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Happy serenely pensive man

Happy serenely pensive man

Three bottles with whiskey liquor

Bottles of liquor on blue background. Bottles of liquor on blue background

Gospel Book, Presentation in the Temple, Walters Manuscript W.540, fol. 8v

This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

Gospel Book, Original treasure binding, Walters Manuscript W.540, Lower board outside

Upper and lower boards made of wood and covered with goatskin, with a rectangular goatskin flap attached to the lower board to protect the fore-edge; two silver plaques have been attached to the upper and lower boards and are joined across the spine through use of 3 sets of 5 silver chains; upper-board silver plaque depicts the Adoration of the Magi in a central, rectangular field, with the figures and decorative elements in repoussé and gilded, with carefully incised details and blue, green, and yellow enamel employed for spatial and decorative effects; outer border is filled with grape-cluster motifs within a green-enamel background and semi-precious gems in the shape of rosettes and crosses; lower-board silver plaque incorporates the same decorative elements and design as the upper-board, but the central scene depicts the Ascension of Christ, with the heavenly background filled in with a marbled white enamel and the earthly background below in blue; inner boards lined with blue linen. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. Upper and lower boards made of wood and covered with goatskin, with a rectangular goatskin flap attached to the lower board to protect the fore-edge; two silver plaques have been attached to the upper and lower boards and are joined across the spine through use of 3 sets of 5 silver chains; upper-board silver plaque depicts the Adoration of the Magi in a central, rectangular field, with the figures and decorative elements in repoussé and gilded, with carefully incised details and blue, green, and yellow enamel employed for spatial and decorative effects; outer border is filled with grape-cluster motifs within a green-enamel background and semi-precious gems in the shape of rosettes and crosses; lower-board silver plaque incorporates the same decorative elements and design as the upper-board, but the central scene depicts the Ascension of Christ, with the heavenly background filled in with a marbled white enamel and the earthly background below in blue; inner boards lined with blue linen. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

Plains First Nations Tipis in front of First Nations University Building, University of Regina, Saskatchewan, Canada

Plains First Nations Tipis in front of First Nations University Building, University of Regina, Saskatchewan, Canada

Gospel Book, Original treasure binding, Walters Manuscript W.540, Upper board outside

Upper and lower boards made of wood and covered with goatskin, with a rectangular goatskin flap attached to the lower board to protect the fore-edge; two silver plaques have been attached to the upper and lower boards and are joined across the spine through use of 3 sets of 5 silver chains; upper-board silver plaque depicts the Adoration of the Magi in a central, rectangular field, with the figures and decorative elements in repoussé and gilded, with carefully incised details and blue, green, and yellow enamel employed for spatial and decorative effects; outer border is filled with grape-cluster motifs within a green-enamel background and semi-precious gems in the shape of rosettes and crosses; lower-board silver plaque incorporates the same decorative elements and design as the upper-board, but the central scene depicts the Ascension of Christ, with the heavenly background filled in with a marbled white enamel and the earthly background below in blue; inner boards lined with blue linen. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. Upper and lower boards made of wood and covered with goatskin, with a rectangular goatskin flap attached to the lower board to protect the fore-edge; two silver plaques have been attached to the upper and lower boards and are joined across the spine through use of 3 sets of 5 silver chains; upper-board silver plaque depicts the Adoration of the Magi in a central, rectangular field, with the figures and decorative elements in repoussé and gilded, with carefully incised details and blue, green, and yellow enamel employed for spatial and decorative effects; outer border is filled with grape-cluster motifs within a green-enamel background and semi-precious gems in the shape of rosettes and crosses; lower-board silver plaque incorporates the same decorative elements and design as the upper-board, but the central scene depicts the Ascension of Christ, with the heavenly background filled in with a marbled white enamel and the earthly background below in blue; inner boards lined with blue linen. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

Symbolic 3d male toon character made a decision

Symbolic 3d male toon character made a decision. 3D rendering with clipping path and shadow over white

Hand-drawn coloured scribbles

Hand-drawn coloured markers scribbles on white background. Hand-drawn coloured markers scribbles on white background

Isolated green textmarker

Isolated office green fluorescent textmarker on the white background. Isolated office green fluorescent textmarker on the white background

Find a solution

Find a solution

Magnifying glass on a gray background. Search and analysis, analytics and study. Pay attention to details and problems. Find

Magnifying glass on a gray background. Search and analysis, analytics and study. Pay attention to details and problems. Find

Gospel Book, Entombment, Walters Manuscript W.540, fol. 12v

This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

Three bottles with whiskey liquor on the floor

Bottles of liquor on blue background. Bottles of liquor on blue background

Tree lined avenue.

In landscaping, an avenue or allée is traditionally a straight route with a line of trees or large shrubs running along each side, which is used, as its French source venir ("to come") indicates, to emphasize the "coming to," or arrival at a landscape or architectural feature. In most cases, the trees planted in an avenue will be all of the same species or cultivar, so as to give uniform appearance along the full length of the avenue. In landscaping, an avenue or allée is traditionally a straight route with a line of trees or large shrubs running along each side, which is used, as its French source venir ("to come") indicates, to emphasize the "coming to," or arrival at a landscape or architectural feature. In most cases, the trees planted in an avenue will be all of the same species or cultivar, so as to give uniform appearance along the full length of the avenue.

Bible text - I am the bread of life - John 6:48

Bible text - I am the bread of life - John 6:48

Happy Love in Valentine Day

Happy Love in Valentine Day Background, Card & Wallpaper

Traditional and modern Shanghai

Two buildings in different styles and ages emphasize both the traditional and modern faces of the city. Two buildings in different styles and ages emphasize both the traditional and modern faces of the city

Woman and her teenager son having a quarrel - gesturing to emphasize the arguments

Woman and her teenager son having a quarrel - gesturing to emphasize the arguments

Bible text and crayons

Bible text and crayons

Canal at Norfolk Botanical Gardens

Canal at Norfolk Botanical Gardens

Original and fake objects (leaves) next to each other

Original and fake objects (leaves) next to each other

Business start or begin new life journey concept, colorful arrows point up to word START on blackboard cement wall

Business start or begin new life journey concept, colorful arrows point up to word START on blackboard cement wall

Woman Performing Headstand Yoga Pose by a Pool at Sunset

Woman Performing Headstand Yoga Pose by a Pool at Sunset

Three soft-tip pens close-up

Three soft-tip pens on white background. Three soft-tip pens on white background

Circle of Tipis at First Nations University on the Great Plains, Regina, Saskatchewan, Canada

Circle of Tipis at First Nations University on the Great Plains, Regina, Saskatchewan, Canada

Valentine`s Day assorted Belgian chocolate truffles to express love

Valentine`s Day assorted Belgian chocolate truffles to express love

Emphasize a flat roof with bitume

Emphasize a flat roof with bitume

Gospel Book, Holy Women at the Tomb of Christ, Walters Manuscript W.540, fol. 13r

This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

Gospel Book, Harrowing of Hell, Walters Manuscript W.540, fol. 12r

This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

Bible text - I am the bread of life - John 6:48

Bible text - I am the bread of life - John 6:48

Two bottles with whiskey liquor on the floor

Bottles of liquor on blue background. Bottles of liquor on blue background

Gospel Book, Crucifixion, Walters Manuscript W.540, fol. 11v

This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back. This manuscript was executed in 1475 by a scribe identified as Aristakes, for a priest named Hakob. It contains a series of 16 images on the life of Christ preceding the text of the gospels, as well as the traditional evangelist portraits, and there are marginal illustrations throughout. The style of the miniatures, which employ brilliant colors and emphasize decorative patterns, is characteristic of manuscript production in the region around Lake Van during the 15th century. The style of Lake Van has often been described in relation to schools of Islamic arts of the book. Numerous inscriptions (on fols. 258-60) spanning a few centuries attest to the manuscript's long history of use and revered preservation. The codex's later history included a re-binding with silver covers from Kayseri that date to approximately 1700. This jeweled and enameled silver binding bears a composition of the Adoration of the Magi on the front and the Ascension on the back.

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