• Illuminated initial and full border with hybrid creatures., Polychronicon (ff. 1-201v); Dialogus inter clericum et militem (ff. 202-205), and other texts

1st duke of Buckingham and Chandos, of Stowe House, near Buckingham.Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1797, d. 1861), 2nd duke of Buckingham and Chandos: sold in 1849 to Lord Ashburnham. Bertram Ashburnham (b. 1797, d. 1878), 4th earl of Ashburnham, of Ashburnham

• Illuminated initial and full border with hybrid creatures., Polychronicon (ff. 1-201v); Dialogus inter clericum et militem (ff. 202-205), and other texts

1st duke of Buckingham and Chandos, of Stowe House, near Buckingham.Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1797, d. 1861), 2nd duke of Buckingham and Chandos: sold in 1849 to Lord Ashburnham. Bertram Ashburnham (b. 1797, d. 1878), 4th earl of Ashburnham, of Ashburnham

• Illuminated initial and full border with hybrid creatures., Polychronicon (ff. 1-201v); Dialogus inter clericum et militem (ff. 202-205), and other texts

1st duke of Buckingham and Chandos, of Stowe House, near Buckingham.Richard Temple-Nugent-Brydges-Chandos-Grenville (b. 1797, d. 1861), 2nd duke of Buckingham and Chandos: sold in 1849 to Lord Ashburnham. Bertram Ashburnham (b. 1797, d. 1878), 4th earl of Ashburnham, of Ashburnham

• Detail of roundels of various foetal presentations., Medical miscellany, including texts on anatomy (ff. 1-51v); various treatments of wounds, broken bones, and internal ruptures (ff. 53-152); recipes (ff. 154-193v); an amplified translation of the gynecological sections from Gilbertus Anglicus's Compendium medicine, ending imperfect (ff. 194-232)

Detail of roundels of various foetal presentations. Lining of the text block in red.ff. 1 and 234 are parchment flyleaves. Roundels of foetal presentations in colours on red grounds (ff. 217-218v). 1 3-sided border in colours and gold with foliate

• Detail of roundels of various foetal presentations., Medical miscellany, including texts on anatomy (ff. 1-51v); various treatments of wounds, broken bones, and internal ruptures (ff. 53-152); recipes (ff. 154-193v); an amplified translation of the gynecological sections from Gilbertus Anglicus's Compendium medicine, ending imperfect (ff. 194-232)

Detail of roundels of various foetal presentations. Lining of the text block in red.ff. 1 and 234 are parchment flyleaves. Roundels of foetal presentations in colours on red grounds (ff. 217-218v). 1 3-sided border in colours and gold with foliate

• Detail of roundels of various foetal presentations., Medical miscellany, including texts on anatomy (ff. 1-51v); various treatments of wounds, broken bones, and internal ruptures (ff. 53-152); recipes (ff. 154-193v); an amplified translation of the gynecological sections from Gilbertus Anglicus's Compendium medicine, ending imperfect (ff. 194-232)

Detail of roundels of various foetal presentations. Lining of the text block in red.ff. 1 and 234 are parchment flyleaves. Roundels of foetal presentations in colours on red grounds (ff. 217-218v). 1 3-sided border in colours and gold with foliate

• Detail of roundels of various foetal presentations., Medical miscellany, including texts on anatomy (ff. 1-51v); various treatments of wounds, broken bones, and internal ruptures (ff. 53-152); recipes (ff. 154-193v); an amplified translation of the gynecological sections from Gilbertus Anglicus's Compendium medicine, ending imperfect (ff. 194-232)

Detail of roundels of various foetal presentations. Lining of the text block in red.ff. 1 and 234 are parchment flyleaves. Roundels of foetal presentations in colours on red grounds (ff. 217-218v). 1 3-sided border in colours and gold with foliate

• Illuminated initial ‘M’ in colours and gold with a partial bar-border and the arms of William FitzAlan, earl of Arundel impaling those of his wife, Joan, daughter of Richard Neville, earl of Salisbury., The Regement of Princes, with other poems

bar-border and the arms of William FitzAlan, earl of Arundel impaling those of his wife, Joan, daughter ofRichard Neville, earl of Salisbury. Includes five works by Thomas Hoccleve (b. c.1367, d. 1426): The Regenment of Princes (ff. 4-101v), addressed

• Decorated initial 'R'(ichard) at the beginning of statutes of Richard II., Nova Statuta (index Statutes of England, Statuta Angliae, Statute book), imperfect, and other texts, including a calendar (ff. 6-11v)

Decorated initial 'R'(ichard) at the beginning of statutes ofRichard II. There are 3 unfoliated parchment leaves after f. 16, and 4 after f. 144. Full border in gold and colours (f. 17). Large initial in colours with foliate decoration

• Flourished initial 'C'(um), and three-sided border, at the beginning of Alanus de Insulis's De planctu naturae., De planctu naturae (ff. 1-57v); Philobiblon (ff. 58-101v)

1).? Thomas Howard (b. 1585, d. 1646), 2nd earl of Arundel, 4th earl of Surrey, and 1st earl of Norfolk, art collector and politician.Henry Howard (b. 1628, d. 1684), 6th duke of Norfolk, presented to the Royal Society in 1667.The

• Historiated initial 'R'(icardus) in colours and gold with king Richard II, combined with a foliate bar border ending in a hand holding a scroll with the inscription 'Morrys Stafford me fecit', at the beginning of the text., Registrum brevium

librarian of Robert and Edward Harley 'Bought of Mr Noble' (f. 1).The Harley Collection, formed by Robert Harley (b. 1661, d. 1724), 1st earl of Oxford and Mortimer, politician, and Edward Harley (b. 1689, d. 1741), 2nd earl of Oxford

• Decorated initial 'D'(olor), at the beginning of the De compunctione cordis., De compunctione cordis, De die iudicii et de resurrectione, De beatitudine animae, De paenitentia, De luctaminibus and De die iudicii; patristic excerpts

patristic excerpts Added parts of a version of a revision of the Sarum Ordinal of 1278-1279 (ff. 1-2, 83-84v).Added notes in English 14th-century hand (f. 2v).Thomas Wolsey (b. 1470/71, d. 1530), royal minister, archbishop ofYork, and cardinal: 'TC' monogram,

• Full page drawing of the Sacrifice of Isaac, with captions in Ashkenazi square script. Isaac is kneeling on the altar, Abraham is lifting the knife, but an angel prevents him from hurting his son by grabbing his knife. The same angel points to the ram caught in a bush on the left. Beneath, at the foot of the mountain, the two servants, the donkey and a dog are resting in a field., Commentary on the Pentateuch

Archiv d’Urbino, 1687, below it oval stamp perhaps of the Archiv (f. 480v); ee William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), appendix § 44.Moses Panzi of Ricanati: inscribed with his name, undated (f. 1).Inscriptions,

• Full-page miniature of the menorah with caption in Ashkenazi square script., Commentary on the Pentateuch

Full-page miniature of the menorah with caption in Ashkenazi square script. Gilt edges. Hebrew characters are used instead of catchwords. Ruling is visible. After f. 217 blank, unfoliated leaf.On the dating of part 2, see Narkiss, 'The Art of the

• Miniature of the Holy Ark with two doves symbolizing the cherubs, the Tablet of Law, and the Altar, with captions in Ashkenazi square script., Commentary on the Pentateuch

Tablet of Law, and the Altar, with captions in Ashkenazi square script. Gilt edges. Hebrew characters are used instead of catchwords. Ruling is visible. After f. 217 blank, unfoliated leaf.On the dating of part 2, see Narkiss, 'The Art of

• Miniature of the basin, the table, the table of showbread, plates and dishes for incense, the musical instruments and the cleansing instruments, with captions in Ashkenazi square script., Commentary on the Pentateuch

Archiv d’Urbino, 1687, below it oval stamp perhaps of the Archiv (f. 480v); ee William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), appendix § 44.Moses Panzi of Ricanati: inscribed with his name, undated (f. 1).Inscriptions,

• Detail of a page: drawing of the Sacrifice of Isaac, with captions in Ashkenazi square script. Isaac is kneeling on the altar, Abraham is lifting the knife, but an angel prevents him from hurting his son by grabbing his knife. The same angel points to the ram caught in a bush on the left. Beneath, at the foot of the mountain, the two servants, the donkey and a dog are resting in a field., Commentary on the Pentateuch

Archiv d’Urbino, 1687, below it oval stamp perhaps of the Archiv (f. 480v); ee William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), appendix § 44.Moses Panzi of Ricanati: inscribed with his name, undated (f. 1).Inscriptions,

• Detail of a drawing of the Sacrifice of Isaac with Abraham's two servants, the donkey and a dog resting in a field., Commentary on the Pentateuch

Detail of a drawing of the Sacrifice of Isaac with Abraham's two servants, the donkey and a dog resting in a field. Gilt edges. Hebrew characters are used instead of catchwords. Ruling is visible. After f. 217 blank, unfoliated leaf.On

• Detail of a full page drawing of the Sacrifice of Isaac, with captions in Ashkenazi square script. Isaac is kneeling on the altar, Abraham is lifting the knife, but an angel prevents him from hurting his son by grabbing his knife. The same angel points to the ram caught in a bush on the left., Commentary on the Pentateuch

Archiv d’Urbino, 1687, below it oval stamp perhaps of the Archiv (f. 480v); ee William Popper, ~The Censorship of Hebrew Books~ (New York: KTAV Publishing House, 1969), appendix § 44.Moses Panzi of Ricanati: inscribed with his name, undated (f. 1).Inscriptions,

• Detail of a page: the Ark of the Covenant with the cherubim., Commentary on the Pentateuch

Detail of a page: the Ark of the Covenant with the cherubim. Gilt edges. Hebrew characters are used instead of catchwords. Ruling is visible. After f. 217 blank, unfoliated leaf.On the dating of part 2, see Narkiss, 'The Art of