• Frontispiece to the second pillar of ~Arbaah Turim~, ~Even ha-Ezer~ (The Stone of Help). The initial-word panel is decorated with white vine motifs. The text is framed by a full floral border inhabited by birds and containing medallions. The medallion on the bottom is held by two puttos and contains the coat of arms of Joab Emmanuel., ~Even ha-Ezer~ (The Stone of Help) and ~Hoshen Mishpat~ (The Breastplate of Judgement) of ~Arbaah Turim~ (The Four Pillars) (ff. 2-261v); ~Hilkhot De'ot~ of the Mishneh Torah (ff. 261v-265v)

Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 104, and appendix § 112-117. Frater Giovanni Montifal. di Modena, censor: inscribed with his name, undated (f. 269); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House,

• Frontispiece to the fourth pillar of ~Arbaah Turim~, ~Hoshen ha-Mishpat~ (The Breastplate of Judgement). The initial-word panel ~Barukh~ (blessed) is inhabited by three white rabbits and accompanied by a full floral border with birds and medallions. The medallion in the lower margin held by two puttos contains the coat of arms of Joab Emmanuel., ~Even ha-Ezer~ (The Stone of Help) and ~Hoshen Mishpat~ (The Breastplate of Judgement) of ~Arbaah Turim~ (The Four Pillars) (ff. 2-261v); ~Hilkhot De'ot~ of the Mishneh Torah (ff. 261v-265v)

Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 104, and appendix § 112-117. Frater Giovanni Montifal. di Modena, censor: inscribed with his name, undated (f. 269); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House,

• Frontispiece to the first pillar of ~Arbaah Turim~, ~ Orah Hayyim~ (The Way of Life). The initial-word panel ~Barukh~ (blessed) is inhabited by three white rabbits. The text is framed by a full floral border inhabited by birds and containing four medallions. The medallion on the bottom is held by two puttos and contains the coat of arms of Joab Emmanuel., ~Arbaah Turim~ (The Four Pillars)

Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 104, and appendix § 112-117. Frater Giovanni Montifal. di Modena, censor: inscribed with his name, undated (f. 269); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House,

• Initial-word panel with penwork decoration and pen-flourishing accompanied with a dog chasing a hare in the lower margin., Commentary on the Pentateuch in an abridged form

(fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b. 1801, d.

• Initial-word panel with penwork decoration and pen-flourishing, and accompanied with a human head in the outer margin., Commentary on the Pentateuch in an abridged form

(fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b. 1801, d.

• Flourished 'KL' letters for February., Breviary, Use of York (fragment), with a calendar (ff. 2-7v)

Small initials in blue with foliate pen-flourishing, many including human heads in the calendar. Breviary, Use of York (fragment), with a calendar (ff. 2-7v) Originally part of the same volume as Additional 34190. John Rawe, priest (d. 1500): inscription of

• Historiated initital 'D' of the Prophet Zacharias, with his name inscribed on his halo., Cutting from an Antiphoner (index antiphonal; antiphonary)

ff. 2-81 and 83-90. To see this cuttings in the Manuscripts Reading Room order Add. 18196, ff. 2-81 and 83-90.New York, Metropolitan Museum of Art, Robert Lehman Collection (see Palladino 2003, cat. no. 69) was probably excised from the same

• End of Deuteronomy framed by micrographical design., Pentateuch with ~masorah magna~ and ~parva~

of the 17th century): inscribed with his name, 1612 (f. 196); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix § 80-84.Italian inscription: ‘Pentateuco Ebraico ossia li cinque libri di Moise’

• ~Masorah~ in micrographical form framing a scribal formula., Pentateuch with ~masorah magna~ and ~parva~

of the 17th century): inscribed with his name, 1612 (f. 196); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix § 80-84.Italian inscription: ‘Pentateuco Ebraico ossia li cinque libri di Moise’

• Arcade framing a ~masoretic~ list., Bible with ~masorah magna~ and ~parva~ (the 'Harley Catalan Bible')

374).Jacob Geraldino, censor: inscribed with his name, 12 December 1555 (f. 422v); William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 104, and appendix § 24-31 and 98. Luigi da Bologna, a converted Jew working

• Arcade framing a ~masoretic~ list., Bible with ~masorah magna~ and ~parva~ (the 'Harley Catalan Bible')

374).Jacob Geraldino, censor: inscribed with his name, 12 December 1555 (f. 422v); William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 104, and appendix § 24-31 and 98. Luigi da Bologna, a converted Jew working

• Section of border with floral motifs and bezants., Cuttings from a choir book

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),

• Section of border with floral motifs, bezants and Mount Calvary., Cuttings from a choir book

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),

• Historiated initial 'O' of the Adoration of the Magi, including an African king, measuring 140 x 160. On the reverse, partial two four-line staves, musical notation and text: '...regi da et m /...filio regis'., Cuttings from a Gradual

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),

• Historiated initial 'D' of a Memento Mori, measuring 125 x 110. On the reverse, partial four-line stave, musical notation and text: '...antur'., Cuttings from a Gradual

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),

• Historiated initial 'P' of the Virgin Adoring the Christ Child, measuring 250 x 210. On the reverse, partial two four-line staves, musical notation and text: '...lo tu /… Co[n]. Exulta'., Cuttings from a Gradual

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),

• Historiated initial 'I' of a male martyr saint, measuring 100 x 95. On the reverse, partial four-line stave, musical notation and text: '...ti eum'., Cuttings from a Gradual

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),

• Historiated initial 'C' of Lawrence, measuring 135 x 120. On the reverse, partial four-line stave, musical notation and text: '...tate domi /...?ium can'., Cuttings from a Gradual

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),

• Historiated initial 'T' of a Romanesque church with a rose window by a lake, measuring 100 x 115. On the reverse, partial four-line stave, musical notation and text: '...deficit'., Cuttings from a Gradual

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),

• Foliate initial 'E', measuring 75 x 75. On the reverse, partial four-line stave, musical notation and text: '...me'., Cuttings from a Gradual

n. y1972-6; and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003),