There are an average of five lines of text and music on each leaf. The music is written in a square notation on a five-line staff with [c] at the middle line. The text and notes are in a strong black ink; the staff is in red ink. Occasionally in the latter half of the manuscript the text and music are framed with a double red line. The sections are set off by very large decorated initials mostly in red; however there are a number of them with elaborate decorations in multiple colors. Colored ornament is frequently used to mark the bars in the staff (done in red ink) and the conclusion of sections."