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Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
Society in 1667.The Royal Society, London (its ink stamp: 'Soc. Reg. Lond / ex dono HENR. HOWARD / Norfolciensis.', f. 1; its book-plate with the pencil inscription: ‘XII.6.20’, inside upper cover).Purchased by the British Museum from the Royal Society of
'i'-'cci' (ff. 203-412).Musical notation on a two-line stave.Quire signatures in small Roman numerals. 1 historiated initial in colours and gold on a blue ground (f. 18v). Large initials in gold, mainly on blue grounds with red penwork decoration, and foliate
'i'-'cci' (ff. 203-412).Musical notation on a two-line stave.Quire signatures in small Roman numerals. 1 historiated initial in colours and gold on a blue ground (f. 18v). Large initials in gold, mainly on blue grounds with red penwork decoration, and foliate
medieval red ink 'i'-'cci' (ff. 203-412).Musical notation on a two-line stave.Quire signatures in small Roman numerals. 1 historiated initial in colours and gold on a blue ground (f. 18v). Large initials in gold, mainly on blue grounds with red penwork
Medieval lists of the contents of the volume, and shelfmark. Small and large initials in red or green, sometime with foliate or geometric penwork decoration in the same and/or the other colour (e.g., ff. 2, 6, 7v); some with
Initial 'R'(everentissimo) at the beginning of Pseudo-Alcuin's (Adalbertus of Metz) Speculum. Small and large initials in red or green, sometime with foliate or geometric penwork decoration in the same and/or the other colour (e.g., ff. 2, 6, 7v); some
Initial 'Q'(ui) with an animal's head in the bowl of the letter. Small and large initials in red or green, sometime with foliate or geometric penwork decoration in the same and/or the other colour (e.g., ff. 2, 6, 7v);
Decorated initial 'P'(rima), at the beginning of Horace's Epistolae. Large and small initials alternately red with blue flourishing (as far as f. 25v), or vice versa; those on ff. 3 and 76 with penwork in both colours. Line-fillers. Odes
Decorated initial 'Q'(ui), at the beginning of Horace's Sermones. Large and small initials alternately red with blue flourishing (as far as f. 25v), or vice versa; those on ff. 3 and 76 with penwork in both colours. Line-fillers. Odes
margin, a man painted around a textual addtion so that he appears to be holding it, from Book 1 of the Decretals. Part I: the text and gloss written in Southern France, perhaps in Toulouse: lemmata underlined in yellow, with
and building at the beginning of Esdras 1. Pfändtner's early 1st style.The version of Psalms in this manuscript is the sole complete witness so far identified of a translation prepared by Nicholas Maniacoria (d. 1145), based on the Hebrew text
handed the keys at the beginning of 1 Peter. Pfändtner's early 1st style.The version of Psalms in this manuscript is the sole complete witness so far identified of a translation prepared by Nicholas Maniacoria (d. 1145), based on the Hebrew