• Cadels., Confessio Amantis, imperfect

d. 1861), 2nd duke of Buckingham and Chandos: sold in 1849 to Lord Ashburnham. Bertram Ashburnham (b. 1797, d. 1878), 4th earl of Ashburnham, of Ashburnham Place, Sussex.Bertram Ashburnham (b. 1840, d. 1913), 5th earl of Ashburnham: purchased by the

• White vine initial 'P'(oi), and partial white vine border including an empty escutcheon, at the beginning of Petrarch's Sonetti and Canzoni., Sonetti e Canzoni (ff. 2-149); Trionfi (index Triumphs) (ff. 150-183v)

Inscribed a copy of Petrarch's note on the death of Laura, originally written in his manuscript of Virgil, but differing in giving the date on which he heard of it as the 29th day of May instead of the 19th,

• Decorated initial 'N'(ow)., Confessio Amantis, imperfect

d. 1861), 2nd duke of Buckingham and Chandos: sold in 1849 to Lord Ashburnham. Bertram Ashburnham (b. 1797, d. 1878), 4th earl of Ashburnham, of Ashburnham Place, Sussex.Bertram Ashburnham (b. 1840, d. 1913), 5th earl of Ashburnham: purchased by the

• null, Book of Hours, Use of Rome

Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe

• null, Book of Hours, Use of Rome

Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe

• null, Book of Hours, Use of Rome

Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe

• null, Book of Hours, Use of Rome

Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe

• null, Book of Hours, Use of Rome

Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe

• null, Book of Hours, Use of Rome

Book of Hours, Use of Rome Presumably made for a couple from the Erizzo and Priuli families of Venice: with their arms (ff. 13v and 14, respectively).Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1776, d. 1839), 1st duke of Buckingham and Chandos, of Stowe

• Illuminated initial ‘M’ in colours and gold with a partial bar-border and the arms of William FitzAlan, earl of Arundel impaling those of his wife, Joan, daughter of Richard Neville, earl of Salisbury., The Regement of Princes, with other poems

bar-border and the arms of William FitzAlan, earl of Arundel impaling those of his wife, Joan, daughter ofRichard Neville, earl of Salisbury. Includes five works by Thomas Hoccleve (b. c.1367, d. 1426): The Regenment of Princes (ff. 4-101v), addressed

• Diagram of the seven vices represented as devils: Superbia (Pride), Invidia (Envy), Ira (Wrath), Accidia (Sloth), Avaricia (Covetousness), Gula (Gluttony), and Luxuria (Self-indulgence), each subdivided, and countered by virtues, illustrating Peraldus's Liber de vitiis., Theological miscellany, including the Summa de vitiis (see Notes for contents)

in 1753 to the nation for £10,000 (a fraction of their contemporary value) under the Act of Parliament that also established the British Museum; the Harley manuscripts form one of the foundation collections of the British Library. Vices Peraldus England

• Drawing of a cross with the symbols of the Passion., Prayers, including to the Trinity

Drawing of a cross with the symbols of the Passion. The volume is a composite theological miscellany of manuscripts of different origin, and also includes:Richard Lavenham (index Lavyngham), 'A Litil Tretys on the Seven Deadly Sins', 1st half of the

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

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), cat. nos. 62a, c-d). 2 sections

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

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), cat. nos. 62a, c-d). 2 sections

• 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

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), cat. nos.

• 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

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), cat. nos.

• 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

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), cat. nos.

• 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

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), cat. nos.

• 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

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), cat. nos.

• 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

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), cat. nos.