The Llanbeblig Hours contains a number of miniatures, including a very rare 'Lily Crucifixion' motif. The motif juxtaposes the Crucified Christ against the lily plant, the lily becoming a consistent feature of Annunciation iconography from the thirteenth century onward. The Crucifix is not always included in Lily Crucifixions and in some examples Christ is shown nailed directly to the lily. The Lily Crucifixion, which appears in several other Annunciation scenes in other media, seems confined to the period between the fourteenth and sixteenth centuries. This paper discusses the Lily Crucifixion in the context of other examples of the motif in devotional iconography.

Other known examples: a carved alabaster panel or 'table', housed in a painted wooden case, last known in the Kunstgerwerbe Museum, Cologne (1375); a panel-painting on the the ceiling of St Helen's, Abingdon (c.1390s); an oil on oak panel-painting, c. 1470-1490 from Great Barton, Bury St Edmunds, now in the Victoria & Albert Museum (W.50-1921); a panel-painting on the screen of Kenn Church, near Exeter; A wood-carving (misericord) in Tong Church, Shropshire (1410); a carved-stone tomb-panel (tomb of John de Tannesley, d. 1414), St Mary's Church, Nottingham; a carved tomb-panel (of William Earnley, d. 1545, but tomb c.1530), Ss Peter & Paul, West Wittering, Sussex; another carved tomb-panel (of Richard de Whitenhall, no date, but c. C15th) at South Kilworth Church, Leicestershire; a stained-glass window at York Minster, north choir aisle (c. 1415); a second stained-glass window, the Church of St Michael-at-the- North-Gate, Oxford (C15th ); a third stained-glass window at St Mary's Church, Westwood, Wiltshire (c.1475); a fourth stained-glass window at The Great Church of the Holy Trinity, Long Melford, Suffolk (C15th)a fifth stained-glass window in the Chapel of Queen's College, Oxford (1500).