• Detail of an historiated initial 'D'(ominus) of the Virgin and Child, with the donor, Thomas Besforde, in a Benedictine habit with a scroll reading 'In te confidit a[n]i[m]a / mea', in the margin.', Commentary on Wisdom

full border in colours and gold, at the beginning of the text (f. 1). Initials in blue with red pen-flourishing. Paraphs in red or blue. Some catchwords in decorated frames. Commentary on Wisdom John of Lutton, written by him: his

• Historiated initial 'D'(ominus) of the Virgin and Child, with the donor, Thomas Besforde, in a Benedictine habit with a scroll reading 'In te confidit a[n]i[m]a / mea', in the margin, with a full border containing a dragon and two shields with arms of the Reading abbey (three escallops) and of the donor (a fesse between six pears)., Commentary on Wisdom

full border in colours and gold, at the beginning of the text (f. 1). Initials in blue with red pen-flourishing. Paraphs in red or blue. Some catchwords in decorated frames. Commentary on Wisdom John of Lutton, written by him: his

• Partialy repainted miniature of Jean, duke of Berry receiving the book from the author, Honoré Bouvet, in a prior's habit with a blue hood, with a full border with Jean's arms, and a foliate initial 'A'( la sainte), at the beginning of the dedicatory letter to Charles VI of France., L'Arbre des batailles

repainted miniature of Jean, duke of Berry receiving the book from the author, Honoré Bouvet, in a prior's habit with a blue hood, with a full border with Jean's arms, and a foliate initial 'A'( la sainte), at the beginning

• Historiated initial 'O' in colours and gold, of the Coronation of the Virgin with architectural elements, monochrome choir of angels, medallions inhabited with saints, and ‘drôlerie’ of a Franciscan monk, dressed in the Order’s original grey hooded habit, climbing amongst the foliage., Cutting from a Missal

of angels, medallions inhabited with saints, and ‘drôlerie’ of a Franciscan monk, dressed in the Order’s original grey hooded habit, climbing amongst the foliage. Italian cuttings. The present cuttings are boxed with Add. 60630, ff. 1-10 and 13- 42. To

• Detail of a medallion with Jerome., Cutting from a Missal

choir of angels, medallions inhabited with saints, and ‘drôlerie’ of a Franciscan monk, dressed in the Order’s original grey hooded habit, climbing amongst the foliage. On the reverse text: 'Virgam virtutis tue e / mittet d(omi)n(u)s ex Syo(n): do /

• Detail of a monochrome angel., Cutting from a Missal

choir of angels, medallions inhabited with saints, and ‘drôlerie’ of a Franciscan monk, dressed in the Order’s original grey hooded habit, climbing amongst the foliage. On the reverse text: 'Virgam virtutis tue e / mittet d(omi)n(u)s ex Syo(n): do /

• In the upper left, an ownership inscription of All Souls college, Oxford: 'Liber collegium animarum omnium', and in the lower right corner, an ownership incription of William Romesey: 'liber Willelmus Romesey quae fecit scribi' ('William Romesay for whom it was written'")., Medical miscellany, including John of Gaddesden's Rosa Anglica (ff. 9-262), and four tracts on urine

puzzle initial in blue and red with pen-flourishing forming a full border (f. 9). Large initials in blue with red pen-flourishing, many with foliate forms. Large simple initials in red or blue. Paraphs in red or blue. Cadels. Medical miscellany,

• Initial 'P'(andere) with penwork decoration., Doctrinale (ff. 3- 62) with a commentary

very large initial in red with blue and red penwork decoration (f. 29). Large initials in red with blue penwork decoration or in blue with red penwork decoration. Smaller initials in red or blue, some with simple penwork decoration. Initials

• null, Canterbury Tales

colours and gold of the author (f. 2). Large initials in gold and blue and pink. Small initials in gold with purple penwork decoration, and in blue with red penwork decoration. Large initials in brown with brown and yellow or

• null, Canterbury Tales

colours and gold of the author (f. 2). Large initials in gold and blue and pink. Small initials in gold with purple penwork decoration, and in blue with red penwork decoration. Large initials in brown with brown and yellow or

• null, Canterbury Tales

colours and gold of the author (f. 2). Large initials in gold and blue and pink. Small initials in gold with purple penwork decoration, and in blue with red penwork decoration. Large initials in brown with brown and yellow or

• null, Canterbury Tales

colours and gold of the author (f. 2). Large initials in gold and blue and pink. Small initials in gold with purple penwork decoration, and in blue with red penwork decoration. Large initials in brown with brown and yellow or

• Illuminated initials., Il Canzoniere

foliate border, in colours and gold (ff. 1, 34). Smaller initials in gold on red and/or blue grounds. Paraph marks in plain red or blue. Capital letters at the beginning of each line highlighted in yellow. Attributed to Cristoforo Cortese

• Detail of historiated initial., Il Canzoniere

foliate border, in colours and gold (ff. 1, 34). Smaller initials in gold on red and/or blue grounds. Paraph marks in plain red or blue. Capital letters at the beginning of each line highlighted in yellow. Attributed to Cristoforo Cortese

• Detail of miniature., Il Canzoniere

foliate border, in colours and gold (ff. 1, 34). Smaller initials in gold on red and/or blue grounds. Paraph marks in plain red or blue. Capital letters at the beginning of each line highlighted in yellow. Attributed to Cristoforo Cortese

• Detail of historiated initial., Il Canzoniere

foliate border, in colours and gold (ff. 1, 34). Smaller initials in gold on red and/or blue grounds. Paraph marks in plain red or blue. Capital letters at the beginning of each line highlighted in yellow. Attributed to Cristoforo Cortese

• Illuminated initial, at the beginning of Ovid's Metamorphoses., Metamorphoses (ff. 3-180); Commentary on the Metamorphoses (f. 181v-191); and other short texts

beginning of Ovid's Metamorphoses. Large initials in red with blue flourishing, or vice versa, the penwork ocasionally incorporating an animal or animal head (e.g., ff. 189v, 154v). Small initials alternately blue or red. 4 diagrams (ff. 3, 3v, 150v, 191v).

• null, Metamorphoses (ff. 3-180); Commentary on the Metamorphoses (f. 181v-191); and other short texts

Large initials in red with blue flourishing, or vice versa, the penwork ocasionally incorporating an animal or animal head (e.g., ff. 189v, 154v). Small initials alternately blue or red. 4 diagrams (ff. 3, 3v, 150v, 191v). Metamorphoses (ff. 3-180); Commentary

• Illuminated initial 'A'(tt) at the beginning of the prologue to the Squire's tale., Canterbury Tales

colours and gold of the author (f. 2). Large initials in gold and blue and pink. Small initials in gold with purple penwork decoration, and in blue with red penwork decoration. Large initials in brown with brown and yellow or

• Text page from the Miller's Tale., Canterbury Tales

colours and gold of the author (f. 2). Large initials in gold and blue and pink. Small initials in gold with purple penwork decoration, and in blue with red penwork decoration. Large initials in brown with brown and yellow or