• 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.

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

• Foliate initial 'S', measuring 75 x 80. On the reverse, partial four-line stave, musical notation and text: '…tate e'., 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.

• Foliate initial 'S', measuring 80 x 80. On the reverse, partial four-line stave, musical notation and text: '…um no(n)'., 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 Augustine dressed as a Bishop enthroned blessing two groups of kneeling Augustinian canons., Cutting from a Gradual or Antiphoner (index antiphoner; antiphonal)

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.

• Miniature of Matthew writing at an improvised desk under a ruined arch, inspired by a winged putto with a distant landscape of hills and towers in the background, within a painted gold architectural frame., Cutting from a Gospel Lectionary (index Evangelistary) of Gregory XIII, containing Matthew 5:6-7.

for date of Boncompagni's election to the papacy]' in Chicago, Art Institute of Chicago, 1982.438 and New York, The Morgan Library and Museum, MS. 270, all probably excised from a Gospel Lectionary (A.I.17) described in a 1714 inventory of the

• Pen drawing of the Crucifixion, Added prayer and indulgences, fragment (f. 31v), preceded by a Crucifixion drawing (f. 31)

Pen drawing of the Crucifixion Pen drawing of the Crucifixion (f. 31). Marginal pen drawing of the Five Wounds of Christ (?) (f. 31v). Added prayer and indulgences, fragment (f. 31v), preceded by a Crucifixion drawing (f. 31) Richard Jones

• Detail of decorated initial., Collection of Franciscan texts, including the life of Francis

with brown penwork decoration, often in the form of leaves. Small initials in red or blue. Paraphs in red. Highlighting of letters in red. Collection of Franciscan texts, including the life of Francis ff. 70-75v probably written by Brother Thomas

• Marginal drawing, possibly representing the Five Wounds of Christ., Added prayer and indulgences, fragment (f. 31v), preceded by a Crucifixion drawing (f. 31)

Five Wounds of Christ. Pen drawing of the Crucifixion (f. 31). Marginal pen drawing of the Five Wounds of Christ (?) (f. 31v). Added prayer and indulgences, fragment (f. 31v), preceded by a Crucifixion drawing (f. 31) Richard Jones (d.