• Historiated initial 'D'(ilexi) of Christ raising Lazarus from the dead, and partial border, at the beginning of the Office of the Dead., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• Historiated initial 'D'(omine) with King David playing his harp, and partial border, at the beginning of the Penitential Psalms., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• Scribal colophon reading: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV'., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• Zoomorphic initial 'C'(allimachi), partly formed of two fish or dolphins, at the beginning of Book 3 of Propertius's Elegies., Elegiae (index Elegies) (ff. 1-70); followed by two short texts (ff. 70-71)

Elegies) (ff. 1-70); followed by two short texts (ff. 70-71) Copied from the 1493 reprint of the 1487 Beroaldus edition (Venice, Simon Bevilaqua), according to Butrica.Jonathan Toup (b. 1713 d. 1785), philologer and classical editor: his sale, 10 May 1786,

• Decorated initial 'C'(ynthia), at the beginning of Propertius's Elegies., Elegiae (index Elegies) (ff. 1-70); followed by two short texts (ff. 70-71)

Elegies) (ff. 1-70); followed by two short texts (ff. 70-71) Copied from the 1493 reprint of the 1487 Beroaldus edition (Venice, Simon Bevilaqua), according to Butrica.Jonathan Toup (b. 1713 d. 1785), philologer and classical editor: his sale, 10 May 1786,

• Detail of an historiated initial 'D'(omine) of the Nativity, at the beginning of the Hours of the Virgin., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• Detail of an historiated initial 'D'(omine) of the Nativity, and full border with gems, inset miniatures of deer, Ezechiel, Solomon, and other figures, at the beginning of the Hours of the Virgin., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• Detail of putti holding the arms of Agostino Biliotti, Gonfalonier of Justice in Florence, in the lower margin at the beginning of the Hours of the Virgin., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• Detail of an historiated initial 'D'(ilexi) of Christ raising Lazarus from the dead, at the beginning of the Office of the Dead., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• Detail of an historiated initial 'D'(omine) with King David playing his harp, at the beginning of the Penitential Psalms., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• Detail of a scribal colophon, reading: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV'., Book of Hours, Use of Rome ('The Hours of Agostino Biliotti')

(f. 15); colophon: 'Scripto per Agostino Biliotti da Antonio Sinibaldi gratis et amore Anno Domini MCCCCLXXXV' (f. 240).Abbate Canonici of Venice: his sale, 25 June 1836, lot 141. Walter Sneyd: his sale, December 1903, lot 556; bought by Yates Thompson.

• null, Elegiae (index Elegies) (ff. 1-70); followed by two short texts (ff. 70-71)

Elegies) (ff. 1-70); followed by two short texts (ff. 70-71) Copied from the 1493 reprint of the 1487 Beroaldus edition (Venice, Simon Bevilaqua), according to Butrica.Jonathan Toup (b. 1713 d. 1785), philologer and classical editor: his sale, 10 May 1786,

• null, Elegiae (index Elegies) (ff. 1-70); followed by two short texts (ff. 70-71)

Elegies) (ff. 1-70); followed by two short texts (ff. 70-71) Copied from the 1493 reprint of the 1487 Beroaldus edition (Venice, Simon Bevilaqua), according to Butrica.Jonathan Toup (b. 1713 d. 1785), philologer and classical editor: his sale, 10 May 1786,

• Historiated initial 'M'(ecaenas) depicting a figure at a lectern, and a full white vine-stem border incorporating vignettes of readers, and heradry in the lower border; at the beginning of Horace's Carmina., Carmina (ff. 1-73v); Epodes (ff. 74-88v); Carmen saeculare (ff. 89-90v); Ars poetica (ff. 90v-101v); Epistulae (ff. 102-135); Sermones (index Satires) (ff. 135-181v)

(ff. 102-135); Sermones (index Satires) (ff. 135-181v) ? Perhaps owned by a member of the Badoeri or Emo families of Venice: with their arms, ~gules~, a lion rampant ~or~, 3 bends ~argent~ over all (f. 1); cf. King's 28; cf.

• null, Carmina (ff. 1-73v); Epodes (ff. 74-88v); Carmen saeculare (ff. 89-90v); Ars poetica (ff. 90v-101v); Epistulae (ff. 102-135); Sermones (index Satires) (ff. 135-181v)

(ff. 102-135); Sermones (index Satires) (ff. 135-181v) ? Perhaps owned by a member of the Badoeri or Emo families of Venice: with their arms, ~gules~, a lion rampant ~or~, 3 bends ~argent~ over all (f. 1); cf. King's 28; cf.

• null, Carmina (ff. 1-73v); Epodes (ff. 74-88v); Carmen saeculare (ff. 89-90v); Ars poetica (ff. 90v-101v); Epistulae (ff. 102-135); Sermones (index Satires) (ff. 135-181v)

(ff. 102-135); Sermones (index Satires) (ff. 135-181v) ? Perhaps owned by a member of the Badoeri or Emo families of Venice: with their arms, ~gules~, a lion rampant ~or~, 3 bends ~argent~ over all (f. 1); cf. King's 28; cf.

• Decorated initial 'C'(um), at the beginning of the prologue of the statutes of Venice., 'Promissio Serenissimi Principis Domini Laurentii Prioli, Inclyti Ducis Venetiarum', the statutes of Venice, with the undertaking of the Doge, Lorenzo Priuli, to observe the same

Ashburnham Place, Sussex.Bertram Ashburnham (b. 1840, d. 1913), 5th earl of Ashburnham: purchased by the British Museum from him together with 1084 other Stowe manuscripts in 1883. Decorated initial Joannes de Vitalibus Joannes de Vitalibus Venice Italy, N. E. (Venice)

• Headpiece with geometric and foliate decoration and decorated initial., Grammatica Isagoge Graece, Books 1-4, with Latin annotations

Rusotas's presence in the Veneto region from 1465 onwards (Venice and Vicenza) and the watermarks's origins suggest that the manuscript was produced in Northeastern Italy in the last quarter of the 15th century.Watermarks of scales, similar to Gerhard Piccard, ~Wasserzeichen

• Historiated initial 'C' of the Vision of Ezechiel. On the reverse, two four-line red staves, musical notation and text '...ue sub ipso /…le bant'., Cuttings from an Antiphoner (index antiphonar, antiphonal)

4145; London, Wallace Collection, M330; Munich, Staatliche Graphische Sammlung, inv. no. 19796; Paris, Musée Marmottan, Wildenstein Collection, nos. 25-27; and Venice, Fondazione Giorgio Cini, no. 2111 (164); Unknown location, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection, ms.

• Historiated initial 'C' of Helen praying before the Cross. On the reverse, two four-line red staves, musical notation and text '...cut docuit /…lo'., Cuttings from an Antiphoner (index antiphonar, antiphonal)

4145; London, Wallace Collection, M330; Munich, Staatliche Graphische Sammlung, inv. no. 19796; Paris, Musée Marmottan, Wildenstein Collection, nos. 25-27; and Venice, Fondazione Giorgio Cini, no. 2111 (164); Unknown location, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection, ms.