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campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
campaigns (Parts 1, 2, 4). The miniatures of the final stage were attributed to two artists, Gerard Horenbout (f. 148, see Kren and McKendrick 2003) and perhaps his daughter Susanna (see Backhouse 1997).Catchwords, some written on scrolls (Part 1), or
name of God). f. 1 is a parchment leaf with various pen trials and inscriptions. Two parchment fragments have been pasted onto this folio.f. 2 is inscribed, 'henricus octavus dei gracia' and bears the ownership inscription of Richard St George.2
Tiptoft, earl of Worcester, at the beginning of Suetonius' De grammaticis et rhetoribus. f. 1 is a parchment ruled leaf.List of contents (f. 1v). White vine initial and wreath enclosing the arms and crest of John Tiptoft, Earl of Worcester
of Tacitus' Dialogus de oratoribus. f. 1 is a parchment ruled leaf.List of contents (f. 1v). White vine initial and wreath enclosing the arms and crest of John Tiptoft, Earl of Worcester (f. 2). Large initial in gold on a
red penwork decoration. Book of Hours, Use of Rome Cut strip from another manuscript written on paper pasted on f. 1, ?15th century.Nathaniel Noel (fl. 1681, d. c. 1753), bookseller, employed by Edward Harley for buying books and manuscripts chiefly
red penwork decoration. Book of Hours, Use of Rome Cut strip from another manuscript written on paper pasted on f. 1, ?15th century.Nathaniel Noel (fl. 1681, d. c. 1753), bookseller, employed by Edward Harley for buying books and manuscripts chiefly
red penwork decoration. Book of Hours, Use of Rome Cut strip from another manuscript written on paper pasted on f. 1, ?15th century.Nathaniel Noel (fl. 1681, d. c. 1753), bookseller, employed by Edward Harley for buying books and manuscripts chiefly
collector and patron of the arts, inscribed as usual by their librarian, Humfrey Wanley, ‘18 die Januarij, A.D. 1723/4’ (f. 1). Edward Harley bequeathed the library to his widow, Henrietta, née Cavendish Holles (b. 1694, d. 1755) during her lifetime