• Detail of a miniature of the banner of the new crusading order, the Order of the Passion of Jesus Christ, with an Agnus Dei at the centre., Epistre au roi Richart (Letter to King Richard II)

Detail of a miniature of the banner of the new crusading order, the Order of the Passion of Jesus Christ, with an Agnus Dei at the centre. Contains the presentation copy of the ~Epistre au roi Richart~, composed in 1395

• The last page of the text, with explicit, Iudica me deus (ff. 1-19); 'Tractatus de xii utilitatibus tribulacionis' (ff. 19v-31v); Theologia mystica (ff. 32-50v); Meditationes (ff. 51-55v); 'Contricio beati Bernardi' (ff. 55v-59v)

the textual contents and style of initials.Charles Burney (b. 1757, d. 1817), D.D., classical scholar.Acquired by the British Museum as part of Burney’s library from his son Charles Parr Burney in 1818. Page of text Richard Rolle; Hugo de Balma;

• Miniature of the Crown of Thorns with two inscriptions, 'Pax vobis', and 'Ih[es]us Roy de paix', between the crowns of the king of France, inscribed with the motto 'en bien', and 'Charles roy de fra[n]ce', and of England, inscribed with the motto 'sans dep[ar]tir' and 'Richart roy danglet[er]re'; and of the large 'YHS' on a ground in colours of France (blue with feur-de-lis) and England (red with lions), with a full border., Epistre au roi Richart (Letter to King Richard II)

1405), monk of the Celestine monastery in Paris (from 1380), former chancellor of Cyprus and member of the royal council of Charles V, which was probably given to Richard II in 1395 by Robert le Mennot, member of Charles VI's

• null, Iudica me deus (ff. 1-19); 'Tractatus de xii utilitatibus tribulacionis' (ff. 19v-31v); Theologia mystica (ff. 32-50v); Meditationes (ff. 51-55v); 'Contricio beati Bernardi' (ff. 55v-59v)

by the textual contents and style of initials.Charles Burney (b. 1757, d. 1817), D.D., classical scholar.Acquired by the British Museum as part of Burney’s library from his son Charles Parr Burney in 1818. Detail Richard Rolle; Hugo de Balma; pseudo-Bonaventura;

• ~Masorah~ in micorgraphic design at Joshua., Duke of Sussex Bible with ~masorah magna~ and ~parva~

quarter of the 17th century): inscribed with his name, 1618 (f. 477v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix § 80-84.Birth entries in Spanish of four sons of an

• Micrographical design in the margins, at the end of Genesis and beginning of Exodus., Pentateuch with ~masorah magna~ and ~parva~

in the margins, at the end of Genesis and beginning of Exodus. Some micrographical motifs are similar to the ones in Harley 5774. ~Masorah~ in the margin written in micrographic form. 18 full-page panels of micrographical design (ff. 2v-7, 192-196).

• ~Masorah~ in micrographic design at the end of Numbers and beginning of Deuteronomy., Duke of Sussex Bible with ~masorah magna~ and ~parva~

quarter of the 17th century): inscribed with his name, 1618 (f. 477v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix § 80-84.Birth entries in Spanish of four sons of an

• ~Masorah~ in micrographic form., Pentateuch with ~masorah magna~ and ~parva~

195v).Giovanni Domenico Carretto, Italian censor (active in the first quarter of the 17th century): inscribed with his name, 1612 (f. 196); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix §

• ~Masorah~ in micrographic form., Pentateuch with ~masorah magna~ and ~parva~

195v).Giovanni Domenico Carretto, Italian censor (active in the first quarter of the 17th century): inscribed with his name, 1612 (f. 196); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix §

• Detail of a marginal decoration: a human head in the outer margin., Commentary on the Pentateuch in an abridged form

181v).Laurentius Franguellus (fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b.

• Detail of an initial-word panel with penwork decoration and pen-flourishing accompanied with a dog chasing a hare in the lower margin., Commentary on the Pentateuch in an abridged form

181v).Laurentius Franguellus (fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b.

• Detail of an initial-word panel with penwork decoration and pen-flourishing accompanied with a dog and a lion in the lower margin., Commentary on the Pentateuch in an abridged form

181v).Laurentius Franguellus (fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b.

• Detail of a marginal decoration: dog in the outer margin., Commentary on the Pentateuch in an abridged form

181v).Laurentius Franguellus (fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b.

• Detail of an initial-word panel with penwork decoration and pen-flourishing accompanied with a bird in the outer margin., Commentary on the Pentateuch in an abridged form

181v).Laurentius Franguellus (fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b.

• Detail of an initial-word panel with penwork decoration and pen-flourishing, accompanied with a bearded hybrid blowing a trumpet and carrying a shield with a fleur-de-lis, in the outer margin., Commentary on the Pentateuch in an abridged form

181v).Laurentius Franguellus (fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b.

• Detail of an initial-word panel with penwork decoration and pen-flourishing, inhabited by a dragon., Commentary on the Pentateuch in an abridged form

181v).Laurentius Franguellus (fl. until 1596), censor: inscribed with his name, 1575 (f. 181v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), p. 78, appendix § 105-110.Illegible inscription, probably censor's signature (f. 181v).Giuseppe Almanzi (b.

• Text page: Isaiah 51-52., Duke of Sussex Bible with ~masorah magna~ and ~parva~

quarter of the 17th century): inscribed with his name, 1618 (f. 477v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix § 80-84.Birth entries in Spanish of four sons of an

• Panel decorated with pen-flourishing at the end of the Book of Ezekiel., Duke of Sussex Bible with ~masorah magna~ and ~parva~

quarter of the 17th century): inscribed with his name, 1618 (f. 477v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix § 80-84.Birth entries in Spanish of four sons of an

• Text page: 2 Samuel 21-22., Duke of Sussex Bible with ~masorah magna~ and ~parva~

quarter of the 17th century): inscribed with his name, 1618 (f. 477v); see William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), pp. 100-101, and appendix § 80-84.Birth entries in Spanish of four sons of an

• Historiated initial 'N' (cropped; the lower part of the letter is visible at the top right of the miniature) of the Last Supper beneath a cartouche inscribed in capitals 'Desiderio desideravi / hoc pascha manduc / are vobiscum', surrounded by a frame composed of four cuttings., Cuttings from a Missal of Paul III

first publication of the catalogue of his collection in 1869 and the second edition of 1876 (see Robinson 1876). Purchased by the Department of Prints and Drawings of the British Museum in 1895.Transferred to the Department of Manuscripts of the