• Miniatures of the Crucifixion and the Majesta Domini, at the beginning of the Canon of the mass., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Historiated initial of the Nativity., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Historiated initial of the Adoration of the Magi., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Historiated intial of Peter in chains between two soldiers., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Historiated initial of a monk praying before an altar., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Historiated initial of the Resurrection., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Detail of a historiated initial of Pentecost., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Detail of historiated initial of the Trinity., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Historiated initial 'D'(ominus) with Andrew., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Detail of historiated initial of the Presentation., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Historiated initial of the Presentation., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Illuminated initial 'D'(eus) with foliate and interlace decoration. Other capital lettering in gold., Gregorian sacramentary, with benedictions

Illuminated initial 'D'(eus) with foliate and interlace decoration. Other capital lettering in gold. Musical notation: neumes, central France (Nevers), 10th century (ff. 3-3v, 39v-40, 86v-88, 90v-92v).Rubric following chant for the 'Consecratio fontis' directs: 'Hic muta vocem quasi lectionem legens'

• Miniature of the Crucifixion, with the sun and moon overhead, and the Virgin Mary and John the Evangelist below., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Miniature of God enthroned, surrounded by symbols of the four evangelists., Missal, use of Paris

many with foliate extensions into the margins, in colours and gold. Small initials in gold on red and blue grounds. 1 small initial in blue with red pen-flourishing (f. 2). Capital letters highlighted in red. Missal, use of Paris The

• Full-page miniature of the land of Goshen separated by God from other parts of Egypt, not struck by the plague of ~arov~ (the fourth plague), in an architectural frame (Ex. 8:18). In Christian iconography following the translation of the Vulgate, which translates ~arov~ as ~omne genus muscarum~, that is, 'all kinds of flies', the fourth plague is depicted as flies. Jewish iconography follows the rabbinical explanation of ~arov~ depicting it as various kinds of wild animals (see, e.g., the Rashi's commentary on Ex. 8:21)., Haggadah for Passover (the 'Hispano-Moresque Haggadah')

(ff. 62v-93v), and 2 full-page miniatures at the beginning and at the end of the text of the Haggadah (ff. 1, 35v). 5 textual illustrations (ff. 9v, 20v, 21, 22, 22v). Numerous decorated initial-word panels with gold letters. Embellished vertical

• Full-page miniature of the plague of ~arov~, in an architectural frame. The meaning of the Hebrew word, ~arov~, by which the fourth plague is described (E. 8:21) is not clear. In Christian iconography following the translation of the Vulgate, which translates ~arov~ as ~omne genus muscarum~, that is, 'all kinds of flies', the fourth plague is depicted as flies. Jewish iconography follows the rabbinical explanation of ~arov~ depicting it as various kinds of wild animals (see e.g. the Rashi's commentary on Ex. 8:21)., Haggadah for Passover (the 'Hispano-Moresque Haggadah')

(ff. 62v-93v), and 2 full-page miniatures at the beginning and at the end of the text of the Haggadah (ff. 1, 35v). 5 textual illustrations (ff. 9v, 20v, 21, 22, 22v). Numerous decorated initial-word panels with gold letters. Embellished vertical

• A historiated and foliate initial 'X' of the Crucifixion., Cuttings from a choir book

formerly foliated by the number of the guard on which they are mounted, as f. 1. They can be found referred to in publications by this number. To see these cuttings in the Manuscripts Reading Room order Add. 29902. Cambridge,

• A historiated initial ?'I' of Christ preaching to three men., Cuttings from a choir book

formerly foliated by the number of the guard on which they are mounted, as f. 1. They can be found referred to in publications by this number. To see these cuttings in the Manuscripts Reading Room order Add. 29902. Cambridge,

• A historiated and foliate initial 'A' with a medallion of pseudo-Oriental writing, of a saint preaching to a kneeling crowd., Cuttings from a choir book

Italian cuttings.The present cuttings were formerly foliated by the number of the guard on which they are mounted, as f. 1. They can be found referred to in publications by this number. To see these cuttings in the Manuscripts Reading

• Detail of a zoomorphic initial 'B'(eatus) with a bird and a fish and interlace decoration at the beginning of the Psalms., Psalter, in the Hebraicum version, with preface, and Canticles

patron of the arts: inscribed as usual by their librarian, Humfrey Wanley '13 die Mensis Augusti, A. D. 1724' (f. 1). Edward Harley bequeathed the library to his widow, Henrietta, née Cavendish Holles (b. 1694, d. 1755) during her lifetime