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a part of the Carmina Burana collection (ff. 95-194), both parts probably written by the same hand but in separate quires and divided by blank pages (ff. 93v-94); f. 94v includes a list of contents added by the hand of
proposed by Patricia Stirnemann. Numerous large puzzle initials in red and blue with pen-flourishing in the same colours (except in quires viii and ix). The flourishing includes a fantastic animal on f. 1. Numerous smaller initials in red or blue
headers, catchwords, quire marks (in the centre of the lower margin of the verso of the last leaf of the quires). Erased inscriptions (ff. 1v, 2, 207v). Numerous large puzzle initials in red and blue with penwork decoration or pen-flourishing
sets of quire marks (in the centre of the lower margin of the verso of the last leaf of the quires) for ff. 4-108 ('i'-'xiii') and ff. 108-155 ('i'-'vi'); catchwords.Perhaps the exemplar for Harley 528 (see Watson 1966, p. 331
first and last historiated initials: 'Abbe. bono. / Robe. Aug'i (?)' (f. 2) and 'bono robe. abb.' (f. 506v); many quires are marked 'em(en)dat(us)' (e.g. ff. 42, 54, 78, 282).The Benedictine abbey of St Augustine, Canterbury, second half of the
first and last historiated initials: 'Abbe. bono. / Robe. Aug'i (?)' (f. 2) and 'bono robe. abb.' (f. 506v); many quires are marked 'em(en)dat(us)' (e.g. ff. 42, 54, 78, 282).The Benedictine abbey of St Augustine, Canterbury, second half of the