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8 Aug 2021: In this battle it fell to the British Expeditionary Force to hold a position at Mons for 24 hours to cover the withdrawal of the French Fifth Army, beaten in the

8 Aug 2021: In this battle it fell to the British Expeditionary Force to hold a position at Mons for 24 hours to cover the withdrawal of the French Fifth Army, beaten in the

Manuscripts in the making. Book of Hours. Flanders, probably Bruges. c. 1510-1520. MS 1058-1975. This volume showcases the final and most exuberant phase of manuscript illumination. It represents the highest point in the development of the Book of

The three singletons (fols. 13, 24, 157) accommodated the volume’s three full-page miniatures; a fourth singleton, now lost, probably contained another full-page miniature before fol.

Manuscripts in the making. Blue pigments. Artists' Materials. Azurite was used in the majority of blue areas on every folio analysed, although the presence or absence of trace amounts of barium, zinc and arsenic suggest the use of different sources

Manuscripts in the making. Hours of the Cross. Texts and Images. The Hours of the Cross marked the specific times of the day associated with the stages in Christ’s Passion. This manuscript contains the short version, with seven rather than all

Manuscripts in the making. Yellow and orange pigments. Artists' Materials. Technical analyses revealed the presence of realgar, lead-tin yellow type I, an organic yellow and an ochre rich in clay minerals. The same clay-rich ochre was also used to

Manuscripts in the making. Green pigments and mixtures. Artists' Materials. Green hues were obtained in a variety of ways: copper sulphates, copper carbonates as well as mixtures of azurite with lead-tin yellow and an organic yellow were identified.

Manuscripts in the making. Differences in palette. Artists' Materials. Some of the differences in palette identified within the manuscript allow us to specify the palette used by each of the four main artists. In most cases, the technical analysis

Manuscripts in the making. The Painter of Additional 15677. Artists. Most of the large miniatures and historiated initials were illuminated by an artist named the Painter of Additional 15677 after another Book of Hours (London, BL, Add. MS 15677).

8 Aug 2021: D. -; Inv. -; Pagan 1965, 24. One further coin from this hoard is in the Hugh Goodacre collection on loan to the Ashmolean Museum. ... D. 133; Inv. 196; Dolley and Morrison (350) 1963, no. 24; SCBI BM H/N, 58; SCBI Edinburgh, xix; Dumas 1979, no.

8 Aug 2021: Checklist of Coin Hoards from the British Isles, c.450-1180. Hoards containing shillings and early pennies. Patching, West Sussex, 1997. E. XX. R, Vg. -. c.470. Oxborough, Norfolk, 2001. E. R, Vg. -. c.475. Kingston-on-Thames, Surrey, 1848. E. X. C.

8 Aug 2021: its European troops, under similar conditions to the Royal Army award, that is, 21 years' service in the Infantry or 24 in the Cavalry without court martial or with particularly distinguished

8 Aug 2021: It has often been called the Midshipman's Badge, but it seems that awards were made to all the Endymion's 24 officers.

https://fitzmuseum.cam.ac.uk/images/logos/FitzLogo.svg. 2024-05-02T16:54:2201:00. The Fitzwilliam Museum. press@fitzmuseum.cam.ac.uk. Chancellor, Masters, and Scholars of the University of Cambridge: CC-BY. Fitzwilliam Museum Digital Magic by DEJP3.

https://fitzmuseum.cam.ac.uk/images/logos/FitzLogo.svg. 2024-03-01T14:24:4200:00. The Fitzwilliam Museum. press@fitzmuseum.cam.ac.uk. Chancellor, Masters, and Scholars of the University of ... 2024-03-01T14:24:4200:00.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

i modern parchment flyleaf, 250 x 180 mm (163 x 105 mm), 24 long lines, ruled in brown ink (original campaign) or red ink (some 15th-century additions), offsets of some

i modern parchment flyleaf, 250 x 180 mm (163 x 105 mm), 24 long lines, ruled in brown ink (original campaign) or red ink (some 15th-century additions), offsets of some

i modern parchment flyleaf, 250 x 180 mm (163 x 105 mm), 24 long lines, ruled in brown ink (original campaign) or red ink (some 15th-century additions), offsets of some

i modern parchment flyleaf, 250 x 180 mm (163 x 105 mm), 24 long lines, ruled in brown ink (original campaign) or red ink (some 15th-century additions), offsets of some

i modern parchment flyleaf, 250 x 180 mm (163 x 105 mm), 24 long lines, ruled in brown ink (original campaign) or red ink (some 15th-century additions), offsets of some

It was purchased from him by John Ruskin (1819-1900) on 24 February 1854 and sold by Ruskin’s heir to Henry Yates Thompson (1838-1929) in 1904.

i modern parchment flyleaf, 250 x 180 mm (163 x 105 mm), 24 long lines, ruled in brown ink (original campaign) or red ink (some 15th-century additions), offsets of some

Folio 24 r. Opening verses of Psalm 1 executed in gold leaf.

Folio 24 r. Opening verses of Psalm 1 executed in gold leaf.

Layers. Folio 24 r. Virgin and Child (prayer O intemerata). This composition, with a figure seated on a bench and books displayed on the desk, replicates the design of the image

Layers. Folio 24 r. Virgin and Child (prayer O intemerata). This composition, with a figure seated on a bench and books displayed on the desk, replicates the design of the image

Layers. Folio 24 r. Virgin and Child (prayer O intemerata). This composition, with a figure seated on a bench and books displayed on the desk, replicates the design of the image

Layers. Folio 24 r. Virgin and Child (prayer O intemerata). This composition, with a figure seated on a bench and books displayed on the desk, replicates the design of the image