Binding: contemporary (?) beech boards with brown goatskin spine decorated with blind ropework; metal clasp and latch.


Scribal explicit: "hic pennam fixi penitet me si male dixi."


Ownership inscription on front paper flyleaf: "Brudenell de Deen d[omi]nusque de Stonton."


Some marginal annotations, particularly in lower margins. Some of these have been trimmed; three leaves containing lower margin annotations have been left untrimmed and folded back, apparently in an effort to preserve the annotations (13r; 22r; 59r).


Two leaves bound in at the end of the volume contain passages from the Doctrinale of Alexander de Villa Dei. Ownership inscription on 1r in a later, (early seventeenth-century?) hand: "Mistresse Leucey Brudenell."


Script: rounded gothic script.


Decoration: Rubricated.


Binding: seventeenth-century full calf, with the arms of the Brudenell family in gilt on the covers.


Commentary by Cassiodorus attributed to Bede in incipit (fol. 1r).


Erased ownership inscription: "Liber monastery Sc Marie ... Ste. ... wiknne."


Bookplate of Portsmouth Cathedral on front pastedown, with deaccession stamp dated 1941.


Layout: double columns of 38 lines.


Script: gothic script.


Binding: medieval binding, pink doeskin over wooden boards; remains of metal clasps on lower board.


Spine title: Arms of the Nobility of England. MS. 1042-1619.


Decoration: more than 600 emblazoned coats of arms, in full color.


Binding: nineteenth-century full polished calf, by Clarke & Bedford.


The last four leaves contain annotations in several hands.


Ownership inscription by White Kennett, recording the gift of the volume from William Salkeld (1671-1715).


Script: English court hand.


Decoration: Rubricated. Paragraph marks in red or blue ink. 41 large initials in gold on colored grounds with bar borders terminating in ivy leaves or flowers.


Binding: modern pigskin.


Attributed to Robert Dale by Sir Thomas Phillipps in a pencil note on recto of front flyleaf. Several additional pages at the end of the Dale collection are attributed by Phillipps to Samuel Stebbing.


Spine title: Stemmata. List of Crests.


Bound with: An Alphabetical List of Crest's copied from a list in the handwriting of Mr. Ra: Thoresby, late of Leeds, Antiquarian, which Manuscript was bought at the sale of his Library in London on 7th May 1763. Manuscript on paper in copperplate script, corrections in a different hand in red ink, 36 p., undated. Phillipps MS 13396.


Binding: nineteenth-century quarter calf over marbled boards.


Work formerly attributed to Albertus Magnus (1193?-1280); now attributed to Hugh Ripelin of Strasburg (Hugo Argentinensis) and dated to 1268.


Ownership inscription on rear flyleaf: "Mastre Roger Walle off Lychfeld Chanone."


Layout: double columns of 30 lines.


Decoration: Rubricated. Initials in red and blue ink with penwork decoration. F1r decorated with a small historiated initial in gold containing drawing of a man's face.


Binding: early limp tawed leather wrapper.


Layout: single column of 46-48 lines.


Script: mixed cursive.


Book stamp of a lion rampant with autograph annotation by Sir Thomas Phillipps.


Layout: single columns of 26 lines each.


Script: secretary.


Decoration: 33 armorial devices in ink; many blank shields in pencil.


Binding: eighteenth-century full calf; arms of John Lewis Goldsmid on front cover in gilt.


Title on the manuscript: "Gweddi'r hwsmon, a Welsh prayer by the Vicar of Llandyfry in Queen Elizabeth's reign."


Attribution of Rhys Prichard as author of the original text is through The Vicar of Llandovery, or, Light from the Welshman's Candle, by John Bulmer (Haverfordwest: J. Potter, 1821).


Auction catalog description pasted onto front pastedown, with annotation concerning purchase at Sir Edward Coates' sale, Sotheby's July 9, 1923.


Bookplate: Fairfax of Cameron armorial bookplate.


Ownership inscription of Charles Fairfax on front flyleaf.


Layout: double columns of 48 lines, incorporating genealogical charts.


Script: secretary script in two different hands.


Decoration: in the Chronicle, names in genealogical charts in roundels with lines of descent in various colors; pen and ink illustrations of coats of arms and four drawings of cities, in color.


Binding: seventeenth-century full calf, gilt ornament on covers, with the initials C. and F. in blind; remains of green silk ties.


Layout: two columns of 28 lines.


Script: Anglo-Saxon minuscule.


Decoration: well-formed initial 'a' embodying two animal heads, partially colored in red and blue.


With a thirteenth or fourteenth inscription on one of the leaves, "Iste liber est de armario Sarr".


Layout: single column of 27 lines.


Script: copied by one hand in Praegothica.


Decoration: initial E in red ink with green tendrils.


Page is trimmed slightly at one edge, affecting the text.


Layout: single column of 18 lines.


Decoration: Rubricated. Initials in red ink.


Layout: single column of 31 lines on recto, 30 lines on verso.


Script: copied by one hand in Praegothica, with ascenders sometimes notched, and uncial d and tall d.


The leaf is from a small format pocket-sized manuscript. Trimming affects text at the top of the page, and text on verso is faded and obscured in places by staining.


Layout: double columns of 36 lines.


Script: romanesque book script.


Script: protogothic.


Shailor and Watters have identified this fragment as coming from the same parent manuscript as Beinecke MS 712.254.


In contemporary marbled paper covers, roan-backed.


Text corresponds to Patrologia Latina (PL) 94: 180/81.


Layout: double columns of 28 lines.


Script: copied by a single hand in Caroline minuscule.


Decoration: capitals touched with red ink.


From a Bolognese manuscript copied by the pecia system, with characteristic mark faintly visible in margin of recto on the first leaf


Layout: principal text written in double columns of up to 30 lines, with surrounding gloss in 89 lines.


Script: two sizes of rounded gothic script.


Decoration: two historiated initials painted in color against burnished gold backgrounds.


Binding: modern cloth covered boards.


Layout: two columns of 39 lines.


Script: gothic hand.


Decoration: initial C in blue and initial Q in red.


Stained and somewhat worn from use as a pastedown, with some later pen trials.


With copious corrections, annotations, etc., by Carlo Landberg.


Title from fol. 3a.


Fol. 3b: Commentaire et notes sur le Dīwān d'Abou Firās el-Ḥamdānī par Carlo Landberg.


Fol. 4a: 27 lines.


Several additional leaves and slips inserted loose. Contains also some notes on the Amharic language.


Front cover: "Grammaire amariña."


Good modern (19th century) naskhī.


Fol. 2a: 19 lines.


This copy comprises the facsimile only (1 l., 126 p., and maps). It is not clear whether it is imperfect, or whether it was issued for the Oriental trade, with the Latin matter omitted.


2 p. l., 23, [1] p.; 2 l., facsim.: (126 p., XIX maps), 127-132 p., 1 l.


Spine title: Hymns & : Poems By : Eliz Scott.


The volume descended in the family of Elizabeth Scott Williams Smith's brother-in-law Solomon Williams (1701-1776). Inscribed inside front cover: "Anna Williams, / Given me by Grandm[other] / Elisabeth Smith," "Thos. S. Williams / from his brother / S. P. Williams / July 1826," and "Isaac Parsons."


Volume opens with unpaginated 6 p. index of recipes and a list of "characters and valew of medicinall weights;" rest of volume is paginated 1-256. Pages after p. 83 are blank.


Ownership stamp of Anna Rogers, in red ink, appears on verso of front endpaper and verso of second blank page. "April 6 1765" written below the second stamp in an unidentified hand.


Watermark: coat of arms not in Heawood; similar to Heawood Coat of Arms 348.


Binding: in the style of Queens' Binder A (William Nott). Contemporary full red morocco, elaborately gilt in an all-over design incorporating drawer-handle tools, floral motifs and flower tools, framed in a repeating ornamental border. Seven-compartment gilt spine; coroneted monogram "RR" (Robert and Rebecca Paston) in the third compartment. Marbled endpapers.


With two inscriptions on front pastedown: [1] "M.E. Milles. This book was given to me by the Honble. Mary Grace Watson, Octr. 1798, copied from one I gave her." [2] "Grace Palmer. This book was given to me by my greatgrand mother M.E. Milles, April 18th, 1819."


Bound in contemporary quarter calf and marbled boards.


Stored in 19 boxes.


The Yale Center for British Art also has a signet ring, ca. 1787, bearing the design of the anti-slavery medallion, in slightly variant form. This item is cataloged separately (see link provided herewith).


Written in pen and black ink.


Bound in blind paneled green calf.


Transcribed from original journals purchased by Albert Francis Judd from the Dunster House Bookshop in Cambridge, Massachusetts, March 1931.


Ownership inscription on verso of last leaf:"Antoine Descamps pasteur de Hollain 1607."


Ownership inscription on verso of last leaf: "Alard Sprien pasteur de Hollain 1647 26 Januarii."


Ownership inscription on verso of last leaf: "Pierre Lemari pasteur de hollain, x julii 1660."


Ownership inscription on verso of last leaf: "Paul François Deschamps pasteur de hollain le 12 de decembre 1693."


Layout: single column with varying number of lines.


Script: Gothic liturgical bookhand.


Decoration: Rubricated. Initials in red or blue; paragraph marks in alternating red and blue.


Binding: Remnant of original wooden binding attached to back of volume.


Layout: single-column, up to 21 lines on a page.


Script: written in a littera cursiva script.


Binding: contemporary parchment wrapper, stitched.


Numerous marginal annotations in both contemporary and later hands.


Layout: single columns, mostly of 32 lines.


Script: manuscript is in at least seven hands.


Decoration: Rubricated. Large blue initial with red penwork (f. 8).


Binding: contemporary binding of tawed white leather over bevelled wooden boards, sewn on four leather thongs. Remains of clasp; brass pin and mount on lower cover.


Note concerning the probable date of the volume in Latin, in a later hand (9v.)


Layout: single columns of 21 lines.


Script: rounded gothic liturgical script.


Decoration: Rubricated. Small initials throughout in red and blue with contrasting penwork; seven large illuminated initials with two-sided borders; large illuminated initial on the first leaf of the text of the Psalter.


Binding: contemporary binding of reversed skin over bevelled wooden boards; sewn on five double bands. Remains of clasps on the front board.


Numerous contemporary marginal annotations in a number of hands.


Ownership inscription: "Wilelmo Elwys" on first leaf (1r) and final leaf (269v).


Ownership inscription: "T. Butler 1759" on first leaf (1r).


Layout: single columns of 30-36 lines.


Script: several secretary scripts.


Binding: early flexible binding, designed to accomodate further additions of leaves, with stiff leather covers stitched on with leather thongs; original bands and sewing visible. "Edw. Bennett" cut into upper cover in a later hand.


Bound by a former owner, with a photograph of Sand affixed to a preliminary page.


Contents preceded by "A Table of the Graunts of Armes contained in this booke" and "A Callender of what is contained in this Booke."


Title transcribed from front cover.


Printed bookseller's description pasted on inside front cover.


Binding: contemporary limp parchment; remains of ties.


Inscribed on front pastedown: Walter Laskey, no. 15. 87 Havelock Rd., Derby.


Paper watermarked 1869.


Stitched in contemporary brown paper covers.


Numerous marginal annotations in several contemporary and later hands. Marginal note on p. 136 refers to the death of Oliver Cromwell ("tyranno").


Bound with: Martinus Polonus, Margarita decreti seu tabula martiniana decreti (Strasburg, 1493); William Lyndwood, Constitutiones legitime seu legatine regionis anglicane, (Paris, 1504).


Watermark: Briquet 11159?


Layout: single columns of approximately 35 lines.


Decoration: Rubricated. Approximately 60 large initials in red with penwork in brown ink.


Binding: late seventeenth-century full calf; blind-ruled, with crown stamp in the corners. The binder has been identified as a London binder who also worked for Samuel Pepys. Metal chain attached from the upper cover, fourteen links, a ring on either end, and a middle swivel.


Layout: double columns of between 44 and 51 lines.


Script: cursive book hand.


Decoration: Rubricated. Approximately 404 marginal drawings in pen and ink, many with yellow wash: mostly portrait roundels, but also including two diagrams of Noah's Ark; views of London, Canterbury, Rome and other places; an image of the Annunciation; and a small T-map. Margins ruled to accomodate the roundels. One illuminated initial and others covered in matte gold.


Binding: contemporary calf over wooden boards, rebacked. Upper cover plain; lower cover contains central panel with the letters POLICRONICON created by stamping background with seven-pointed star stamp. Background pattern of diagonal fillets with five-petalled flower in circle stamped at each intersection. Remains of leather clasps and one brass catch. Sewn on six raised bands.


Byname: Takamiya Polychronicon.


First line reads: Contented river! in thy dreamy realm.


Accompanied by an undated and related autograph note by Frederick Baldwin Adams Jr., the typescript's former owner.


Layout: single column of text.


Script: gothic.


Decoration: Rubricated. Initials in red or blue. Large miniature at head of roll containing a bust of Christ wearing a crown of thorns, displaying his stigmata, and surrounded by the "arma Christi" (also known as the Instruments of the Passion). On a blue ground in gold frame. One large decorated initial immediately below miniature. Text accompanied by decorated borders on both sides.


Binding: section of leather sewn to top of scroll. Accompanied by seventeenth-century? fabric case with fabric and metal appliqués.


Modern title page in English bound in before original title page.


Printed bookseller description pasted in on verso of rear flyleaf.


Layout: Single columns of varying length. Armorial entries begin with the name of the knight and a pen and ink drawing of his coat of arms in trick, followed by a descriptive paragraph,


Decoration: 177 pen and ink drawings in trick of coats of arms.


Binding: eighteenth-century green velvet over boards; silver castle ornament mounted on front cover.


Cover: "Pianists Copy."


Ownership inscription at top of first page: "William Howard 1591."


Bookseller's printed description pasted in on front pastedown.


Script: each work in a different professional book hand.


Decoration: Headings and initial letters in red and blue; decorated throughout with more than 270 emblazoned coats of arms in colors.


Binding: modern parchment over boards, rebacked.


Ownership inscription and drawing of arms of "Alessandro dale Carte" on rear flyleaf.


Bookplate of Sir Thomas Phillipps on front pastedown; Phillipps MS number inscribed on recto of f1.


Layout: single columns of variable length.


Script: Italian cursive bookhand.


Decoration: Rubricated (ff. 1-91 only).


Binding: nineteenth-century half-calf, rebacked.


Numerous marginal notes in contemporary and later hands.


Bound with: parchment leaf of accounts kept by Robert de Staynford, steward of Lady Idoyne Percy, wife of Henry, Lord Percy (d. 1365).


Laid in: manuscript fragment, on paper, of a contract, in English (ca. 1574), formerly the back pastedown.


Layout: single columns of 42 lines.


Script: gothic text hand.


Decoration: Rubricated. Numerous penwork initials and line fillers in red and blue ink. Ten larger illuminated initials, gilt and red and blue ink.


Binding: original oak boards covered in pink doeskin; remains of clasps.


Docketed in a sixteenth-century? hand: the indentur of Bromehyll ffeyes.


Annotated in a later hand, possibly that of the Norfolk antiquary Thomas Martin.


Layout: single column of 26 lines. Head of document indented.


Script: secretary script.


With: Seal of the Prior and Canons of Bromehill Priory, in green wax, containing a pyramid between a star, below, and a crescent moon, above.


Docketed in later hands.


Attached seal (worn).


Indented at head of document with chirographic letters.


Signed: sign manual of Edward Grimston at end of text.


Signed: document signed by the scribe, "Brampton."


Docketed in a later hand.


Seal: red wax seal with the crest of Edward Grimston (damaged).


Layout: Single column of fifteen lines.


Script: anglicana.


Signed: "Norrey King of Arms of the north."


Seals of William Fellow and of the office of Norroy King of Arms suspended from document.


Layout: single column of 20 lines.


Decoration: Portrait figure of Norrey King of Arms within the initial "T," in full color; illustration of Revell's coat of arms with the newly granted crest filling left margin, in full color; floral border, top and right margins, in full color.


Signed: "Adolf Holsatia Dux," with monogram SH as the initial letter of the second word.


Annotated with probable catalog number (Phillipps?): 33068.


Seal: pendant red wax seal of Duke Adolf.


Layout: single column of 14 lines.


Script: Italic.


Probably written for the use of a man named Thomas, as that name is inserted in several passages.


Decoration: Rubricated. Two initials with marginal penwork decoration.


Script: gothic book hand.


Decoration: text headed with a large miniature of the Crucifixion. One large illuminated initial at the head of the text; numerous small initials in in red and blue penwork or gold.


Docketed in a contemporary hand.


Script: Anglicana.


Decoration: Two larger illuminated initials with birds perched on them. Smaller initials alternating between gilt with green penwork and blue with red penwork. Decorated line fillers, red and blue penwork, gilt.


Layout: double columns of 46 lines each.


Decoration: Three illuminated initials with bar borders; illuminated chapter numbers.


Leaf recovered from a binding.


Small part of conjugate leaf still present.


Layout: double columns of 25 lines each.


Byname: Werden Heptateuch (Fragment).


Fragment recovered from a binding; damaged and incomplete.


Layout: double columns of 54 lines each.


Decoration: initials in red or blue with contrasting penwork.


Two endorsements, on verso, in a different contemporary hand, one of which notes the grant of the Aurum Reginae to Joan at Eltham on the Tuesday after Epiphany, 13 Henry IV (1412).


Accompanied by: transcript, on paper, in a 17th century italic hand.


Layout: single column of 10 lines.


Script: Chancery hand.


Issued at Westminster. Endorsed by Humphrey, Duke of Gloucester, as Regent of England.


Layout: single column of 42 lines.


Script: secretary-influenced Anglicana script.


Leaf also contains the ownership inscription of the Cistercian of Santa Maria della Columba, followed by an anathema against theft.


Layout: single column, varying length.


Script: proto-gothic.


Layout: single column of 9 lines.


Signed: document signed by the scribe, "Burdon."


Endorsed on the verso in the hand and with the ownership mark of Sir Edward Dering.


Layout: single column of 13 lines.


Signed: document signed by the scribe, Gardyner.


Layout: single column of 25 lines.


Drawn on the blank page of a bifolium once used as the flyleaf of a Latin Psalter (circa 1290-1310) that may have been written for the church of St. Botolph in Essex.


Layout: single column of 17 lines.


Decoration: historiated initial "B" with a miniature of two souls borne to heaven by two angels, gilt; wide decorated border of blue and green acanthus with flowers and fruits, gilt.


Caption title: Map no. 2.


Annotation in manuscript: 33023


Previously attributed to John Tracey Atkins.


Title from contents leaf.


Annotation in manuscript: 18049


Bound in black half cloth and green silk over boards. Title and floral decorations added in gouache.


Bound in contemporary vellum, inscribed by Peyton


Layout: double columns of 25 lines.


Decoration: Rubricated. Two illuminated initials with long marginal extensions; two smaller initials.


Script: each line in a different gothic display script.


Decoration: in red and black ink.


Accompanied by three unidentified manuscript fragments that were part of the 2002 sale lot.


Decoration: illuminated initial with brown penwork.


Layout: double columns of varying lengths.


Script: bâtarde script.


Decoration: initials in red and blue.


Layout: single columns of 61-62 lines each.


Script: cursive legal script with some anglicana features.


Binding: disbound.


Annotated on recto of first leaf with place and date of production.


Annotated on recto of first leaf with signature: "J. Frauncis Egville."


Genealogy continued down to Elizabeth I in a later hand on the final pages; small architectural sketches on last full page.


Wrapper composed of fragments from at least two manuscripts; one fragment includes musical notation of Psalm texts.


Layout: lines of descent centered within crowned medallions; descriptive text on either side.


Script: English cursive.


Decoration: Crowned medallions in pen and ink with wash.


Binding: original wrapper of parchment fragments from fourteenth century liturgical and theological manuscripts.


Script: late Carolingian script.


Layout: double columns of 39 lines.


Decoration: numerous initials in burnished gold or blue; extensive penwork.


Binding: Riviere and Son.


Musical notation on four-line red staves.


References to Thomas Becket struck through on verso.


Layout: double columns of 51 lines.


Script: gothic liturgical hand.


Decoration: Rubricated. Initials in blue with red penwork. Large illuminated initial "A" with full border on verso, gilt.


Layout: double columns of 52 lines.


Decoration: Rubricated. Three-line initials in gold against blue and rose grounds.


Layout: triple columns with 30 lines per column.


Leaf was used in a binding.


Layout: double columns of 32 lines.


Script: Carolingian script.


Bound by a former owner.


The parish had been part of the annulment settlement for Anne of Cleves.


Title transcribed from later docket.


Signed on page 4: "J. Riley Marsh's Journal."


Printed paper label inside front cover of diary: "The Ever-pointed Pencil, and Prepared Paper Memorandum Book. Manufactured at the British Paper Warehouse, 46, Cornhill, London." Volume has tabbed loops to hold a pencil; lacking pencil.


In secretary script.


Binding: Riviere & Son.


Binding lacking.


Front and back pastedowns from a contemporary? printed German play about Adam and Eve.


Layout: first section in single columns of 17 lines; second section in single columns of 12 lines.


Decoration: Rubricated. Approximately 110 initials in blue with red penwork. Full-page miniature illustration of St. Christopher; double-page illustration of the Adoration of the Magi.


Binding: 16th-century English blind-stamped calf, with panels of heads in medallions, rebacked.


Each of the eight packets contains four sheets of drawings, treating a single species of plant. Some of the drawings also incorporate cut-paper elements. Bonnell identifies five of the species, as follows: Equisetaceae (Horsetail); Ulmaceae; Polypodiaceae; Myricaceae (Bayberry); Hydrocharitaceae. One of the three unidentified species may be dandelion.


"I would like to say thanks to Elisabeth Fairman, Senior Curator of Rare Books and Manuscripts, Yale Center for British Art, for the unique opportunity to respond to Miss Rowe's 1961 Herbarium held in their collection; Graham Bignell, New North Press, for hand set typography and printing; Elizabeth Neville for making the box. Mandy Bonnell, 2014."--Colophon.


Includes two printed sheets, bearing the title and the colophon.


Housed in a cloth covered box, the top cover of which is illustrated by Bonnell.


Ownership inscription for the parish church of St. Mary, Redgrave, Suffolk: "Iste liber constat de Redgrave" in a fifteenth-century hand.


Anathema in Middle English verse on the verso of the second flyleaf: "This bok is on and goddys crus ys anodur/He that stel the ton mot haue the todyr" in a fifteenth-century hand.


Numerous other early ownership inscriptions and pen trials on front flyleaves.


Annotation on verso of nineteenth-century endpaper, in pencil, identifying the text as a "Sarum Processional," dated 1847.


Layout: single columns, mostly of 23 lines.


Decoration: musical notation on 4-line staves, red and blue penwork initials, rubrics, and blue paragraph marks. Numerous initials in brown ink, some decorated with faces and grotesques.


Binding: nineteenth-century black morocco, gilt; marbled endpapers. JHS monogram framing cross centered on both covers. Title in gilt on black leather tag on spine.


With an Oxford pledge note for the Selton Loan Chest dated 1469 and the mark of the stationer John More. There is also a note by M. Paris, possibly Master Thomas Paris of Oriel College.


Script: small gothic script.


Decoration: red and blue penwork initials.


Binding: modern goatskin.


Collation note in Latin dated September 4, 1714 bears the initials G.E. (Gulielmus--William--Elstob) and E.E. (Elizabeth Elstob).


This manuscript was probably part of William Elstob's projected editon of Anglo-Saxon legal manuscripts.


Stamp on front cover: Harriet B. Sanders, American Red Cross, France.


Binding: bound in contemporary printed blue ("sugar paper") wrappers.


Front flyleaf contains provenance annotation in pencil in the hand of Sir Thomas Phillipps.


Layout: double columns, originally of 30 lines (now 28).


Script: Caroline minuscule (Turonian script).


Binding: Middle Hill boards.


Bound with: 5 leaves of a 13th-century manuscript of Averroes' commentary on Aristotle's Ethics.


Bound with: Sodales Mariani apud PP. Societatis Jesu in collegio Aquicinctino. Duaci: apud Albertum Tossanus, ex Typographia Belleriana, sub signo Circini Aurei. Anno M.DCC.XXXIX. 7 p.


Bound with: three printed broadside advertisements of these public disputations, 1740 and undated (two are trimmed). Apparently all by the same printer, whose information appears in the untrimmed broadside: Duaci: apud Albertum Tossanus, ex Typographia Belleriana, sub signo Circini Aurei. Anno 1740.


Binding: late eighteenth-century full polished calf; compartmented and gilt spine; spine tag in gilt on red leather.


Text on recto: ...am. R. Et clamor meus ad te veniat V. Dominus vobiscum. R. Et cum spiritu tuo. Oratio. Aures tue pietatis mitissime ... Alia. Oratio. Ure igne sancti spiritus renes nostros & cor nostru[m] domine: ut tibi casto corpore ser...


Text on verso: ...viamus & mundo corde placeamus Alia Oratio. Mentes nostras quesumus domine paraclitus qui a te procedit illuminet ... Alia Oratio. Conscientias nostras quesumus domine visitando purifica: ut veniens dominus n[oste]r...


Written area 138 x 82 mm. Single column of 21 lines. Foliated "viii" in red in the upper right-hand corner.


Written in a humanist script influenced by roman typeface. In his commentary on the Lessing J. Rosenwald Collection's Horae Beatae Mariae ad usum Romanum (Octavo Editions, 1999), Christopher de Hamel notes that this script is associated on “very little evidence” with Geoffroy Tory (c.1480-c.1533), printer to King Francis I of France. The script occurs in manuscripts from the centers of court patronage in northern France.


Decorated with seven two-line initials, on alternating blue and gold grounds. The initials on blue grounds are gold and the blue grounds are highlighted with white penwork. Three of the initials on gold grounds are blue and one is white. Gold grounds are decorated either with white flourishes or with foliage and berries. There are also six one-line paraphs and one one-line initial, in alternating gold and white. The gold initials are on blue grounds, highlighted in white penwork, and the white initials are on gold grounds decorated with black dots and white pearls. Headings are rubricated. The line-fillers alternate between gold branches and gold boxes filled with buds and white flourishes. The leaf has gilding on the fore- and top-edges.


This leaf may be from the same manuscript as the leaves from an untraced Pontifical sold by King Alfred's Notebook in 2014 as items 1B and 49 in the catalogue Enchiridion 19: Medieval Fragments for University Teaching & Research. According to Scott Gwara, those leaves once belonged to Otto F. Ege (1888-1951), the manuscript and book collector famous for cutting leaves out of his manuscripts to sell them individually.


The same sequence of prayer appears in a series of instructions for prayers before mass at ff.32v-33v in the Pontifical of Yves de Mayeuc (Rennes, Bibliothèque de Rennes Métropole MS 1278), which is written in a very similar hand. It also appears in two Parisian printed missals considered in Robert Lippe, Missale Romanum Mediolani, 1474: a collation with other editions printed before 1570 (London: Henry Bradshaw Society, 1899-1907) vol. II, 378-9, one printed in 1530 by Fr. Regnault, the other in 1540 by vidua Th. Kerver.


Paper seal in upper left corner of bond.


Accompanied by a copy of the Bonhams catalog description.


Annotated in pencil on manuscript guard in a nineteenth-century hand: Ld. Hailes.


First line: What does your brand sae bludy, Edward, Edward?


Comprises 185 pages of text, 82 pages of drawings.


Binding: 18th or 19th century full calf, with leather title label reading "Palladio's Architectur .MS." on spine.


Contact the Curator of Rare Books and Manuscripts for additional information on: details of the text present in the manuscript; watermarks used throughout the volume; a complete correspondence between illustrations in the 1570 edition of the text and those in the manuscript.


Title on verso: A Map of Fort Gibson Reserve, C. Nation


"Devoted to the Development of Eastern Montana and the Encouragement of all Industrial Pursuits."


Autograph and notes by Sir Syndey Cockerell on front flyleaf; autograph of Brian S. Cron on front flyleaf.


Layout: coats of arms arranged in three rows of four on each page, with descriptive notes above each.


Decoration: coats of arms in full color; some initials in red or blue.


Binding: contemporary binding of reversed white leather over wooden boards.


Layout: double columns of 50-53 lines.


Script: gothic (multiple scribes).


Decoration: large historiated initial at the opening of each section; smaller initials in red and blue penwork.


Binding: early nineteenth-century? red silk velvet binding; gilt decoration on spine. Gilt leather spine tag: Lancelot du Lac. M S.


Title of Aṭbāq al-dhahab from folio 1a.


Title of Aṭwāq al-dhahab fī al-mawāʻiẓ wa-al-khuṭab from reference sources.


Secundo folio of Aṭbāq al-dhahab: al-shahawāt, wa-arshidnā fī ghayāhib al-shubuhāt.


Secundo folio of Aṭwāq al-dhahab fī al-mawāʻiẓ wa-al-khuṭab: al-fiʼah allatī bi-iḥsānik al-mutaẓāhir.


9.5 x 13 cm; written surface: 6 x 9.5 cm, 13 lines per page.


Binding: In dark brown leather.


In fair naskh/ruqʻah script; headings and markings in red; catchwords.


On folio 1a: Kitāb Aṭbāq al-dhahab lil-ʻAllāmah al-muḥaqqiq Muḥammad Shufurwah raḥimahu Allāh. Aṭwāq al-dhahab lil-ʻAllāmh al-Zamakhsharī raḥimahu Allāh.


On folio 1a an ownership note: "Min minaḥ al-fayyāḍ al-muṭlaq ladá ʻabdihi al-mudhnib Aḥmad ibn Ḥusayn al-Kīwānī al-Shāmī bi-Qusṭanṭīnīyah al-maḥmīyah sanat 1147 [1734/1735]." (Probably the melancholic and aloof poet from Damascus, Syria, d. 1173 H/1759 or 1760. Cf. Ziriklī, al-Aʻlām, 1:118)


On folio 77a: "Muʼallif hādhā al-kitāb Shams al-Dīn ʻAbd al-Muʼmin ibn Hibat Allāh al-Iṣfahānī al-maʻrūf bi-Shufrūh taghammadahu Allāh bi-raḥmatih wa-anālahu buḥbūḥat jannatih bi-Muḥammad wa-ʻitratih wa-ṣaḥbihi ajmaʻīn. Wa-yatlūhu al-Aṭwāq lil-Zamakhsharī raḥmat Allāh ʻalayh."


On folios 77a-77b: "ʻAbd al-Muʼmin ibn Hibat Allāh Muḥammad ibn Hibat Allāh ibn Ḥamzah al-maʻrūf bi-Shawrwah bi-al-Shīn al-muʻjamah wa-al-wāw wa-al-rāʼ al-sākinah baʻdahā wāw wa-hāʼ, Sharaf al-Dīn ibn Nūr al-Dīn ibn Wajīh al-Dīn al-Iṣbahānī, kāna jadduhu qāḍī Iṣbahān, wa-kāna wāliduhu Nūr al-Dīn wāʻiẓan ḥāfiẓan. Waṣala Shawrwah ilá Dimashq akhira ayyām Nūr al-Dīn al-Shahīd wa-ʻaqada majlis waʻẓ ḥaḍrata Nūr al-Dīn wa-aslama ʻalá yadihi awwala yawm ṣaghīr Naṣrānī fa-qāla badīhan: 'Naṣabnā fikhākhan fa-iṣṭadnā farkhan ..."


On folios 78a-78b verses by Ibn al-Fāriḍ.


On folios 79a-80a biographical information about Jār Allāh al-Zamakhsharī.


On folio 81a: "Hādhā Kitāb Aṭwāq al-dhahab."


Colophon of Aṭbāq al-dhahab: "... Wa-al-ḥamud lillāh Rabb al-ʻĀlamīn. Wa-ṣallá Allāh ʻalá Sayyidinā Muḥammad wa-ālihi al-ṭāhirīn wa-aṣḥābihi al-fāḍilīn wa-anṣārihi al-Muhājirīn, wa-sallam taslīman. Najazat hādhihi al-nuskhah al-mubārakah fī yawm al-Sabt al-ʻishrīn min Ramaḍān al-muʻaẓẓam li-sanat arbaʻah wa-khamsīn wa-sabʻimiʼah Hijrīyah."


Translation of the colophon of Aṭbāq al-dhahab: "Praise be to God Lord of the Universe. May God pray on our Master Muḥammad, his virtuous family, his honorable companions and his supporters, the Muhājirīn, and grant them abundant peace. This blessed copy was completed on Saturday, the 20th of honorable Ramaḍān, 754 of the Hijrah [19 October, 1353]."


Colophon of Aṭwāq al-dhahab fī al-mawāʻiẓ wa-al-khuṭab: No colophon. Text ends with "al-Maqālah al-miʼah" (Sermon 100), as follows: "Lam tarḍa li-sharābika illā an yurawwaq wa-an yuṣaffá wa-yuṣaffaqa, wa-illā ramayta bi-mujājatihi, wa-rubbamā anḥayta ʻalá zujājatihi, fa-kayfa raḍīta li-dīnaka bi-al-qadhá, wa-al-muʼminu lā yarḍá li-dīnihi bi-dhā? Wa-Allāh aʻlam bi-al-ṣawāb wa-ilayhi al-marjiʻ wa-al-maʼāb."


Layout: single columns of 28 lines.


Script: humanist.


Decoration: Illuminated initial, gilt; title in red ink.


With a docket title on final page. Written in secretary hand.


Layout: single column of five lines.


Script: italic cursive.


Recovered from a binding.


Layout: double columns of 50 lines.


Script: late Carolingian.


Fragment removed from a binding.


Attributed to the Florentine scribe "Messer Marco" (Giovanni d'Astore?).


Script: humanist script.


Decoration: initials in blue ink.


Layout: double columns of 40 lines.


Script: early gothic minuscule.


In portfolio with bookplate of Ray Livingston Murphy.


Binding: contemporary parchment.


Leaves numbered 1-48.


Colophon: "Emmanuel Martinus Ludibundus hunc Satyromastigen scripsit anno MDCXCIV, Romae."


Heraldic frontispiece and other illustrations in colored ink and wash; borders gilt.


Binding: velvet on boards.


Full title: Théorie de la banque à fonds unis: fondée sur les documents recueillis en Angleterre dans les establissemens bases sur ce principe, dans les procès-verbaux des comités secrets du parlement, ou extraits des divers ouvrages publiés sur ce sujet dans les trios royaumes et en Amérique.


Spine title: Deserted City by E. M.


Binding: contemporary full polished calf, gold tooled border on boards; compartmented spine, gilt; leather spine tag.


Volume 1, preliminary leaf: autograph manuscript inscription by Charles Nodier, signed, undated, about the annotations and ode by Racan.


Decoration: large illuminated initial "S" containing full figure of John the Baptist standing by the Jordan, holding a scroll containing the opening words to the Agnus Dei, which terminates in the figure of a small lamb with halo. Gilt frame.


In modern mat and frame.


Decoration: large illuminated initial "A" depicting the visit of the two Marys to the tomb of Jesus as described in Matthew 28: 1-4. Gilt frame.


Decoration: large historiated initial "D" containing kneeling figure of King David. Gilt frame with elaborate floral motif.


Damaged: coastline of Greece missing; severe fading.


Decoration: illustrations of five emblematic rulers and one of the Virgin Mary at the top of the portolan; three compass roses and strapwork.


Contains ownership inscription by William Mason, 1801; presentation inscription from “Mr. Mason,” Wolfscote, to Thomas Bateman, Lomberdale, 1856 December 27; and a bookplate of an unidentified former owner.


Binding: vellum.


With autograph note tipped in front: "Bequeathed to my very dear friend, Mr. A. E. Ward, in grateful appreciation of the knowledge that these mss. of W. J. Linton's, together with some of the author's books, which were treasured by my revered father (1825-1893) in memory of their great friendship, will find a welcome home in his library. Geo Robt Vine 1927."


In English and Latin.


Binding: Unbound; preserved in a folder.


Inks shade from light to dark brown. No illustration or ornament.


Remnants of a wax seal on.


Includes typed transcript of the journal, possibly created by the dealer.


Accompanied by a manuscript note: "Nov. 17 '64 / memo: / This is just one (the only one I have) of Maj. S. Willard Sexton's several scrapbooks, made, I suppose, around 1880-1900. / [signature indecipherable] (grandson)"


Armorial bookplate of William John Monson, Baron Monson on front pastedown.


Ownership inscription of Anthony Watson on recto of first front endleaf.


Ownership inscription of "roberti di cantuaria" on verso of final front endleaf.


Layout: single columns of 31 lines.


Script: English book hand.


Decoration: Rubricated. Two-line initials in red, blue or green with contrasting penwork; two larger initials in red, blue and green with penwork flourishes. Large illuminated initial (f1r) in gold, enclosing gold foliage on blue and green grounds.


Binding: nineteenth-century tooled brown leather over pasteboards; gold-lettered spine.


Annotated on volume one's front cover in an eighteenth-century? hand: "Berterii, Antoine. Notaire à Espinas. 1483-1504. notulaire."


Annotated on volume two's front cover in an eighteenth-century? hand: "Berterii No[tair]e à Espinas. 1483-1504. Ordonnes."


Layout: single columns with wide left margins.


Script: French cursive.


Binding: volume one bound in contemporary manuscript waste (charter from 1435), stitched.


Binding: volume two bound in contemporary manuscript waste, stitched, deteriorated.


Engraved portrait bookplate? on front pastedown of Gerardus, dux Juliæ et Montium, Comes Ravensburgæ, Fundator ordinis anno 1444.


Layout: single columns of 14 lines.


Decoration: Rubricated. Some banners with texts in margins. Six illuminated initials with gold or silver decoration: decorated silver initial (3v); birds, silver decoration (14v); Jonah, gold decoration (24v); monk with textual banner, gold decoration (35v); Virgin Mary and child, textual banner, gold decoration (43r); animal blowing instrument, silver decoration (50v); trumpeter, textual banner, gold decoration (80v).


Binding: modern.


Phillipps MS 35851 (see note below docket title).


Title continues: "... in the several branches of his office, particularly therein mentioned ... Settled & established by his Excellency William Mathew Esq., Captain, General, & Governour in the said island of Antigua ..."


Signed, sheet 4: "Sworn before me, this fifteenth day of Augt. 1735, William Mathew, [signed also by] John Prince, Edwd. Clarke."


Docket title: "The within dockett is enter'd in the journal of the council of Antigua. Patrick Wilson. D. Secty. No. 11."


With red wax seal on the first sheet.


Signed, with text of leaf 31: "Gio. Batta. Abbiate Falconetto, 1688."


Laid in: one leaf from a 13th century Italian manuscript of Platearius, Circa instans, on parchment. Double columns of 33 lines each, initials in alternating red and blue. Possibly a pastedown from the original binding of the gradual.


Layout: single columns containing eight lines of music of square notation on a four-line stave.


Decoration: rubricated. Small initials in red or blue ink with opposite-color flourishing.


Binding: nineteenth-century quarter calf.


Colophon concludes: "Scriptus per me phillippum butinum civem parmen[ensis]."


Ownership inscriptions of Baron Monson on front and back endleaves, recording his purchase of this volume in Padua in 1844.


Bookplate: Armorial bookplate of Baron Monson on front pastedown.


Layout: single columns of 22 lines.


Decoration: rubricated. 13 one-line initials in gold with purple penwork tracing; two large decorated initials in burnished gold on red and blue grounds, within frames and enclosing knotwork designs.


Binding: twentieth-century full dark red morocco.


Tipped in: printed catalog description of manuscript from Henry Young & Sons.


Stencilled crest of Sir Thomas Phillipps stamped on recto of first flyleaf.


Bookplate: George Dunn of Woolley Hall, pasted on front pastedown.


Bookplate: Allan Heywood Bright, pasted on front pastedown.


Layout: double columns of 47 lines each.


Script: gothic textura.


Decoration: marginal notes in red ink with blue penwork. One historiated initial, in full color, depicting a horned Moses holding the tablets of the Law.


Binding: nineteenth-century brown leather; marbled endpapers.


Manuscript notebook, "originally written in Spring of 1891 ... revised 1895." Text is densely written, in black ink.


Bound in contemporary calf.


Script: Written in a careful cursive hand sloping slightly to the right in a single column 170 x 110 mm without bordering lines or ruling. the text has been partly corrected by another hand and with significant marginalia throughout by this hand in inks of different hues.


Watermarks: Paper watermarked with a crowned coat of arms, probably a Dutch paper not certainly identified.


Binding: English binding of diced brown Russia leather, a border of gilt dots around the edges of the covers, inside and out, the backstrip in compartments similarly treated, original title label on second compartment from top gold-lettered: "Anonimo Manuscritto di un Vero Adepto." Plain edges. Hinges and corners repaired.


Tome 1: 1 smaller leaf 220 x 140 mm inserted after first leaf of index.


Tome 2: 1 smaller leaf 190 x 112 mm inserted after page 157.


With wax seals appended to the four signatures: John Ley, Susanna Ley, Eleanor Ley, John Bennett.


With a blind-embossed 1 shilling stamp on blue paper.


Signed by Conradus Gold.


Script: gothic cursive.


Binding: quarter calf.


Includes musical notation (square notation on three-line staves) for Passion week lessons (57v-60v).


Paper is torn and damaged in many places and has been repaired with strips and patches of parchment manuscript waste, mostly from a fourteenth-century Latin breviary in gothic minuscule. There are also manuscript fragments from a parchment manuscript in German and Latin, possibly a Latin-German dictionary.


Front pastedown contains annotations in a sixteenth-century German hand.


Watermarks include Briquet 9173-9185.


Layout: double columns of 33-38 lines.


Decoration: Rubricated. Several larger initials in red ink.


Binding: contemporary blind-tooled calf over wooden boards; paneled with triple fillets on boards and central diagonal fillets, forming lozenges.


Layout: sngle columns. Music of square notation on four-line staves with five lines of gothic bookhand.


Decoration: rubricated. Initials in blue or red ink with pen flourishing in red or blue ink.


Binding: contemporary? blind-stamped leather over wood; flower-shaped metal bosses at center and corners of boards and to secure straps on upper cover (straps not present).


Annotation at f67v. identifies the author as "Io. Ost." and the manuscript as having been written at Castel San Pietro, whilte the author was with the antipope John XXIII "n. p. io. 23").


Ownership inscriptions include early signatures by Phillippus Vergier; robert Lemayn; and Frater Stephanus Vixier.


F11v inscribed, in an eighteenth-century hand: "Bibliotheca Augustinianae Generalis Collegii Parisiensis fol. 10."


Decoration: rubricated. one line initials blue with red penwork or red with brown penwork. One large initial with marginal extensiton in red and blue, smudged.


Binding: eighteenth-century full brown calf, gilt oval centerpiece on covers. Upper also has large blind oval stamp depicting St. Augustine enthroned between kneeling friars; rebacked.


Bookplate: Jean-Bapiste L'Ecuy, abbatis Praemonstratensis.


Layout: single columns of 25-37 lines.


Decoration: a few capitals and sections headings in red ink.


Layout: single columns of variable lines.


Script: cursive.


Laid in: autograph letter,signed, from the Liverpool bookseller Jaggard to Allan Heywood Bright, 1896 April 27, concerning the unknown early provenance of the manuscript. With autograph and typed notes by Allan Heywood Bright, 1898 and undated.


Title from ownership inscription by Remy Megret (f80r).


Opening sentence: Les continuelles meditationes de la volubilite et soudaine mutation des creatures raisonnables.


Layout: single columns of 19 lines.


Script: gothic bastarda.


Decoration: 13 large full-color miniatures in architectural frames illustrating various events in the allegorical pilgrimage of the author's soul, guided by Dame Inspiration. The opening miniature is full-page and depicts the author asleep beneath a tree hung with her coat of arms. Other subjects include: the soul, accompanied by Dame Inspiration, begins her pilgrimage to the Fontaine de Penitence f.9; Inspiration explains to the soul what needs to be done in order to reach the Fontaine de Penitence f.11, the soul, carried on the back of Inspiration, flies to the Château de Contention diabolique f.17, Inspiration and the soul meet Raison f.20; the soul enters the Chemin de Crainte de Dieu f.35; souls are cleansed in the Fontaine de Penitence f.47; the soul sets off on her journey to the Terre de Promission f.50v; the company journey to the coast where they find boats awaiting them f.53; the company embark f.58; the company sets off on the Navire de Penitence f.61; the company is attacked by seven other boats f.63; the company is swept up by the Vent de Hypocrisie f.69v.


Pledge note naming "henrico matthew" on f376v in a contemporary hand.


Second parchment front flyleaf recto contains a note on the death of "myne uncle Oliver Godfraye" on 2 September 1550. Parchment bifolium (8 x 6 mm.) containing entries on events from 1297 to 1341 sewn onto flyleaf below the note. Verso contains ownership inscription of John Burns dated September 24, 1921 with slip recording auction sale 19 July 1928 pasted in below.


Account fragment in a contemporary secretary hand pasted in on f12r.


Fragments of the first printed edition of John Gower's Confessio Amantis, printed by William Caxton in Westminster 2 September 1483, (almost one full leaf, d4, Goff G-329) pasted in on f13r. Annotation in pencil below by Sebastian Evans.


Bookplate of Sebastian Evans on front pastedown.


Bookplate of Harold Douthit on front pastedown.


Layout: single columns of 30-42 lines.


Script: secretary hand.


Decoration: rubricated. Two-line initials of blue with red penwork. Pythagorean diagram in red and black tipped in at f88v.


Binding: contemporary leather over beveled wooden boards with two straps and nielloed clasps and catches; repaired and restored in the twentieth century.


Layout: double columns of 50 lines each.


Decoration: rubricated. Initials in red.


Binding: nineteenth-century full red morocco, gilt; by Charles Lewis.


Decoration: rubricated. Five half-page miniatures and one arch-topped miniature, accompanied by full-page borders. The subjects of the miniatures are as follows: f.3 A lady kneeling before St. Jerome, seated, with the lion at his feet. f.10 The same lady presented to the Annunciate Virgin by the Archangel Gabriel, whose scroll greeting the Virgin curls up behind the lady's head as if she too uttered the words. f.19 Coronation of the Virgin with hovering angels on either side with scrolls oriented for them to read 'Hec est regina virginum' and 'Ave maris stella'. f.30v Christ standing in a lush landscape teaching the kneeling apostles and disciples the Lord's Prayer, the words on his scroll coming from Matthew 6:9. f.48 The lady, with her patron St. Jerome, kneeling and offering her soul, in the form of a naked child, up to God above, illustrating the opening words of Psalm 24 (Vulgate) on her scroll; to the right a young man kneeling with his patron saint, a deacon martyr, and the second verse of the psalm continuing on his scroll. f.101 Crucifixion flanked by the lady with the Virgin and the young man with St. John the Evangelist.


Binding: contemporary blind-stamped brown leather; central panel with lozenges with fleur-de-lys bordered by tooled swans and winged fruit. Two later metal pins and leather straps.


Full spine title: The Lock off Love. Meditatyon upon the 51st Psalme &c. MS.


Layout: single columns of varying lengths.


Script: almost entirely in secretary script; a few passages, headings and mottos in italic.


Decoration: some rubrication. Three highly decorated title pages with wide ornamented borders. The title page for The Lock of Love is a rebus title with drawings for the lock and the key. The second and third title pages are in red and black ink. The manuscript also contains a variety of initials, headings and tailpieces with decorative penwork in black ink.


Binding: nineteenth-century full brown calf, gilt, with armorial centerpiece of the Dukes of Northumberland; compartmented spine, gilt; red leather shelfmark tag: MS 469.


Great seal of England attached by red silk cord.


Layout: single column of 19 lines.


Decoration: large initial R and calligraphic ascenders in the first line.


Layout: single columns of 18 lines. Music with square notation on four-line staves.


Decoration: rubricated. Initials alternately in red and blue; large opening initial in liquid gold with blue and red penwork.


Binding: contemporary blind-stamped calf; one clasp and catch, repaired.


Volume imperfect. Lacks opening leaf and many leaves throughout.


Some marginalia in contemporary and other early hands.


Layout: double columns surrounded by gloss.


Decoration: rubricated. One-line initials in red or blue with penwork in contrasting ink. Larger initials in blue with red penwork. Numerous decorations in penwork to capitals and text edges.


Binding: Original? binding of light reversed calf over beveled wooden boards, sewn on nine double thongs. With a sheepskin chemise cover with flaps of skin remaining at foot and foredge. Remains of two clasps attached in recesses cut in earlier binding and passing through holes cut into chemise cover.


Signed and dated by the scribe, Jacobus Burenman of Waldsee, canon of the Premonstratension abbey of Schussenried, November 20, 1472.


Layout: single columns of 25 lines.


Decoration: rubricated. Initials and some embellishments in red.


Binding: contemporary blind-tooled pigskin over wooden boards; remains of single clasp.


Layout: two columns, the left containing genealogical trees for Scottish and English kings, the right containing genealogical and historical notes.


Decoration: numerous calligraphic initials; large royal coat of arms in pen and ink.


Binding: mounted on linen.


Decoration: coats of arms in multicolored pen and wash.


Binding: seventeenth-century full black morocco, gilt; rebacked.


With: multiple entries on front and back flyleaves in Latin and English containing notes on the family history of various members of the Heneage family, 1528-1820 and undated. Also 6 pages of similar notes, laid in.


With: two horoscopes on back flyleaves for Michael Heneage, 1532 March 28.


Decoration: two full-page borders accompanied by three-line foliate initials on a gold ground (ff.1, 40); three three-sided borders (ff.32, 35, 92v), four- and five-line initials in gold on a ground of blue and red with white ornament and leafy sprays extending into the margin (ff.20v, 90v, 92v), one three-line foliate initial on a gold ground with extensions forming a two-sided border (f.81), two-line and three-line initials alternately in gold with blue penwork, or blue with red penwork, usually forming reserved leafy designs within the body of the initial and extending up and down the left margin, one- to six-line paraphs in the text and margins alternately gold with blue penwork or blue with red penwork,


Binding: contemporary white doeskin over cushioned boards, sewn on six double bands; remains of two clasps including nails. Lower edge of leaves inscribed "hylton" in a contemporary hand. Center of upper board inscribed with a capital E and W-B in a nineteenth century hand.


Note pasted on back in the hand of French botanist Duhamel du Monceau.


Explicit signed and dated by Gonzales de Vega, 14 August 1415.


Layout: single columns of 29-32 lines.


Script: cursive chancellery script.


Decoration: public notary's initials at the bottom of every folio. Some pen flourishing and decorated initials at the start of Latin texts; five two-line initials in red ink with purple penwork; two four-line initials in gold leaf with elaborate purple penwork.


Binding: contemporary full green sheepskin over pasteboards; remains of ties.


Written on upper board: 1372. Notario de Auila.


Woodcut sign manual of King Edward VI at the head of the document, with "By the kyng;" counter-signature of Lord Protector Somerset ("E. Somerset") at the end of the text.


Papered seal on verso with address.


Date in original given as: "the last day of the twelfth moneth called ffebruary Anno Dom 1648."


Laid in: four additional maps, unfinished, and an autograph document, signed, by Pierre Jacotin, detailing the contents of the survey.


Binding: contemporary blue-gray cardboard, stitched. Paper label affixed to front cover: Atlas de Bois de la Houssaye. 1797.


Laid in: correspondence and notes concerning the possible attribution of this volume to Richard Philips (1661-1751), governor of Nova Scotia, 1942-1961 and undated.


Binding: contemporary panelled calf; gilt edges.


Phillipps MS 8186.


Bound in later half calf and marbled boards.


This manuscript does not have modern foliation. Where possible, the present description uses the incomplete 16th-century foliation, ending at f. 152. Unfoliated pages are referred to using Roman numerals at the beginning of the manuscript, and as if foliated towards the end.


Date in original given as: nono die Ianuarii anno Regni nostri Anglie Francie et Hibernie decimo sexto et Scotie Quinquagesimo secundo.


Ff. 89-80, back flyleaf and former pastedown, is a bifolium in a different, round gothic bookhand, containing part of an alphabetical index to an unidentified legal text.


Foliation given as found in the manuscript, including six foliated stubs.


Ownership inscription in the lower margin of f1r: Iste liber est conventus sancti dominici de gayeta ordinis predicatorum...


Laid in: fragment of a description of the manuscript, in French, in a nineteenth-century hand.


Layout: double columns throughout, mostly of 60-65 lines each. Four-column list of chapter headings on f87v-88v.


Script: semi-cursive gothic bookhand.


Decoration: two-line initials in pen and ink.


Binding: eighteenth-century half sheep; patterned paper over pasteboards.


Binding: contemporary reverse half-calf over marbled boards.


Ownership inscription on recto of front flyleaf: ex libris Jacobi Collombet, sub disciplina Reuerendo patris Lamberti, anno domini 16[89?].


Binding: contemporary full calf, gilt six-compartmented spine. Gilt spine tag: Physica.


Binding: original limp vellum with ties.


Binding: contemporary full calf, seven-compartmented spine, gilt.


Pages numbered 1-158; pages 86-142 blank.


Binding: contemporary full mottled calf; five-compartmented spine, gilt; tan morocco spine label, gilt.


Nursery rhyme on cover: "Handy Spandy, Jack a dandy, loves plum-cake and sugar-candy; He bought some at a grocer's shop, and out he came, hop-hop."


"A series of sixty - no. 11. Average 22 sticks. Made in Austria."--Cover.


Spine title: Mélanges de M. de S. J.


Ownership inscriptions of John Austen on front cover and at top of first page of text.


Binding: original full parchment, panelled in gilt; marbled endpapers.


Removed from Foster, J. W., Report on the Geology and Topography of a Portion of the Lake Superior Land District in the State of Michigan (Washington: Printed for the House of Reps.,1850-1851), 2002 956.


Two pen-and-ink sketches of insects on pp. 3 and 6.


Tipped in: portait engraving of Galeotti by Aloysius Brighenti after Victor de la Marche, undated.


Binding: contemporary parchment over cardboard. Front cover labeled: 1788. Depositaria.


The survey of Hury Town in Baldersdale is attributed to "Richardson" (probably Richard Richardson of Darlington) and dated October 1763.


Binding: contemporary half-calf over boards.


Binding: nineteenth-century watered silk, decorated with velvet circles.


Ownership inscription on recto of first parchment leaf: Wm. Mason / Bookseller / Pickett Street / Strand.


Ownership inscription on recto of first parchment leaf: Dan Maclaurin / 83 Lombard St. / 1824.


Binding: contemporary full black morocco, elaborately gilt; floral and acorn motifs; six-compartmented spine, gilt. Gilt edges; marbled endpapers.


First three volumes bound in full contemporary vellum, with later reference numbers on two upper boards. Inventory volume bound in original marbled wrappers, with reference number on upper cover.


Each print titled below.


Painting after life referencing Hogarth?


With engraved billhead at head of first page and an additional small payment receipt signed by John Greeves attached to foot of third page, with embossed seal.


Script: Copied by a single scribe in Praegothica with Southern features in two sizes. Some glosses are added by other hands.


Decoration: Limited decoration. Paragraph marks by the scribe in the ink of the text. A few 1-line versals in red. A few larger primitive flourished initials, red or blue, with penwork in the opposite colour. The text of art. 1 begins with a 4-line littera duplex “M” in red and blue colour. Art. 2 opens with a 10-line primitive dentelle initial “I” in gold on a blue and red background, which is heightened with white penwork design. The initial is shown resting on the back of a small bent male figure, coloured red and gold.


Binding: Romanesque, with undecorated white (deerskin?) leather over rounded wooden boards, sewn on three leather thongs (spine repaired). There was originally one leather strap fixed with two nails to the front board and closing over a pin in the center of the rear board. Later this strap was replaced by two straps similarly fixed with iron nails to the front board. This arrangement appears to have been changed at the end of the Middle Ages, when a title was inscribed on the front cover and an iron chain was attached at the bottom of the front board by means of an iron staple. The endleaves are two parchment bifolios from an antiphonary (Italy, 11th century), containing text and music for the offices of Ash Wednesday and the first weeks of Lent. The notation is diastematic. Rubrics and initials are missing.


Script: Copied by Jodocus Sparlützel in a single hand in Gothica Hybrida Libraria. The scribe is elsewhere given the name Jodocus Sparlützel (Swicker) de Wil.


Decoration: Red stroking of the majuscules and red underlining. Red plain initials, normally 1-2 lines; the initial of the first lemma beginning with a given letter of the alphabet is larger (up to 7 lines) and may be a flourished initial with penwork in the same red colour. Many initials are given strange and fancy forms. Erroneous initials are found on ff. 109r, 246v, 248v. An initial “U” is missing on f. 246r, and in art. 4, no initials “T”, “X”, “Y” and “Z” were provided by the scribe.


Binding: Original binding, with a repaired spine, composed of (very damaged) undecorated brown leather over wooden boards, and sewn on three double cords(?), with plaited headbands. Five brass bosses are on each cover. Two clasps are attached to the rear board and rectangular engraved catches are on the front board. The inscription, in Northern Gothica Textualis Formata, is not deciphered.


Each with ms. note on verso. 1806 example printed on green paper.


Spine title: "Meteorological Observations by Beers & Howe."


Script: Written in Gothica Semihybrida Libraria. The original arts. 1, 2, and 5 are written in one hand. Art. 6 is in a different hand. The other texts are written by various hands in small script.


Decoration: In the original parts, there are countless red rubrics, 1-line versals, red underlinings, red stroking of majuscules and red running headlines. Some articles open with a larger red plain initial. In art. 3 there is red underlining and red stroking of majuscules. Art. 4 is undecorated. In artt. 7-9 there is red stroking of majuscules and extensive parts of the text are in red underline.


Binding: Original quarter binding sewn on three double cords: white pigskin over wooden boards, now covered by fragments of a 14th century liturgical music manuscript on parchment, with text in Northern Gothica Textualis Formata and “Hufnagel” notation on 4-line black staves. Handwritten title on spine (18th century). Paper(?) flyleaves.


Script: Copied by two scribes. Hand 1, the notary Franciscus Salvator (Francesco Salvatore) from Ventimiglia, copied artt. 1-4 in Gothica Semihybrida Libraria (Mercantesca). Hand 2 copied artt. 5-6 in Gothica Hybrida Libraria/Currens (Mercantesca).


Decoration: Long red headings up to f. 29r (artt. 1-2). In artt. 3-4, space for headings was provided, but they were not executed. Space was reserved for 2-line initials, but these were not executed. Artt. 4 and 5 are undecorated; there are no guide letters for the 1-line initials at the opening of each of these articles, for which space was reserved.


Binding: 20th century, brown leather and wooden boards. Spine has three raised bands.


Title changed in manuscript: Cayer de coppies des chartres octrois et confirmations des privileges de l'Université Caen.


Notes: a number of half-sized folios; seals stamped in ink appear on ff. 87, 91-114, 139-145, 154, 158, 159, 161-166, 173, 181-189; several pages cut at the inside margin following f. 189; drawings of faces appear on f. 102 and the inside of the rear cover.


Binding: 18th century vellum mended with canvas, inscribed with a brief title. The front cover of the manuscript is a fragment of a Ritual, with notes on 4 red lines.


Notes: Watermarks appear on ff. 276, 304, and 443; puncture holes appear on ff. 19 and 20, and 133 and 134; deliberate parallel incisions appear on f. 148; and a seal stamped in ink appears on f. 461.


Binding: 18th century vellum mended with canvas, inscribed with a brief title.


Notes: There are seals stamped in ink on ff. 42, 43, 164, 289, 290, 395, 467, 556.


Notes: A watermark appears on f. 26; seals stamped in ink appear on ff. 73, 369-373, and 473-477; wax (stamp?) preserved on ff. 180 and 554; deliberate parallel cuts and wax remnants appear on ff. 182, 184, 215, 274, 286, 288, 420, 512, 545.


Notes: deliberate parallel cuts appear on f. 75; and deliberate parallel cuts with wax remnants are preserved on ff. 29 and 43; seals stamped in ink appear on ff. 20, 21, 171, 173, 329, 332, 334, 346, 348-351, 356, 358, 360, 362, 364, 370, 372, 374-376, 388, 390, 392, 406, 408bis, 410, 411, 413, 415, 417, 419, 421, 423, 425, 426, 428, 430, 432-435, 440, 448, 450, 452-456, 458, 460, 462, 463, 466, 467, 467bis, 469, 471, 473, 475, 477-524, 526, 528, 530, 531, 534-538, 541-545, 556, 558, 560, 562, 564, 566, 568, 570, 572, 574, 576, 578, 580, 582, 584, 587, 588, 590, 592, 596, 598, 600, 602, 604, 606, 608, 610, 612, 614, 616, 618, 621, 623, 625, 627, 628, 630, 632, 634, 636, 638, 639, 640, 642, 644, 646, 648, 650, 652, 654, 656, 658, 660, 662, 666, 668, 670, 672, 674, 675, 677, 678, 681, 683, 685, 686, 689, 692, 694, 696, 698, 700-705, 712, 713, 716.


Notes: wax seals appear on ff. 22 and 88; seals stamped in ink appear on ff. 1, 3-5, 7, 9, 10, 12, 14-16, 20, 22, 25, 26, 28, 29, 31-33, 36, 38, 44, 45, 48, 50, 52, 53, 55, 57, 58, 61, 63, 64, 67, 69, 70, 72, 74, 76, 78, 80, 82, 84-86, 92, 94, 95, 98, 100-102, 104, 106, 108, 110, 112, 113, 116, 118, 120, 121, 124, 126, 127, 130, 132, 134, 136, 137, 139-144, 150, 152, 154, 160, 162, 164, 171, 173, 175-187, 201, 202, 205, 207-212, 214, 215, 218, 220, 221, 224, 226, 228, 230, 235, 237, 239.


Notes: Seals stamped in ink appear on ff. 1-8, 17-21, 27-32, 39-44, 51-56, 63-68, 75-80, 87-92, 99bis, 100-104, 110bis, 111bis, 112-116, 123-128, 135-140, 147-152, 159-164, 171-176, 183-187, 192-195, 199, and 200; the remains of two wax seals appear on the second f. 200, which is the second page following f. 200; and the remains of many pages cut along the inside margin follow f. 200.


Notes: the manuscript lacks folio pages numbers; a watermark image of grapes appears about 2/3 the way through the manuscript.


Notes: Manuscript contains many maps drawn in black and red ink; blue paper insert between ff. 105 and 106.


Annotation following p. 486: "Finished correction of the text, Dec. 16, 1838...".


A roll made from two sheets (each ca. 62 cm x 100 cm) and mounted on cloth, with the edges secured with green silk ribbon sewn on.


Written in black ink with lines in red ink. Mounted on cloth and edges secured with green silk ribbon sewn on.


Pages numbered 1-108, versos only.


Spine label: 576.


Mounted on a piece of brown paper, formerly part of an album, with a note in the hand of Lady Louisa Stuart at the top reading, "Poems written in her own hand & given by Lady Mary Wortley Montagu to her friend Henrietta Countess of Pomfret. The handwriting authenticated by Lady Mary's granddaughter Lady Louisa Stuart, youngest daughter of John 3rd Earl of Bute."


Note on first page of text authenticating the handwriting is signed by Louisa Stuart and dated 1845.


Written in ink on verso of mounting sheet: Lady Morgan (twice) and Miss Cagwo[rth?].


Written predominantly in pen and black ink.


Bound in contemporary parchment.


Bound in original vellum; original green silk ties largely mutilated.


Title from HTML t.p. (viewed June 29, 2015).


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Letter incorrectly dated: "Head Quarters Jan. 1. 1776."


Docketed: "General Washingtons Letter relative to the appointment of Col. Lee Jan.y 1777."


Cover: “1st draft shooting script (White) - 8/15/90."


Ownership label in the hand of Celilia Hoyle affixed to front pastedown: Cecilia Hoyle, the Gift of her faithful friend, since departed, James Thain.


Inscription on front flyleaf: Cecilia Hoyle. 10th Aug.t 1835.


Gilt spine title: Frithiof's Saga. | A Legend. | Trans. by Jas. Thain.


Binding: nineteenth-century black straight-grained morocco (damaged; lower board missing). Marbled endpapers.


Binding: original paper wrapper, stitched (upper cover missing).


Binding: contemporary paper wrapper, stitched.


Binding: contemporary full calf, rebacked.


The estimated date is based on a note at front (accompanying a small graphite sketch): "Found at Knoyle, Febry., 1844."


Bound in glazed green cloth, with loops at the fore-edge for the insertion of writing tools.


Bound in tan half calf and marbled boards; rebacked in tan cloth.


Dated in Old Style; "February 1736" is New Style February 1737.


Binding: original quarter-calf; plain paper boards.


Mounted on page 2 of William Bawtree's extra-illustrated copy of Horace Walpole's: A description of the villa of Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Kirgate, 1784. See A.T. Hazen's Bibliography of the Strawberry Hill Press (1973 ed.), no. 30, copy 11.


Ownership inscription on recto of front flyleaf: Wm. Hartley's Book. 1769.


Binding: original quarter calf over boards, rebacked.


Approximate date based on the paper's watermark, "Carrone 1825."


Layout: two columns of 46 lines.


Decoration: One initial in blue, with trailing penwork in red; pilcrows in alternating red and blue; rubrication.


Text is damaged by wear, with verso illegible.


Mackus M5945; accession 2016.gene.0009.


Decoration: two illuminated initials in blue, rose and pink.


Mackus M5944; accession 2016.gene.0008.


Devised title and date based on the manuscript's dedication title page: "To my daughter Mary Elizabeth, these notes of the lectures delivered in the junior course of botany by Dr. Lindley at University College London, are inscribed by her affectionate father, 1848."


Bound in contemporary dark green half sheep and marbled boards.


Mackus M5956?; accession 2016.gene.0010.


Mackus M5946; accession 2016.gene.0011.


Mackus M5947; accession 2016.gene.2011


Mackus M5948; accession 2016.gene.0011.


Mackus M5963; accession 2016.gene.0011.


Mackus M5965; accession 2016.gene.0011.


Mackus M5967; accession 2016.gene.0011.


Bound in contemporary marbled wrappers, with brown paper back.


Bound in contemporary stiff brown paper wrappers.


Title from caption, page 1. The cover is inscribed: "John Pendleton's book, June 28th, 1819."


Spine title: Ray's Letters.


The sheet is hand-dated 1914 at bottom (in blue ink), but it is unclear if this annotation is contemporary.


Bookplate: Armorial bookplate of Heneage Finch, Earl of Aylesford, on front pastedown.


Binding: contemporary full red morocco, gilt; marbled endpapers.


Binding: contemporary half-calf over marbled boards. Volume 1 has red leather spine tag, lettered "Under Sherriffs MSS." in gilt.


Cover title: Biography & collected papers of Eugene Fuller, M.D.


Ownership inscription on recto of front flyleaf: Tho.s Roberts. 1799.


Binding: contemporary quarter sheep over marbled boards.


"Notice. Goods left on the Quay longer than 48 hours, will be Warehoused at the risk and expense of consignees. Whitehaven, [July 16], 1851. [Mr. L. Whittle], The Steamer Whitehaven has arrived from Liverpool with the undermentioned goods consigned to you; they have now landed on the Old Tongue, and are at your risk. Fisher & Steward. Agents, 36, King Street. To be paid on delivery. Received the above for the Whitehaven Steam Navigation Company [T. Thompson]"


Royal coat of arms at top of billhead.


Record of school expenses for Lord Augustus Beauclerk for lodging, education, postage, medicine, shoemaker, tailor, hairdresser, cash going home, extra washing, sundries and house hire totalling £24/4/0.6. Receipt of payment not recorded.


"The Academy will open again on the [blank]. The amount of this bill may be paid into the Bank of Mess. Ladbroke, Bank Buildings, London on Dr. Burney's account with the Portsmouth Bank."


Includes a "Penny Lilac" tax stamp affixed to page [3].


The engraved billhead features an illustration of Wright's carriage shop.


"Established 1770. West Tower St. Carlisle and Penrith."


"N.B. Neat gigs to let."


"Five per cent interest charged on all overdue accounts."


Engraved coat of arms at top: Super nuber surget phœbus.


Includes a "Penny Lilac" tax stamp affixed to verso.


Billhead of John Fletcher, late Ravenscroft & Fletcher, draper, tailor, &c. 1. Red Lion Street. St. Ann's Square, recording two purchases by Mr. Davenport on August 6, 1827 and October 8, 1827 of 3 3/8 yard of serpentine cloth and the making of a coat, vest, silk buttons, and trousers and of 1 1/4 yard of fine black cloth and the making of trousers and 2 pairs of twill'd cotton drawers totally £8/13/6. Bears no receipt of payment.


Tax bill for William Hanham of Cranley totaling £53/7/3. Taxes to be paid include £14/8/9 for windows, £12/5/0 for servants, £10/10/0 for four wheel carriage drawn by more than 1 horse, £4/4/6 for horses for riding or drawing taxable carriages, £4/4/0 for dogs and a £10 per cent, thereon of £4/17/0.


"Assessed taxes to William Hanham Esq. of the Parish of Cranley. Your first assessment in my duplicate for the present year ending 5th April, 1843, of duties not compounded for, delivered to me on the 27 day of August under the acts relating to the duties of assessed taxes, amounts to the sum of 53/7/3 the particulars of which are stated on the back hereof, and the assessment may be seen at my house as undermentioned. If you have any cause to appeal against the same, you must give notice in writing, within twenty-eight days after the above mentioned day to the surveyor of taxes, or to one of the assessors of this place,. Signed: Charles Herington Collector. Residing at Cranley."


"The day of appeal is fixed for the 23 day of Sept. next at Guilford."


"West Sussex County Council. Motor Car act, 1903. Licence to drive" in gilt on dark blue pebbled covers.


Driving licence no. 14734 issued by the County of West Sussex. Valid from March 2, 1916-March 1, 1917.


"Frank Wickham of Woolbeding Rectory Cottage, Midhurst, is hereby licensed to drive a motor car or cycle for the period of twelve months from the 2nd day of March 1916 until the 1st day of March 1917 inclusive. S. Thomely : Clerk to the County Council, 51, East Street, Horsham."


"Endorsements. (Particulars of any endorsement of any Licence previously hald by the person licensed must be entered on this Licence)"--[2] blank pages at end.


Expenses include carriage (Leith), poterage and booking, and agency [illegible] & warehouse rent, totaling £ 0/3/11. Receipt of payment signed George Mather. 4/November/1812.


"No. 24957."


"Griffith Thomas, Clerk of the Company."


"*At 10 A.M. and 3 P.M., precisely. (If at any other hour a fee of 7s.6d.)"


"The certificate of death must be delivered to the Minister before the burial can take place."


"No. of grave 10,034."


The London, England, Church of England, Deaths and Burials, 1813-1880 records the burial of Emily Westear, age 25, on 28 Nov. 1865.


Printed on cream paper.


"Established for the exclusive sale of every article requisite for family mourning."


Printed on cream paper. Engraving at top of page of the store front of John R. Barklie. Text and engraving inside black border.


The engraved billhead features an illustration of Old Etherley Colliery printed by G. Atkinson, Darlington.


"A ticket similiar to this being given with every waggon or cart loaded at the pits, no coal offered in the market is the produce of Old Etherley except accompanied by a ticket."


One billhead of R., J. & S. Garrard, London goldsmith and jewelers recording purchases made by the Rev. L. Iremanger dated Oct. 19, 1824. Records purchases made in which Rev. Iremanger buys a mustard pot and ladle totalling £5/4/6. Payment received by Garrards.


Includes engraving of Royal coat of arms.


"Bought of R. J. & S. Garrard, late Wakelin & Garrard. Goldsmiths & jewellers, to the King and Royal Family. Panton Street, Haymarket, London."


Decoration: rubricated. Intials in blue with red penwork.


Decoration: rubricated. Initials in blue with red penwork.


Binding: contemporary heavy paper, stitched.


Binding: contemporary limp parchment.


Script: Gothic bookhand.


Decoration: rubricated, with paragraph marks and small initials in red, green and blue.


Decoration: Roman numerals heading sections and paragraph marks in red and blue ink.


Decoration: rubricated. Initial in blue ink with red penwork. Paragraph marks in red and blue ink.


Bound in contemporary gilt-tooled leather.


Box 1 contains chapters 1-5. Box 2 contains chapters 6-12.


Bound in contemporary pebbled black cloth.


Stitched, in green silk thread.


Decoration: two pages of illustrations of uroscopy cups in red and black ink.


Layout: single column of varying lengths.


Binding: contemporary gold-tooled brown leather binding over wood.


Foliation: 1-20 and 90-175.


The approximate date is taken from folio 174v: "The kings medicen for the plague used in london anno div. 1545."


Binding: Boards covered in red cloth with geometric design embroidered in gold silk thread.


Formerly sewn.


Includes two signatures of Prince Frederick, three of G. Hotham, and one of King George III.


Some QSL calling cards are undated.


A QSL is generated when a first-time contact between two amateur radio operators (hams) or stations occurs. It is an acknowledgement of the listening and is usually the size of a postcard. Each card includes the call sign of its sender along with date and time of the call, equipment used to make the call, and any words or illustrations that describe the ham and his/her home. QSL means, "Do you confirm receipt of my transmission?" or "I confirm receipt of your transmission."


In contemporary marbled wrappers; leather back.


Written on vellum.


Letters of administration, dated February 8, 1781, of William Morgan, who died aboard the Terrible (privateer) in 1781. The document names his father, William Morgan, as administrator. It is witnessed and also signed by Mark Holman, deputy registrar. Bishop of London probate seal attached.


Will, dated November 9, 1781, of Richard Lynch, who died aboard the Terrible (privateer) in 1781. This will names his wife, Elizabeth Lynch, as administrator. The document was witnessed and also signed by Mark Holman, deputy registrar. Bishop of London probate seal attached.


Layout: single columns of approximately 40 lines.


Script: cursive script in black ink.


Decoration: Rubricated paraphs and rubrics in margin; titles touched in red.


Binding: blind-tooled leather over beveled wooden boards. Front board has compartments containing labeled busts of Apollo and the muses, surmounted by the title "Sermones Dei." A gilt tableau of the Crucifixion is in the central panel, above the Biblical verse "os non cominu: ex eo." Back board has busts of the muses with busts of Peter and David in the central panel. Remains of metal clasps.


Date "1541" at the foot of f188v.


Annotation in red ink in the right margin of f358v: Editi a c e suggesto pop[ul]o cleri[c]ali in loco Tharnouien[si] anno d 1 5 4 8.


Title on lower edge: de tempore sermones A.


Early modern parchment spine tag: Sermones Clementis de Radymno. Manuscriptum 1539.


Intermittent foliation in modern pencil.


Manuscript attributed to Radymno in bookseller's description.


Title from dealer's description.


Uncut in contemporary half calf, with red morocco label lettered 'Accounts' on spine and dated 1794.


Bound in contemporary gilt-tooled red morocco. Leaves of the volume are of mixed colors.


Genealogical charts are illustrated with 63 hand-colored coats of arms. Title page decorated with Fowles's coat of arms quartered with the arms of his wife, Margaret Jefferay.


Binding: late seventeenth-century or early eighteenth-century paneled, sprinkled calf, gilt; rebacked.


Binding: original green-stained parchment.


Binding: contemporary full mottled calf; rebacked, with gilt compartmented spine preserved.


Binding: contemporary full calf, probably French, with compartmented gilt spine.


Ownership inscription on first page at left of title: Elyzebeth Walsingham her boock. 1680.


Ownership inscription on front pastedown: Madam Christian Bennet.


Binding: contemporary full dark brown paneled morocco, gilt, with floral cornerpieces.


Binding: contemporary limp parchment wrapper.


Text block foliated 1-47 in a contemporary hand, but with an unnumbered textual leaf between 1 and 2. Blank leaves at the beginning and end of the volume.


"Gower" written in upper-right corner of first blank page (unfoliated).


Byname: Gower Manuscript.


Binding: contemporary limp parchment, gilt; central gilt lozenge within a single line frame. Two tie holes in each cover.


Bookseller's description pasted to front flyleaf.


Script: each of the three sections in a gothic bookhand influenced by secretarial script.


Decoration: rubricated. Paragraph marks and initials in red.


Binding: alum-tawed sheepskin over wooden boards; 3 double alum-tawed sewing supports; original end bands intact. Rust marks and holes from original chain attachment; remains of metal catch.


Scrapbook has been attributed to Albert Henry Warren (1830-1911), painter and illustrator.


One leaf with upper corner cut away.


Script: gothica textualis.


Decoration: rubricated. The volume contains 39 illuminated marginal initials, many with long marginal extensions incorporating animals or monsters. The disbound leaves contain several smaller initials. Some illuminated initials, and some leaves that most likely contained illuminated initials, appear to have been cut out in the disbound leaves.


Binding: seventeenth-century Cambridge-style paneled calf, blind-tooled; rebacked.


Manuscript, in several hands.


On back of front cover: Miss Helen E. Weaver ...


Authors unnamed.


Ms. illustration of guitar fingering chart.


From the library of Luigi Sagrini.


From the Mary Belle Swingle Guitar Collection: "given to me by R. Ridgill Trout, Pa Robson 2/1929."


Script: written in uncial script and occasionally punctuated with a punctus. A later hand has added a punctus in Luke 13.5.


Decoration: the initials are slightly enlarged and are written on the inner vertical bounding line; and one initial "E" is filled with orange.


Script: Luxeuil minuscule.


Decoration: 1-line capitals are written in brown uncials and are not set apart from the text.


Script: written in Visigothic minuscule.


Decoration: 2-line initials in brown uncials with occasional red-orange filling; 1-line initials in brown uncials; chapter headings in a script with both Visigothic and uncial elements; punctuated with puncti (occaionally, punctus elevatus).


Script: written by several scribes in Caroline minuscule; corrections added by contemporary hands.


Decoration: 1-line capitals in brown uncials; some orange-red uncials; punctuation consisting of punctus, punctus elevatus, and vigule.


Former call number: Beinecke MS 482.1B (f. 2).


Script: written in Caroline minuscule; a later hand has made some corrections.


Decoration: 1- and 2-line initials in brown uncials; running titles in brown rustic capitals; punctuation consisting of punctus elevatus, punctus versus, and punctus interrogativus.


Script: written in Caroline minuscule; a later hand has altered some punctuation; modern hands have added some textual indentifications and numbering.


Decoration: 1-line initials in brown uncials; brown and/or orange-red rustic capitals on ff. 5r, 6r, and 12v; brown or/and orange-red uncials on f. 11r and v; punctuation consisting of punctus, punctus elevatus, punctus versus, and punctus interrogativus; and quire signatures "v," "vi," and "vii" appear on ff. 4v, 8v, and 10v, respectively, suggesting the manuscript fragments preserve portions of the last five quires of a ten-quire manuscript.


Former call numbers: Beinecke MS 482.6A (f. 4), B (f. 9), C (f. 3), D (f. 6), E (f. 11), F (f. 2), G (f. 1), H (f. 8), I (f. 7), J (f. 5), K (f. 10); Beinecke MS 482.5A (f. 6), B (f. 9), D (f. 12), A (f. 14), and C (f. 15).


Script: Written in Caroline minuscule; corections added by a late 14th or early 15th century hand; an undeciphered annotation added by a modern hand.


Decoration: 1-line capitals in brown uncials; punctuation includes the punctus.


Script: Written in Caroline minuscule; the letters have been almost entirely retraced due to (perhaps 11th century) water damage.


Decoration: 2-line intials in brown uncials; some highlighting in red; traces of a rubric between the two sermons; punctuation consisting of the punctus, punctus versus, and punctus elevatus.


Another copy of this homilary is found in Beinecke MSS 482.4 and 484.2.


Script: Written in Caroline minuscule, with accents added by a later hand; marginal references added by a 16th century cursive hand.


Decoration: 1-line capitals in brown uncials, with occasional rustic capital forms; the rubric of chap. 73 and qutations from the Regula S. Benedicti written in bright orange ink; punctuation consisting of punctus, punctus elevatus, punctus versus, and a series of three puncti.


Script: written in Caroline minuscule; annotations added by modern hands.


Decoration: 4-line initial "I," in orange with foliate ornamentation, beginning Tractus 36; 2-line initial "A" in a similar style; 1-line initials in brown uncials; rubrics in orange rustic capitals; punctuation consisting of the punctus, punctus elevatus, punctus versus, punctus interrogativus, and the punctus flexus.


Script: written in Caroline minuscule, with marginal notation (on f. 1v) in a contemporary hand, probably the text scribe.


Decoration: 1- and 2-line initials in brown uncials; punctuation consisting of the punctus, punctus elevatus, and punctus interrogativus.


Former call numbers: Beinecke MS 482.17 (f. 2).


Script: written in Caroline minuscule; corrections added in dark ink by a contemporary hand; annotations identifying biblical passages and Augustine's tractates added in pencil by a modern hand.


Decoration: 4-line initial "P" in brown and red on f. 2r; 1-line intials in brown uncials; rubric in red uncials; punctuation consisting of the punctus, punctus elevatus, punctus versus, and the punctus interrogativus.


Script: written in Caroline minuscule; corrections added in darker ink by a contemporary hand.


Decoration: 1-line initials in brown rustic capitals or uncials; punctuation consisting of the punctus, punctus elevatus, punctus versus, and punctus interrogativus.


Former call numbers: Beinecke MS 482.7 (column B of the folio).


Script: written in Caroline minuscule.


Decoration: 1-line initials in brown uncials with occasional square capital forms, frequently filled with dark red ink; rubics in dark red square capitals mixed with uncial and minuscule forms; punctuation consisting of punctus, punctus elevatus, punctus versus, and punctus interrogativus.


Former call numbers: Beinecke MS 482.10 (f. 1).


Decoration: 1-line initials in brown uncials; punctuation consisting of the punctus.


Script: written in Caroline minuscule; corrections added in a lighter ink; accents added y a later hand.


Decoration: 1-line initials in a mixed form of uncial and rustic in brown ink; rubrics in red majuscules; on f. 1v, an 11-line initial "T," in the "early geometric style" of central and northern Italy in the late 11th and early 12th centuries; on f. 2v, a large initial has been cut out.


Date based on date of William Bawtree's death.


Mounted on page 233 of William Bawtree's extra-illustrated copy of Horace Walpole's: A description of the villa of Mr. Horace Walpole. Strawberry Hill : Printed by Thomas Kirgate, 1784. See A.T. Hazen's Bibliography of the Strawberry Hill Press (1973 ed.), no. 30, copy 11.


The leaf was originally part of a Gradual that is now Beinecke MS 42. The evidence is that it followed folio 52.


This leaf has been attributed to Attavante degli Attavanti.


Decoration: in addition to the large historiated initial, the wide border contains numerous putti and eight figurative rondels.


Accompanied by a typed transcript made by an unidentified transcriber.


Accompanied by a typed transcript of the letter made by an unidentified transcriber.


Decoration: 2-line initials in red capitals, set apart from the text; rubrics written in red minuscule; interlinear neumes in the St. Gall style; neumed differentiae (evovae) provided in the outer margins for antiphons with full text; punctuated with punctus placed on base line.


Other leaves from the same antiphonary are preserved in the bindings of Lambach, Stiftsbibliothek, Cml XVI (2 leaves) and Cml LXXIII (the Lambach Rituale, 1 leaf).


Decoration: 2-line initials in brown uncials, between the double bounding lines; 1-line initials in brown uncials. Incipits, explicits, and chapter titles written in orange-red rustic capitals; punctuated with punctus and punctus versus. Corrections and marginal notes by a contemporary or slightly later hand.


Script: written in late Caroline minuscule.


Decoration: 2-line initial "Q" on f. 1v in red; 1-line initials in brown capitals with uncial M and an enlarged minuscule e; rubrics written in red minuscule, with occasional use of uncial M; interlinear neumes in the St. Gall style; punctuated with punctus placed on the base line; cross-shaped "+" mark in brown ink on f. 1r.


Decoration: crude 6-line initial "D" and 5-line initial "L" in brown and orange-red ink, L terminates in a bird's head; 1-line initials in brown uncials with enlarged minuscule "e" and frequently touched in red on f. 1r; incipits and explicits in brown rustic capitals and the word explicit traced in red; punctuated primarily with punctus; three scribes; scribe one occasionally uses punctus elevatus and punctus versus; contemporary corrections in lighter ink.


Decoration: Large 1-line initials in brown square capitals with the round form of E; smaller 1-line initials written in brown rustic capitals with an enlarged minuscule "e"; punctuated with punctus, punctus versus, and punctus interrogativus; accents added by later hand; a hand in darker ink altered punctuation and made several corrections.


Condition: many worm holes; the letters have been retraced over earlier letters which were presumably damaged by water; another MS from Lambach with similar water damage is Beinecke MS 481.8.


Decoration: 2-line initials in brown rustic capitals; portion of a running head in red in the upper margin of the verso; punctuated with punctus, punctus elevatus, punctus versus and punctus interrogativus; a contemporary hand has made some corrections and added a paraph at the beginning of chapter 20.


Decoration: written in two sizes, with a smaller script for the chants and a larger script for the lessons; drawing of a face with the words " Vita S. Uodalrici episcopi et confessoris" in brown ink; 2-line initial "V" at the beginning of the office on f. 2r is a red square capital; 1- and 2-line initials of lessons are in red uncials or square capitals; 1-line chant initials are brown uncials; rubrics written in red capitals; punctuated with the punctus for end of chants and punctus elevatus for lessons; antiphons and responses have interlinear neumes in the St. Gall style.


Decoration: written in two sizes, a smaller module for the chants and a larger one for the lessons; 2-line initials are in red square capitals; 1-line initials in brown square capitals; rubrics written in red minuscule; punctuated with punctus in chants and the punctus, punctus elevatus, and punctus versus within the lessons; accents in same ink as the text; interlinear neumes in the St. Gall style.


Script: written in Caroline minuscule; written in two sizes, smaller for chants, larger size for lessons; script similar to the style of Otloh of St. Emmeram.


Decoration: 2-line initials at the beginning of offices and lessons are in red square capitals; 1-line initials at beginning of chants are in brown square capitals with occasional use of uncial M and round E or an enlarged minuscule "m"; rubrics written in red rustic capitals; rubric letters for chants frequently written in left margin; liturgical directions written in brown rustic capitals touched with red; punctuated with punctus for the end of chants, and punctus, punctus versus, and punctus interrogativus for the lessons; chants have interlinear neumes in the St. Gall style.


Script: written in two sizes of Caroline minuscule, with a smaller script for the chants and a larger one for the lessons; by the same scribe who copied the psalter preserved in Beinecke MS 481.46.


Decoration: 3-line initial on f. 1v in orange that has been filled with crude, brown cross-hatching, perhaps later; 2-line initials at the beginning of lessons are in orange square capitals; 1-line initials are in brown rustic capitals; rubrics written in orange minuscules with rustic capitals; punctuated with punctus in chants and punctus and punctus elevatus within lessons; chants have interlinear neumes in the St. Gall style; marginal notation in a contemporary hand on 3r.


Script: written in two sizes of Caroline minuscule with a smaller script for chants and a larger script for lessons.


Decoration: 1-line initials at beginning of lessons and of lauds are in orange square capitals or uncials; other 1-line initials are in brown rustic capitals with enlarged minuscule "e" are occasionally highlighted in orange; initials of responses ornamented with orange dots; rubrics written in orange capitals; punctuated with punctus in chants and punctus, punctus versus, and punctus interrogativus in lessons; antiphons and responses contain interlinear neumes in St. Gall style.


Decoration: 1-line initials in mixture of uncials and square capitals, mostly in black but occasionally in red; punctuated primarily with punctus with occasional use of punctus elevatus and punctus versus; hyphenation in same ink as the text.


Script: written in Caroline minuscule with archaic features such as half-uncial "g", "rt" ligature, and occasionally half-uncial "a".


Decoration: 1-line initials are in brown uncials with an enlarged minuscule "e"; punctuated with the punctus for major pauses and the punctus elevatus for minor pauses.


Decoration: 1-line initials in brown in a mixture of uncial, rustic capital, and enlarged minuscule forms; running titles written in red rustic capitals in the upper margin; punctuated with punctus, punctus elevatus, punctus versus, and punctus interrogativus; hyphenation in same ink as the text.


Decoration: 3-line initials in red; "D" in square capital and "E" in uncial; 1-line initials are either red square capitals or brown rustic capitals; rubrics written in red, usually as rustic capitals; punctuated with punctus placed on the bottom line at the end of chants; interlinear neumes in the St. Gall style; numbered cues added in red above all abbreviated chants; rubrics in red miniscule.


Decoration: 1-line initials are in brown rustic capitals with occasional use of an enlarged minuscule "e"; punctuated with punctus and punctus interrogativus; a contemporary hand has made corrections and altered punctuation in a somewhat lighter ink.


Script: written in two sizes of late Caroline minuscule with a smaller script for the responses and a larger script for the lessons.


Decoration: 2-line initials are in orange-red square capitals; 1-line initials are in orange-red square capitals; other 1-line initials are in brown rustic capitals; rubrics written in orange-red, which has oxidized in places; punctuated with punctus and punctus elevatus; hyphenation in same ink as text.


Decoration: 1-, 3-, and 4-line homily initials and lesson initials are in red square capitals; 1-line initials are in brown rustic capitals; rubrics written in red minuscule; first word of sermon on 3r written in brown rustic capitals highlighted with red; punctuated with punctus, with rare use of punctus elevatus; punctus interrogativus also used; accents and hyphenations in same ink as the text.


Decoration: two 7-line initials in yellow on a square ground, colored with blue, red, dark red, and green and decorated with white interlacing foliage; 2-line initials at the beginning of lessons in red square capitals; 1-line initials in brown uncials; rubrics written in red uncials with rustic capital "D"; first words of the homily and the first initial of the biblical text are written in brown uncials with rustic capital "D" filled with red; punctuated with punctus, punctus elevatus, and punctus interrogativus.


Script: written in an elegant Caroline minuscule in the same style and presumably in the same scriptorium as Beinecke MS 481.39 as well as several other fragments still at Lambach.


Decoration: 2-line initials written in orange uncials; rubrics written in orange rustic capitals; the first 1 to 4 words of each hymn are written in brown rustic capitals; there is space for neumes in the outer margin but they have not been added; punctuated with punctus.


Script: written in two sizes of Caroline minuscule, with a larger script for the lessons and prayers and a smaller script for the chants.


Decoration: 2-line initials in orange square capitals, but with round "D"; 1-line intials in brown rustic capitals frequently filled with orange; rubrics written in orange minuscule with uncial "M" and occasional rustic capitals; punctuated with punctus and punctus elevatus; chants on the recto have interlinear neumes in the St. Gall style.


Decoration: 3-line square capital "Q" in orange, remainder of the first line written in brown rustic capitals; 1-line initials are in brown uncials; rubric written in orange rustic capitals; first line of the sermon is in brown rustic capitals; punctuated with the punctus.


Decoration: 1- and 2-line initials are a mixture of orange uncials and square capitals; rubrics are written in orange rustic capitals; the first 2 to 4 words of each sequence are written in a mixture of brown uncials and square capitals; punctuated with the punctus; neumes in the St. Gall style are in the outer margins.


Decoration: 3-line initials are the beginning of each sequence are written in a mixture of orange square capitals and uncials; 1-line initials at the beginning of verses are in a mixture of orange square capitals and uncials; rubrics written in orange minuscule; first line of each sequence written in brown rustic capitals; punctuated with the punctus; interlinear neumes are present in one sequence.


Decoration: 1-line square capital "A" is in orange; smaller 1-line initials are mixture of square capitals, uncials, and rustic capitals and are in brown, sometimes dotted with red; rubrics written in orange minuscule; punctuated with the punctus.


Decoration: only six lines of the homily initials "I" are preserved; the shaft of the letter is half red and half yellow on a geometric ground of blue and pale purple, with vine-stem decoration in red; 1-line initials are in brown uncials with occasional rustic capital forms (D, Q, M) and enlarged minuscule forms (n); punctuated with the punctus and the punctus interrogativus.


Decoration: only the upper eight lines of the homily initial "I" are preserved; the initial is yellow on a red, blue, purple, and green ground; 1-line initials are a mixture of brown rustic capitals and uncial forms with the occasional use of an enlarged minuscule "e"; rubric in red minuscule; punctuated with the punctus, punctus elevatus, and punctus interrogativus; hyphenation and diacritical marks in same ink as text.


Script: written in Carolina minuscule.