Access S Free Stock Images

Related searches:

camera security

Include:

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 28r

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 32r

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon X. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon X. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 24v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon I. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon I. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Vector illustration with realistic woman`s hand holding VIP pass.

Vector illustration with realistic woman`s hand holding VIP pass.

DDR2 SDRAM stands for double data rate synchronous dynamic random-access memory interface. These modules are used in desktop PCs &

DDR2 SDRAM stands for double data rate synchronous dynamic random-access memory interface. These modules are used in desktop PCs (DIMM).

Access, Audio, Equipment

Industrial Stiorage Facility

Row of cylindrical industrial storage tanks of various heights and sizes with spiral staircases on their sides leading to access on their roofs. Row of cylindrical industrial storage tanks of various heights and sizes with spiral staircases on their sides leading to access on their roofs

Swedish house in the middle of nature

Typical building is in the green yard overgrown with grass. In the background there are summer forest and the blue sky. The estate has access asphalt road. Typical building is in the green yard overgrown with grass. In the background there are summer forest and the blue sky. The estate has access asphalt road

Illuminated Manuscript, Gospels of Freising,Canon tables, Walters Art Museum Ms. W.4, fol. 30r

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon V. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon V. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Illuminated Manuscript, Gospels of Freising,Canon tables, Walters Art Museum Ms. W.4, fol. 26v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Random access memory chip on white

A Random access memory chip on white

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 32v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon X. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon X. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Oak Creek Canyon

Oak Creek Canyon is a gorge carved into the edge of the Mogollon Rim of the Colorado Plateau along the Oak Creek Fault. Tectonic forces shifting the land to either side of the fault and subsequent erosion by Oak Creek have created a spectacular canyon where the geologic history of this area is an open book. The Canyon is approximately 12 miles long. Oak Creek flows year-round along the bottom of the Canyon, providing water for plants and wildlife, as well as fishing and swimming opportunities. Oak Creek continues on through Sedona, Arizona, meeting up with the Verde River southeast of Cottonwood, Arizona. The depth of the Canyon ranges from 800 to 2000 feet, with trails providing access from the Canyon’s bottom up to the 6500-foot eastern rim and 7200-foot western rim. Some of these trails follow historic routes early Oak Creek Canyon settlers used to access the top of the plateau in the days before the road was built. Trails on the west side of the Canyon head into Red Rock-Secret Mountain Wilderness. Multi-photo panorama by Deborah Lee Soltesz, June 12, 2015. Credit U.S. Forest Service Coconino National Forest. Learn more about Oak Creek Canyon and the Coconino National Forest.

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 28v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon III. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon III. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Early Head Start Program School

Early Head Start Program School

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 29r

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon IV. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon IV. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Person`s Finger Entering Code In Security System

Person`s Finger Entering Code In Security System

Robot`s hands typing on keyboard

Robot`s hands typing on keyboard

Access, Computer, Connection

Illuminated Manuscript, Cologne Psalter-Hours, Binding, Walters Manuscript W.41, Lower board outside

This Psalter-Hours was made for a Franciscan community in Cologne, Germany, in the late thirteenth century. It is especially notable for its large program of illuminations, which includes roundels in the calendar depicting the labors of the month, two full-page miniatures, fourteen historiated initials, and grotesques perched upon the top of bar borders throughout. It is identical in style to Baltimore, Walters Ms. W.111, and both are related to the style of Liège manuscripts of the 1280s-90s. They are also considered to be stylistic precursors of works by Johannes von Valkenburg, such as two graduals he created for Franciscans in Cologne in 1299 (Cologne, Diözesan Bibliothek Ms. 1B and Bonn, Universitätsbibliothek Ms. 384). All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at thedigitalwalters.org/Data/WaltersManuscripts/html/W41 For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at art.thewalters.org/detail/13885/cologne-psalter-hours. This Psalter-Hours was made for a Franciscan community in Cologne, Germany, in the late thirteenth century. It is especially notable for its large program of illuminations, which includes roundels in the calendar depicting the labors of the month, two full-page miniatures, fourteen historiated initials, and grotesques perched upon the top of bar borders throughout. It is identical in style to Baltimore, Walters Ms. W.111, and both are related to the style of Liège manuscripts of the 1280s-90s. They are also considered to be stylistic precursors of works by Johannes von Valkenburg, such as two graduals he created for Franciscans in Cologne in 1299 (Cologne, Diözesan Bibliothek Ms. 1B and Bonn, Universitätsbibliothek Ms. 384). All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at thedigitalwalters.org/Data/WaltersManuscripts/html/W41 For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at art.thewalters.org/detail/13885/cologne-psalter-hours

Robot`s hand typing on keyboard

Robot`s hand typing on keyboard

Oak Creek Canyon

Oak Creek Canyon is a gorge carved into the edge of the Mogollon Rim of the Colorado Plateau along the Oak Creek Fault. Tectonic forces shifting the land to either side of the fault and subsequent erosion by Oak Creek have created a spectacular canyon where the geologic history of this area is an open book. The Canyon is approximately 12 miles long. Oak Creek flows year-round along the bottom of the Canyon, providing water for plants and wildlife, as well as fishing and swimming opportunities. Oak Creek continues on through Sedona, Arizona, meeting up with the Verde River southeast of Cottonwood, Arizona. The depth of the Canyon ranges from 800 to 2000 feet, with trails providing access from the Canyon’s bottom up to the 6500-foot eastern rim and 7200-foot western rim. Some of these trails follow historic routes early Oak Creek Canyon settlers used to access the top of the plateau in the days before the road was built. Trails on the west side of the Canyon head into Red Rock-Secret Mountain Wilderness. Multi-photo panorama by Deborah Lee Soltesz, June 12, 2015. Credit U.S. Forest Service Coconino National Forest. Learn more about Oak Creek Canyon and the Coconino National Forest.

Random access memory chip close up

A Random access memory chip macro. A Random access memory chip macro

Access, Business, Chair

Camera helmet wheel chair icon

Illustration of circular,sticky type icons of a cctv camera, padlock,helmet,and wheelchair access isolated on white background. Illustration of circular,sticky type icons of a cctv camera, padlock,helmet,and wheelchair access isolated on white background

Closeup of a woman`s finger entering password code on the smart digital touch screen keypad entry door lock in front of the room

Closeup of a woman`s finger entering password code on the smart digital touch screen keypad entry door lock in front of the room

Access, Building, Business

Factories surrounded by cars

Modern manufacturing factories with extensive car parking and parked cars. The buildings are on a green field site with access roads, lake and selective focus on the nearest building. Modern manufacturing factories with extensive car parking and parked cars. The buildings are on a green field site with access roads, lake and selective focus on the nearest building.

'IO (8-30-2017) light morph, mauna kea access road, hawaii co, hawaii -01

'IO (8-30-2017) light morph, mauna kea access road, hawaii co, hawaii -01

Extinct bird the grat bustard at the Horniman Museum in London, England

Extinct bird the grat bustard at the Horniman Museum in London, England

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 29v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon V. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon V. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Random access memory chip on white

A Random access memory chip on white

Random access memory chip on white

A Random access memory chip on white

Access, Application, Black

Random access memory chip close up

A Random access memory chip macro. A Random access memory chip macro

Access, Blur, Close-up

Access, Application, Browser

Ecology, wooden wall of the house

Suburban Building of the timber, warm home, tinted windows, practical impregnation, with access to nature, covered beautiful lacquer, winter and snow. Suburban Building of the timber, warm home, tinted windows, practical impregnation, with access to nature, covered beautiful lacquer, winter and snow

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 25v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon tables I and II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon tables I and II. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Turin Piazza castello

Turin Piazza castello

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 30v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon VI. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon VI. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Stepping Stones To Kasbah

Stones placed across the river provide an access to Ait Benhaddou. Stones placed across the river provide an access to Ait Benhaddou

Road, Highway, Controlled Access Highway, Lane

Road, Highway, Controlled Access Highway, Lane

Road, Highway, Controlled Access Highway, Infrastructure

Road, Highway, Controlled Access Highway, Infrastructure

access-road-to-the-royal-palace

access-road-to-the-royal-palace

Person`s Hand Inserting Key To Start Car

Person`s Hand Inserting Key To Start Car

Illuminated Manuscript, Gospels of Freising, Canon tables, Walters Art Museum Ms. W.4, fol. 31v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon X. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. Canon X. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Electronic Key System To Lock And Unlock Door

Electronic Key System To Lock And Unlock Door

Merritt Island National Wildlife Refuge

Merritt Island National Wildlife Refuge

Access to monastery at segovia

Monastery church at segovia spain. Monastery church at segovia spain

Access, Buttons, Controls

Illuminated Manuscript, Gospels of Freising, Evangelist Portrait of John, Walters Art Museum Ms. W.4, fol. 178v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. The illumination is at the beginning of John's Gospel. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. The illumination is at the beginning of John's Gospel. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Leonardo da Vinci`s Mona Lisa painting with mask to protect himself from the Covid-19 coronavirus

Leonardo da Vinci`s Mona Lisa painting with mask to protect himself from the Covid-19 coronavirus

Canning Dock Liverpool

Canning Dock is a dock, on the River Mersey,LIVERPOOL England, and part of the Port of Liverpool. It is situated in the southern dock system, connected to Salthouse Dock to the south and Canning Half Tide Dock to the west. The Canning Graving Docks are accessed from the dock. The dock was opened in 1737 as a protected tidal basin providing an entrance to Old Dock. Having been subsequently enclosed as a wet dock three years earlier, in 1832 it was officially named after the Liverpool MP, George Canning. To the east is the site of Old Dock, built in 1709, which was the world first enclosed commercial dock. Canning Dock would have initially served ships involved in the trans Atlantic slave trade. Access to the northern half of the dock system was via Georges Dock, George's Basin and into Princes Dock. In 1899, both Georges Basin and George's Dock were filled in and the site is now the Pier Head. Along with the Albert Dock and others in the immediate vicinity, Canning Dock was abandoned as a commercial shipping facility in 1972 due to the rising cost of dredging and falling numbers in traffic. It was restored in the 1980s and provides access to the Canning Graving Docks, which are part of the Merseyside Maritime Museum. LIVERPOOL CITY CENTRE 2012. Canning Dock is a dock, on the River Mersey,LIVERPOOL England, and part of the Port of Liverpool. It is situated in the southern dock system, connected to Salthouse Dock to the south and Canning Half Tide Dock to the west. The Canning Graving Docks are accessed from the dock. The dock was opened in 1737 as a protected tidal basin providing an entrance to Old Dock. Having been subsequently enclosed as a wet dock three years earlier, in 1832 it was officially named after the Liverpool MP, George Canning. To the east is the site of Old Dock, built in 1709, which was the world first enclosed commercial dock. Canning Dock would have initially served ships involved in the trans Atlantic slave trade. Access to the northern half of the dock system was via Georges Dock, George's Basin and into Princes Dock. In 1899, both Georges Basin and George's Dock were filled in and the site is now the Pier Head. Along with the Albert Dock and others in the immediate vicinity, Canning Dock was abandoned as a commercial shipping facility in 1972 due to the rising cost of dredging and falling numbers in traffic. It was restored in the 1980s and provides access to the Canning Graving Docks, which are part of the Merseyside Maritime Museum. LIVERPOOL CITY CENTRE 2012

Access, Adult, Business

Women`s and Men`s Toilets

Women`s and Men`s Toilets

The double exposure image of the businessman`s eye overlay with cityscape image. The concept of modern life, futuristic, technolog

The double exposure image of the businessman`s eye overlay with cityscape image. The concept of modern life, futuristic, technolog

Women`s and Men`s Toilets

Women`s and Men`s Toilets

Illuminated Manuscript, Gospels of Freising, Evangelist Portrait of Mark, Walters Art Museum Ms. W.4, fol. 90v

This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. The illumination is at the beginning of Mark's Gospel. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/. This Gospel Book was written in Carolingian minuscule in the diocese of Freising, Germany ca. 875. Surprisingly small for an Gospel Book, it is nonetheless richly illuminated and offers an excellent example of Carolingian art. The expressive and emotive quality of the Evangelists, characterized by quick, sketchy brushwork, recalls the style developed by the Carolingian school of Reims in Northern France. This similarity may be attributed to a connection with Ebbo, the former Archbishop of Reims, since he fled to Freising at this time after a quarrel with Charles the Bald. The canon tables, however, derive from a different tradition, and recall Franco-Saxon imagery in its use of interlace within the columns, and of acanthus springing from the top corners. Due to these factors, the manuscript had once been attribution to Northern France, but it is now understood to be one of a group of related manuscripts from Freising during Ebbo's tenure. The manuscript is complete, consisting of 215 folios, and includes readings for the liturgical year, Jerome's Plures Fuisse and Novum Opus letters, decorated canon tables, and Evangelist portraits. The illumination is at the beginning of Mark's Gospel. All manuscript images and descriptions were created and are provided through Preservation and Access grants awarded to the Walters Art Museum by the National Endowment for the Humanities, 2008-2014. Access a complete set of high-resolution archival images of this manuscript for free on the Digital Walters at www.thedigitalwalters.org/Data/WaltersManuscripts/html/W4/ For a digital “turning the pages” presentation of this manuscript and downloadable PDFs, visit the Walters Art Museum’s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

- Home
- Search for Access s free images