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      • Adelaide Bennett Hagens
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      • Events
      • Congress Activities
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        • Co-sponsored Conference Sessions (2006‒)
    • History
      • Seals, Matrices & Documents
      • Genealogies & Archives
  • Bembino
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  • Congress
    • Sponsored Conference Sessions (1993‒)
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      • Abstracts Listed by Year
    • Kalamazoo Archive
    • Panels at the M-MLA Convention
      • Abstracts of Papers for the M-MLA Convention
  • Events
    • The Research Group Speaks: The Series
    • Seminars, Workshops, Colloquia & Symposia (1989–)
      • Seminars on ‘The Evidence of Manuscripts’
      • Symposia on ‘The Transmission of the Bible’
      • The New Series
        • 2019 Anniversary Symposium Program: The Roads Taken
        • 2019 Anniversary Symposium Registration
        • 2019 Anniversary Symposium Registration Open
    • Abstracts of Papers for Events
      • Abstracts of Papers for Seminars on ‘The Evidence of Manuscripts’
      • Abstracts of Papers for Symposia, Workshops & Colloquia
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    • Photographic Exhibitions & Master Classes
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        • Mildred Budny, ‘Catalogue’
        • The Illustrated Catalogue (1997)
      • The Illustrated Handlist
      • Semi-Official Counterfeiting in France 1380-1422
      • No Snap Decisions: Challenges of Manuscript Photography
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Verso of Leaf from the Dialogues of Gregory the Great, Book III, chapter 7. Photography by Mildred Budny
2023 International Congress on Medieval Studies: Preparations
The Weber Leaf from “The Warburg Missal” (Otto Ege Manuscript 22)
Folio 4 with Latin Blessings for Holy Water and an Exorcism for Salt
Portfolio 93 of Ege’s “Famous Books in Eight Centuries” in the Collection of Richard Weber
A Leaf from ‘Otto Ege Manuscript 214’ in the Collection of Richard Weber
Two Ege Leaves and Two Ege Labels in the Collection of Birgitt G. Lopez
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Two Old Testament Leaves from ‘Otto Ege Manuscript 14’ at Smith College
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Lead the People Forward (by Zoey Kambour)
The Curious Printing History of ‘La Science de l’Arpenteur’
A Leaf in Dallas from “Otto Ege Manuscript 14” (Lectern Bible)
How to Be Indiana Jones in the Catalog
Southern Italian Cuisine Before Columbus
Florence, Galleria degli Uffizi, Anonymous, Still Life of an Illuminated Book, German School, 15th century. Oil on Wood. Opened book with fanned pages. Image via Wikimedia, Public Domain.
Barbara Williams Ellertson and the BASIRA Project, with a Timeline
Two Vellum Leaves from a Large-Format Latin Breviary in Gothic Script
An Illustrated Leaf from the Shahnameh with a Russian Watermark
2021 International Congress on Medieval Studies Report
J. S. Wagner Collection, Leaf from Ege Manuscript 22, verso, bottom right: Ege's inscription in pencil.
Another Leaf from the Warburg Missal (‘Ege Manuscript 22’)
Hermes Trismegistus. Frontispiece image (Lyons, 1669) via Wikimedia Commons and Wellcome Images (Wellcome_L0000980).
Medieval Magic in Theory
More Leaves from a Deconstructed Sinhalese Palm-Leaf Manuscript
Private Collection, Sinhalese Palm-Leaf Manuscript, End-Leaf 01, Left.
A Sinhalese Palm-Leaf Book in Deconstructed and Reconstructed Order
Beinecke Rare Book & Manuscript Library, Otto Ege Collection, FOL Set 3, MS 40, Specimen 1: folio '1'r, Top Left. Photography Mildred Budny.
Specimens of Ege Manuscript 40 in the Ege Family Portfolio
Otto F. Ege: Fifty Original Leaves from Medieval Manuscripts, Leaf 40, Printed Label, Special Collections and University Archives, Stony Brook University Libraries.
Otto Ege Manuscript 40, Part II: Before and After Ege
rivate Collection, Koran Leaf in Ege's Famous Books in Nine Centuries, Front of Leaf. Reproduced by permission.
Otto Ege’s Portfolio of ‘Famous Books’ and ‘Ege Manuscript 53’ (Quran)
J. S. Wagner Collection, Early-Printed Missal Leaf, Verso. Rubric and Music for Holy Saturday. Reproduced by Permission.
Carmelite Missal Leaf of 1509
Private Collection, Castle Cartulary Fragment, Inserted Folded Sheet, Opened: Top Righ
Fragments of a Castle ‘Capbreu’ from Catalonia
Grapes Watermark in a Selbold Cartulary Fragment.
Selbold Cartulary Fragments
Smeltzer Collection, Subermeyer (1598), Vellum Supports Strip 2 Signature Surname.
Vellum Binding Fragments in a Parisian Printed Book of 1598
Set 1 of Ege's FOL Portfolio, Leaf 14 recto: Lamentations Initial.
Some Leaves in Set 1 of Ege’s FOL Portfolio
Church of Saint Mary, High Ongar, Essex, with 12th-Century Nave. Photograph by John Salmon (8 May 2004), Image via Wikipedia.
A Charter of 1399 from High Ongar in Essex
View to the Dorm at the End of the Congress.
2019 Congress Behind the Scenes Report
Opening of the Book of Maccabees in Otto Ege MS 19. Private Collection.
A Leaf from ‘Otto Ege Manuscript 19’ and Ege’s Workshop Practices
2020 Spring Symposium: Save the Date
At the Exhibition of "Gutenberg and After" at Princeton University in 2019, the Co-Curator Eric White stands before the Scheide Gutenberg Bible displayed at the opening of the Book of I Kings.
“Gutenberg and After” at Princeton University Library
J. S. Wagner Collection. Leaf from from Prime in a Latin manuscript Breviary. Folio 4 Recto, Initial C for "Confitimini" of Psalm 117 (118), with scrolling foliate decoration.
A Leaf from Prime in a Large-Format Latin Breviary
J. S. Wagner Collection. Detached Manuscript Leaf with the Opening in Latin of the Penitent Psalm 4 or Psalm 37 (38) and its Illustration of King David.
The Penitent King David from a Book of Hours
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2019 M-MLA Panel Program
Coffee Break at our 2002 British Museum Colloquium. Our Director, Dáibhí Ó Cróinin, and Giles Constable. Photograph by our Associate, Geoffrey R. Russom.
Revisiting Anglo-Saxon Symposia 2002/2018
The red wax seal seen upright, with the male human head facing left. Document on paper issued at Grenoble and dated 13 February 1345 (Old Style). Image reproduced by permission
2020 ICMS Call for Papers: Seal the Real
Yale University, Beinecke Rare Book and Manuscript Library, MS 1183. Photograph courtesy Kristen Herdman.
2019 Anniversary Symposium Report: The Roads Taken
Detail of illustration.
Sanskrit and Prakrit Manuscripts
Detail of recto of leaf from an Italian Giant Bible. Photography by Mildred Budny
2019 International Congress on Medieval Studies Program Details
Thomas E. Hill stands at the entrance to the Vassar College Library. Photography by Mildred Budny
Another Visit to The Library Cafe
Leaf 41, Recto, Top Right, in the Family Album (Set Number 3) of Otto Ege's Portfolio of 'Fifty Original Leaves' (FOL). Otto Ege Collection, Beinecke Rare Book and Manuscript Library, Yale University. Photograph by Mildred Budny.
More Discoveries for ‘Otto Ege Manuscript 41’
Augustine Homilies Bifolium Folio IIr detail with title and initial for Sermon XCVI. Private Collection, reproduced by permission. Photograph by Mildred Budny.
Vellum Bifolium from Augustine’s “Homilies on John”
Rosette Watermark, Private Collection. Reproduced by Permission
2019 International Congress on Medieval Studies Program
Libro de los juegos. Madrid, El Escorial, MS T.1.6, folio 17 verso, detail.
2018 International Congress on Medieval Studies Program
Poster Announcing Bembino Version 1.5 (April 2018) with border for Web display
Bembino Version 1.5 (2018)
Lower Half of the Original Verso of a Single Leaf detached from a prayerbook in Dutch made circa 1530, owned and dismembered by Otto F. Ege, with the seller's description in pencil in the lower margin. Image reproduced by permission.
A New Leaf from ‘Otto Ege Manuscript 214’?
Slice of Brie. Photograph by Coyau via Wikipedia Commons.
Say Cheese
Verso of the Leaf and Interior of the Binding, Detail: Lower Right-Hand Corner, with the Mitered Flap Unfolde
A 12th-Century Fragment of Anselm’s ‘Cur Deus Homo’
Reused Leaf from Gregory's Dialogues Book III viewed from verso (outside of reused book cover) Detail of Spine of Cover with Volume Labels. Photograph © Mildred Budny.
A Leaf from Gregory’s Dialogues Reused for Euthymius
Detail of the top of the verso of the fragmentary leaf from a 13th-century copy of Statutes for the Cistercian Order. Reproduced by permission.
Another Witness to the Cistercian Statutes of 1257
Initial d in woodcut with winged hybrid creature as an inhabitant. Photography © Mildred Budny
The ‘Foundling Hospital’ for Manuscript Fragments
Decorated opening word 'Nuper' of the Dialogues, Book III, Chapter 13, reproduced by permission
A New Leaf from ‘Otto Ege Manuscript 41’
Close-Up of The Host of 'The Library Cafe' in the Radio Studio. Photography © Mildred Budny
A Visit to The Library Café
Invitation to 'Canterbury Manuscripts' Seminar on 19 September 1994
Seminar on the Evidence of Manuscripts (September 1994)

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Some Leaves in Set 1 of Ege’s FOL Portfolio

June 19, 2020 in Manuscript Studies

Leaves from
‘Otto Ege Manuscripts 8, 14, 19, and 41’
In a Newly Discovered Portfolio
of Fifty Original Leaves (“FOL”)

[Published on 18 June 2020]

[Update on 22 January 2021:  This set, sold at auction at Christie’s in London on 8 December 2020, has been acquired by the Houghton Library at Harvard University, as announced by John Overholt.]

Continuing our series of blogposts (see our Contents List) on some manuscripts dismembered and dispersed by Otto F. Ege (1888–1951) in various Portfolios or by other means, we report on selected leaves which emerge into view in a newly discovered set of the Portfolio of Fifty Original Leaves (“FOL”). 

Set 1 of Ege's FOL Portfolio, Leaf 14 recto: Initial for Lamentations.

Set 1 of Ege’s FOL Portfolio, Leaf 14 recto: Initial for Lamentations.

Among the numbered sets, the ‘new’ one has the Number 1.  This “previously-unknown” set of Ege’s “Fifty Original Leaves” in private hands is reported by our Associate Lisa Fagin Davis in her blog: Manuscript Road Trip: Otto Ege, St. Margaret. and Digital Fragmentology, Part 2 (June 7, 2020), following her Part 1 describing her own and other scholars’ work — ours included — on the FOL manuscripts:  Manuscript Road Trip: Fragmentology in the Wild (July 14, 2019).

We thank the owner and Lisa for allowing us to see images of the relevant leaves in the new set, resulting in updates for the manuscripts which we have already considered within Ege’s FOL Portfolio.  A complete set of the Portfolio contains ‘Ege MSS 1–50’, as numbered both by Ege and by Scott Gwara in his book on Otto Ege’s Manuscripts (2013). 

Here, augmenting our work already on survivors from some of those Fifty manuscripts in other settings (sets of the FOL Portfolio and elsewhere), we focus on Ege MSS 8, 14, 19, and 41.   This post contributes to our on-going study of Ege’s manuscripts and other materials, medieval and other, Western and more.  So far:  Ege MSS 8, 14, 41, 51, 56, 61, and 214 (see our Contents List). Read the rest of this entry →

Tags: Christie's, De tribus diebus by Hugh of Saint-Victor, Dialogues of Gregory the Great, Dispersed Manuscript Leaves, Ege's FOL Portfolios, Epistles of John Chrysostom, Fragmentology, History of Manuscripts, Houghton Library, Hugh of Saint-Victor, Latin Vulgate Bible, Medieval Manuscript Fragments, Meditations of Saint Anselm, Otto Ege, Otto Ege MS 14, Otto Ege MS 19, Otto Ege MS 41, Otto Ege MS 8, Otto Ege Portfolios, Wilton Processional
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More Leaves from ‘Otto Ege Manuscript 51’

August 10, 2016 in Manuscript Studies, Photographic Exhibition

Detached Leaves from Otto Ege’s
Erfurt Manuscript of
Aristotle’s Nichomachean Ethics
in Latin Translation on Paper

Detail of Recto of detached leaf from the Nichomachean Ethics in Latin translation, from a manuscript dispersed by Otto Ege and now in a private collection. Reproduced by permission.Continuing our series on Manuscript Studies, Mildred Budny newly identifies 2 detached leaves, in separate collections, from a paper manuscript dispersed by Otto F. Ege (1888–1951).  Containing parts of the text of Aristotle’s Nichomachean Ethics in medieval Latin translation, the leaves formerly belonged to a copy prepared at Erfurt in Thuringia in Germany, and dated by colophon to 1365 C.E.

Detached leaves from this book were distributed, in part, through one or another of Ege’s series of Portfolio editions of individual specimen leaves extracted from manuscripts and printed books.  Earlier blogposts have examined cases from Ege’s Portfolios of Fifty Original Leaves (1930–1950) and Famous Bibles (1938 and 1949).  They report the discoveries of a New Leaf respectively from Ege Manuscript 41, from Ege Manuscript 8, from Ege Manuscript 61, and from Ege Manuscript 14.  Now it is the turn of “Ege Manuscript 51” and the Portfolios of Original Leaves from Famous Books (1923 and 1949), in which its Aristotelian specimens normally appeared as their Leaf Number 2.

Read the rest of this entry →

Tags: 'Fifty Original Leaves from Medieval Manuscripts', 'Original Leaves from Famous Bibles', 'Original Leaves from Famous Books in Eight Centuries', 'Original Leaves from Famous Books in Nine Centuries', Aristotle, Beauvais Missal, Beinecke Rare Book and Manuscript Library, Briquet Filigranes, Briquet Number 5726, Burgunsius Pisanus, Erfurt, Germany, History of Paper, History of Watermarks, Johannes Gutenberg, Kent State University Special Collections and Archives, Lisa Fagin Davis, Manicula, Manuscript Road Trip, Martin Luther, Nichomachean Ethics, Nurenberg Chronicles, Otto Ege, Otto Ege MS 51, Otto F. Ege, Robert Grosseteste, Royal MS 6 E V, The British Library, University of Erfurt, Vladimir Nabokov, Wilhelm von Mörbeke, Wilton Processional
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A New Leaf from ‘Otto Ege Manuscript 8’

August 15, 2015 in Manuscript Studies, Photographic Exhibition

Processional for Nuns for Palm Sunday

Budny Handlist, Number 4

From a ‘Gradual’
Produced in England, circa 1275

In our series on ‘Manuscript Fragments’ within our blog (see its Contents List), we continue to examine some leaves dispersed into various collections, both private and public, through the methods of Otto F. Ege. Earlier posts on those leaves considered Lost and Foundlings, A New Leaf from ‘Otto Ege Manuscript 41’, and A New Leaf from ‘Otto Ege Manuscript 61’.  [Update: See also More Leaves from ‘Otto Ege Manuscript 51’. Now we focus on a musical leaf for liturgical performance with Singing Nuns on a high holy day.

Read the rest of this entry →

Tags: Alison Altstatt, Edith of Wilton, Ege MS 14, Ege MS 41, Ege MS 51, Ege MS 61, Ege MS 8, Medieval Manuscript Fragments, Otto Ege's Manuscripts, Otto F. Ege, Processional for Nuns, Processional for Palm Sunday, Wilton Abbey, Wilton Processional
2 Comments »

Manuscript Groupies

August 2, 2015 in Manuscript Studies, Photographic Exhibition

Preview:

An Illustrated Handlist of a Group of
Medieval and Early Modern
Manuscripts, Documents, and Printed Materials

Conservation, Photography, Research, and Descriptions

by Mildred Budny

Detail of opened book with schematic text. Photography © Mildred Budny

Bookish

As we unveil more of the research results for an extended study of a group of medieval and early modern manuscripts, documents, and printed materials, its Illustrated Handlist deserves an Introduction.  Here, instead, is a Preview or Trailer.

[Update:  And here is the Illustrated Handlist.]

Jest for Fun

Details of the materials in the Handlist, their conservation, and cumulative research results are reported, in stages, on other parts of this website (for example here), as well as in an illustrated Album, now in preparation for print.  Here is a light-hearted Preview, in the form of:

A Brief Introduction,
Partly Playful but Also Earnest,
Illustrations Included

Photography by Mildred Budny

The Best Side

To set the scene, a pair of informal Group Portraits shows the Best Sides of some hand-written leaves in the Handlist.
(P.S. Each Side counts as a Best Side in our book . . . )

These specimens — AKA ‘Models’ for the Portraits — come from several different parts of the Handlist.  Our Models here belong among Parts I and II of the Handlist, along with the other ‘Single Leaves’ and ‘Documents’ — in these cases all on vellum or parchment and mostly in Latin.

Some of them have richer decoration than others, depending upon their own resources, their talents, their training, their agents, their stylists, their make-up, the set-designers, the Director (in this context, that would be me), and the parts they have been assigned, or have decided, to play.  Play is the operative word today.

Take Two

And so here we have Group Portraits I & II (with Lady), unretouched.  Don’t we love seeing the Stars when they don’t have extra makeup, bodyguards, etc., and can show their real, natural selves?

For my part, I like both these Portraits.  For one thing, they show different Sides.  For another, they both look fabulous, just the way they are.  That’s my view(s), anyway.

Which would you prefer?

Six Manuscript Fragments in the 'Illustrated Handlist', View 1. Photography © Mildred Budny

Group Portrait, Take 1

Six Manuscript Fragments in the Illustrated Handlist, View 2. Photography © Mildred Budny

Group Portrait, Take 2

Seeing the Bright

Lower half of Recto of Leaf from the Office of the Dead in a Small-Format Book of Hours. Photography © Mildred Budny

All That Glitters Might Be Gold

As for asking for their autographs, well, these Models already show their signature handwriting.  Some elements are even in gold.  Real gold, at that.

By the way, as a photographer (See Here Too), I observe that the gold leaf worn, for real, by three of our Models gleams especially effectively in these informal Portraits. Did you know that gold is diabolically difficult to photograph well on manuscripts?  No kidding.  No matter if you didn’t know that already, now you do.

Happily, the gold shows brightly in these snapshots, better even than in some more formal settings.  Didn’t plan it.  It just happened.  A bonus!  Remember what I said about their Good Sides?  Er, no, I mean, their Best Sides?

When it comes to photographing touchy, sensitive, demanding Subjects (As If! Who’s the Subject, as in Servant, here?), the Golden Oldies can be extremely demanding. It feels special when, without elaborate Special Effects, they can be allowed to reveal their unique inner light.  Now that takes Talent Scouting.

Roll Credits

To give credit where credit is due, I will readily name names.  In each version of the Group Portrait, here are, from left to right, in Rows 1 and 2 (upper and lower):

  • Handlist 7.   From the Book of Ezekiel in a ‘Pocket Bible’ made in France
    (part of the dismembered ‘Otto Ege Manuscript 61’)
  • Handlist 4.   From a Processional for Singing Nuns on Palm Sunday
    (part of the dismembered ‘Otto Ege Manuscript 8’, also known as the Wilton Processional)
  • Handlist 13.  From a Prayerbook, the Gregory Mass Revealed
  • Handlist 12.  From the Office of the Dead in a small-format Book of Hours
  • Handlist 22.  The ‘Scrap’ (Also Known As a Scrap of Information, and
  • Handlist 11.  From the Hours of the Virgin in a Tiny Book of Hours.
Detail of an initial M on the verso of the leaf. Photography by Mildred Budny

M for ‘Manus’ (‘Hand’), Bouquets Included

Their relative sizes are clear at a glance, don’t you think?

As they line up, it is as if they take their bows and acknowledge our applause.  After all, it took centuries to get their acts together! And they look really good for their ages.

We should be so lucky.  (We live in hope.)

Back to Front

You may wonder that, in each Group Portrait, some leaves show their recto (‘front’), while others show their verso (‘back’), seemingly inconsistently.

As in: Verso/Recto/Verso/Recto/Recto/Verso in Take 1, and the reverse in Take 2.

Well, to let you in on the secret, when the time came for their Group Portrait — it was an exceptional Photo Op, which, shall we say, required clearing with their Press-Agents and within my own schedule — they jostled for pride of place, like any or every celebrity or hopeful. It seemed helpful, anyway energy-conserving (for some, or one, of us at least), to allow them to choose their positions, while I worked on the lighting.

This opportunity came at an early stage in the processes of photography, conservation, and research (in varying order, sometimes as the interlinked stages of examination, consultation, photography, and research entered into cycles of immersion, reflection, revision, and renewal), and before more of the items arrived.  At that first stage, at the Photo Op, I had to recognize, not at all unwillingly, although a bit warily, that I had returned to photography of original manuscript materials after all, and after many things had rapidly changed, the world of photography included.

This return happened unexpectedly, and fortunately, after a gap of some years since the completion of the collaborative research project during which the Research Group on Manuscript Evidence was born, and the completion of its photographic work — some of which is showcased in the Illustrated Catalogue (1997), other publications, and other photographic exhibitions.  With this invigorating renewal, I began to experiment with different approaches to manuscript photography, both analogue (as before) and digital (as now, in addition to analogue), with different views of the artefacts, with different forms of backgrounds and lighting, and with a new sense of exploration.

Exploration for its own sake, and for what it might offer for manuscript studies.  With limited resources, true.  (Life is short.)

But also with resourcefulness, dedication, perseverance, curiosity — and, yes, a sense of fun.

Back to the Future

Some of the results appear on exhibition, in print, and on screen in various ways.  For example, Handlist 13 (Row 1), with its haunting image of the visionary Mass of Gregory the Great, is revealed in detail in a report, and it also features as the Star, Spokesman, and Poster Person (‘Poster Poster’?) representing principles and practices for photographic reproduction in our newly revised Style Manifesto.

Back on that set, during the Photo Op, without assistants to set the equipment, to soothe and distract the Models, to order pizza for them, to contend with their agents, to redirect the many requests for autographs, to arrange the bouquets, to hold back the paparazzi, and to book the tables for the post-shoot festivities, I had the pleasure of completing a first Test Shoot, in Takes 1 and 2, with narry a tantrum nor publicity agent in sight.  A fantastic, auspicious start.

These Models were the Best!  (No offense to the others!)  Great Cast.  Assigning their parts, or places, in the Handlist came later, as its script came into shape.  Likewise, discovering their identities mostly came later, as my and others’ research work yielded more discoveries — as with the ‘Stage Names’ for the original volumes from which some of the dispersed fragments came, as with the ‘Otto Ege Manuscripts’ (on which see, for example, our 2016 Symposium, its Report, and its Illustrated Program Booklet).

If these Models were in print rather than manuscript, I might say that they were Type Cast, but that distinction belongs to some of the other Items in the Handlist.

Hug Shots

Years later, coming upon these snap-shots from the Photo Shoot, I wondered why I hadn’t taken more formal Portraits of the whole Group, that is, with others in the Handlist included.  This while I had been taking such care to photograph each one in various views — as you can see, for example, in the reports about them in turn, on their own terms.  (As in the revealing personal interview with the Gregory Leaf.)

The look back and into the future, at this stage of shaping the Handlist, allows for a moment of wistfulness, while welcoming those quick, provisional, snapshots (‘Polaroids’ in an even earlier age).  Wistfulness, not regret. It is possible to be clear.

You see, now I see that perhaps these quick snaps can suffice to show the happy occasion of a gathering in recognition.  Happy, we can say, it marks the resumption of detailed study of manuscript materials in the flesh, and also the celebration of companions gathered as ‘foundlings’ from among many ‘waifs and strays’ of medieval and early modern written materials ‘abducted’ from their original homes (books, documents, libraries, collections, locations) in Western Europe (not forgetting the British Isles), brought one way or another across the ocean to the United States, and welcomed into a new form of ‘foster home’ — whether, say, as a mobile or a ‘forever’ home.

Perhaps it is not really a mystery, although it remains a wonder.  Every artist/actor/writer/manuscript worth his/her/its salt/sugar/weight-in-gold needs an audience.  Nice when we can meet and greet, don’t you agree?

Lost-and-Foundling Hospitality

You can see that I continue to reflect on the fates of Lost and Foundlings among dispersed bits and pieces of written materials from earlier centuries, and to consider the possibilities of a Foundling Hospital of sorts, where we might welcome them, directly or indirectly, tangibly or virtually, and together find some companionable nourishment in embarking on our picnics with the past.

And now, next, let me introduce more of them, and their rescued companions, to you.  Watch this space!

As the posts emerge, they join the Contents List for this blog on Manuscript Studies. Arranged by subjects or categories, rather than in the chronological sequence of publication, the List allows you to select your choices as from a Menu. Even possible is Dessert First!

*****

Floral border from 15th-century Book of Hours, with photography copyright Mildred Budny

Photography © Mildred Budny

Tags: Book of Ezekiel, Budny's Illustrated Catalogue, Hours of the Virgin, manuscript fragments, Manuscript Photography, Mass of Gregory the Great, Mass of Saint Gregory, Office of the Dead, Otto Ege MS 61, Otto Ege MS 8, Otto Ege's Manuscripts, Pocket Bible, Style Manifesto, The Illustrated Handlist, Wilton Processional
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