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od St Peter, Westminster, agreement between Henry VII (b. 1457, d. 1509), king of England and lord of Ireland, and John Islipp, Abbot of Westminster Abbey, and the monks of Westminster Abbey, made on 16 July 1504: the beginning of
od St Peter, Westminster, agreement between Henry VII (b. 1457, d. 1509), king of England and lord of Ireland, and John Islipp, Abbot of Westminster Abbey, and the monks of Westminster Abbey, made on 16 July 1504: the beginning of
od St Peter, Westminster, agreement between Henry VII (b. 1457, d. 1509), king of England and lord of Ireland, and John Islipp, Abbot of Westminster Abbey, and the monks of Westminster Abbey, made on 16 July 1504: the beginning of
od St Peter, Westminster, agreement between Henry VII (b. 1457, d. 1509), king of England and lord of Ireland, and John Islipp, Abbot of Westminster Abbey, and the monks of Westminster Abbey, made on 16 July 1504: the beginning of
od St Peter, Westminster, agreement between Henry VII (b. 1457, d. 1509), king of England and lord of Ireland, and John Islipp, Abbot of Westminster Abbey, and the monks of Westminster Abbey, made on 16 July 1504: the beginning of
od St Peter, Westminster, agreement between Henry VII (b. 1457, d. 1509), king of England and lord of Ireland, and John Islipp, Abbot of Westminster Abbey, and the monks of Westminster Abbey, made on 16 July 1504: the beginning of
scene of John the Baptist preaching holding a disk before a seated group of people. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important
scene of John the Baptist before a seated Herod with a sword. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important manuscripts thought to
scene of John being pushed into a prison tower by a man holding a club. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important
scene of John kneeling in a tower doorway, with an executioner holding him by the hair and a raised sword, and behind him Salome holding a golden bowl. The style and subject, especially the many bas-de-page narratives ranging from romance
presenting the head of John in a golden bowl to her seated mother. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important manuscripts thought
in their arms, and the skeleton of John in a tomb. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important manuscripts thought to have
of Peter and John visiting the sepulchre and removing the sudarium. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important manuscripts thought to have
Christ beckoning Peter and John while they are out fishing. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important manuscripts thought to have been
the standing figure of John holding a scroll. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important manuscripts thought to have been illuminated in
the the Nativity of John the Baptist. The style and subject, especially the many bas-de-page narratives ranging from romance and fabliau to biblical and hagiographic material, are closely connected to two important manuscripts thought to have been illuminated in London:
scene of John the Evangelist gesturing towards St Edward on the facing verso. The caption reads, 'Ey sein iohan le ewangelist uient a seint edward p[our] demaund[er] acun bien pur lam[our] de deu'. The style and subject, especially the many
Diagrams showing men and animals going around the earth and meeting on the other side. Old foliation in Part 1 on verso and in Part 2 on verso to xxiiii. Circular ink diagrams in brown and red of: the
Ink diagram of a game entitled 'la fourme de la table rounde'. Old foliation in Part 1 on verso and in Part 2 on verso to xxiiii. Circular ink diagrams in brown and red of: the elements (f. 52v);
Ink diagram of day and night. Old foliation in Part 1 on verso and in Part 2 on verso to xxiiii. Circular ink diagrams in brown and red of: the elements (f. 52v); diagrams showing the 'roundness' of the