• Drawing of a cross with the symbols of the Passion., Prayers, including to the Trinity

Drawing of a cross with the symbols of the Passion. The volume is a composite theological miscellany of manuscripts of different origin, and also includes:Richard Lavenham (index Lavyngham), 'A Litil Tretys on the Seven Deadly Sins', 1st half of the

• Section of border with floral motifs and bezants., Cuttings from a choir book

York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos. 62a, c-d). 2 sections

• Section of border with floral motifs, bezants and Mount Calvary., Cuttings from a choir book

York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos. 62a, c-d). 2 sections

• Historiated initial 'O' of the Adoration of the Magi, including an African king, measuring 140 x 160. On the reverse, partial two four-line staves, musical notation and text: '...regi da et m /...filio regis'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Historiated initial 'D' of a Memento Mori, measuring 125 x 110. On the reverse, partial four-line stave, musical notation and text: '...antur'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Historiated initial 'P' of the Virgin Adoring the Christ Child, measuring 250 x 210. On the reverse, partial two four-line staves, musical notation and text: '...lo tu /… Co[n]. Exulta'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Historiated initial 'I' of a male martyr saint, measuring 100 x 95. On the reverse, partial four-line stave, musical notation and text: '...ti eum'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Historiated initial 'C' of Lawrence, measuring 135 x 120. On the reverse, partial four-line stave, musical notation and text: '...tate domi /...?ium can'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Historiated initial 'T' of a Romanesque church with a rose window by a lake, measuring 100 x 115. On the reverse, partial four-line stave, musical notation and text: '...deficit'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Foliate initial 'E', measuring 75 x 75. On the reverse, partial four-line stave, musical notation and text: '...me'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Foliate initial 'S', measuring 75 x 80. On the reverse, partial four-line stave, musical notation and text: '…tate e'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Foliate initial 'S', measuring 80 x 80. On the reverse, partial four-line stave, musical notation and text: '…um no(n)'., Cuttings from a Gradual

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Historiated initial 'I' of Augustine dressed as a Bishop enthroned blessing two groups of kneeling Augustinian canons., Cutting from a Gradual or Antiphoner (index antiphoner; antiphonal)

and Private collection, formerly New York, Metropolitan Museum of Art, Robert Lehman Collection (see Pia Palladino, ~Treasures of a Lost Art: Italian Manuscript Painting of the Middle Ages and Renaissance~ (New York: The Metropolitan Museum of Art, 2003), cat. nos.

• Miniature of Matthew writing at an improvised desk under a ruined arch, inspired by a winged putto with a distant landscape of hills and towers in the background, within a painted gold architectural frame., Cutting from a Gospel Lectionary (index Evangelistary) of Gregory XIII, containing Matthew 5:6-7.

for date of Boncompagni's election to the papacy]' in Chicago, Art Institute of Chicago, 1982.438 and New York, The Morgan Library and Museum, MS. 270, all probably excised from a Gospel Lectionary (A.I.17) described in a 1714 inventory of the

• Pen drawing of the Crucifixion, Added prayer and indulgences, fragment (f. 31v), preceded by a Crucifixion drawing (f. 31)

Pen drawing of the Crucifixion Pen drawing of the Crucifixion (f. 31). Marginal pen drawing of the Five Wounds of Christ (?) (f. 31v). Added prayer and indulgences, fragment (f. 31v), preceded by a Crucifixion drawing (f. 31) Richard Jones

• Detail of decorated initial., Collection of Franciscan texts, including the life of Francis

with brown penwork decoration, often in the form of leaves. Small initials in red or blue. Paraphs in red. Highlighting of letters in red. Collection of Franciscan texts, including the life of Francis ff. 70-75v probably written by Brother Thomas

• Marginal drawing, possibly representing the Five Wounds of Christ., Added prayer and indulgences, fragment (f. 31v), preceded by a Crucifixion drawing (f. 31)

Five Wounds of Christ. Pen drawing of the Crucifixion (f. 31). Marginal pen drawing of the Five Wounds of Christ (?) (f. 31v). Added prayer and indulgences, fragment (f. 31v), preceded by a Crucifixion drawing (f. 31) Richard Jones (d.

• Decorated initial 'I'(n)., Explanatio in cantica canticorum

for £10,000 (a fraction of their contemporary value) under the Act of Parliament that also established the British Museum; the Harley manuscripts form one of the foundation collections of the British Library. Decorated initial Richardof Saint-Victor Trier Germany, W.

• Initial 'C'(ome) with pen-flourished decoration., Statutes of Edward III and Richard II, including a table of contents (ff. 1-11v)

146v-147). Statutes of Edward III and Richard II, including a table of contents (ff. 1-11v) Two heraldic arms in the lower margin (ff. 146v and 147).The Harley Collection, formed by Robert Harley (b. 1661, d. 1724), 1st earl of Oxford

• Detail of decorated initials., Biblical and genealogical chronicle from Adam and Eve to Edward VI (the Longer English genealogical chronicle of the kings of England)

Longer English genealogical chronicle of the kings of England) The text of the chronicle ends with Richard III (f. 33). The pictorial genealogy continues to Henry VIII in the same scribal and artistic hand, including Catherine of Aragon, Mary, and