St Petroc, Bodmin by the end of the 10th century: records of public manumissions at the high altar of the church were added in Anglo-Saxon minuscule in the 2nd half of the 10th and the 11th centuries. They include the
St Petroc, Bodmin by the end of the 10th century: records of public manumissions at the high altar of the church were added in Anglo-Saxon minuscule in the 2nd half of the 10th and the 11th centuries. They include the
St Petroc, Bodmin by the end of the 10th century: records of public manumissions at the high altar of the church were added in Anglo-Saxon minuscule in the 2nd half of the 10th and the 11th centuries. They include the
St Petroc, Bodmin by the end of the 10th century: records of public manumissions at the high altar of the church were added in Anglo-Saxon minuscule in the 2nd half of the 10th and the 11th centuries. They include the
St Petroc, Bodmin by the end of the 10th century: records of public manumissions at the high altar of the church were added in Anglo-Saxon minuscule in the 2nd half of the 10th and the 11th centuries. They include the
St Petroc, Bodmin by the end of the 10th century: records of public manumissions at the high altar of the church were added in Anglo-Saxon minuscule in the 2nd half of the 10th and the 11th centuries. They include the
St Petroc, Bodmin by the end of the 10th century: records of public manumissions at the high altar of the church were added in Anglo-Saxon minuscule in the 2nd half of the 10th and the 11th centuries. They include the
colours and gold, of a Memento Mori (f. 6), Larewnce (f. 11), a male martyr saint (f. 8), and a church (f. 12) with one four-line red stave, musical notation and text on their versos. 3 foliate initials in colours
colours and gold, of a Memento Mori (f. 6), Larewnce (f. 11), a male martyr saint (f. 8), and a church (f. 12) with one four-line red stave, musical notation and text on their versos. 3 foliate initials in colours
colours and gold, of a Memento Mori (f. 6), Larewnce (f. 11), a male martyr saint (f. 8), and a church (f. 12) with one four-line red stave, musical notation and text on their versos. 3 foliate initials in colours
colours and gold, of a Memento Mori (f. 6), Larewnce (f. 11), a male martyr saint (f. 8), and a church (f. 12) with one four-line red stave, musical notation and text on their versos. 3 foliate initials in colours
colours and gold, of a Memento Mori (f. 6), Larewnce (f. 11), a male martyr saint (f. 8), and a church (f. 12) with one four-line red stave, musical notation and text on their versos. 3 foliate initials in colours
colours and gold, of a Memento Mori (f. 6), Larewnce (f. 11), a male martyr saint (f. 8), and a church (f. 12) with one four-line red stave, musical notation and text on their versos. 3 foliate initials in colours
colours and gold, of a Memento Mori (f. 6), Larewnce (f. 11), a male martyr saint (f. 8), and a church (f. 12) with one four-line red stave, musical notation and text on their versos. 3 foliate initials in colours
colours and gold, of a Memento Mori (f. 6), Larewnce (f. 11), a male martyr saint (f. 8), and a church (f. 12) with one four-line red stave, musical notation and text on their versos. 3 foliate initials in colours
a monk and a queen entering a church. Part I: the text and gloss written in Southern France, perhaps in Toulouse: lemmata underlined in yellow, with the decoration left unfinished.Catchwords and bifolium signatures; numerous corrections.Part II: the Calendarium illuminated and
minister: his library sold on 21 November 1687, lot 108 (Wright 1972).Ambrose Bonwicke, the elder (b. 1652, d. 1722), nonjuring Church of England clergyman and schoolmaster, headmaster of the Merchant Taylors' School from 1686 to 1691: inscribed 'Ambrosij Bonvici 1687'
minister: his library sold on 21 November 1687, lot 108 (Wright 1972).Ambrose Bonwicke, the elder (b. 1652, d. 1722), nonjuring Church of England clergyman and schoolmaster, headmaster of the Merchant Taylors' School from 1686 to 1691: inscribed 'Ambrosij Bonvici 1687'
a man leading a woman to church. Part I: the text and gloss written in Southern France, perhaps in Toulouse: lemmata underlined in yellow, with the decoration left unfinished.Catchwords and bifolium signatures; numerous corrections.Part II: the Calendarium illuminated and added
robbers, and Dante and Virgil speaking to Vanno Fucci, the pillager of a church in Pistoia, and three others tormented by serpents, in illustration of Canto XXIV. Pope-Hennessy 1993 proposed a date after 1444, partly depending on the representations of