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Illuminated Manuscript, The Island of Leros (LÄ«ryÅ«s) in the eastern Aegean Sea, from Book on Navigation, Walters Art M

Originally composed in 932 AH / 1525 CE and dedicated to Sultan SÃ¼leyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include this world map with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=19195. Originally composed in 932 AH / 1525 CE and dedicated to Sultan SÃ¼leyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include this world map with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=19195

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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Corvey Gospel fragment, Page from John's Gospel, Walters Art Museum Ms. W.751, fol.4v

This manuscript consists of four folios from a Gospel Book that was likely made at the monastery of Corvey in Western Germany during the last quarter of the tenth century. Dating to the reign of Otto I, these pages offer a magnificent example of early Ottonian manuscript illumination. The heavily ornamented pages, which introduce the Gospels of Luke and John, shine with gold and jewel-like colors against dyed purple grounds. These pages combine monumental classicizing square capitals on purple grounds with rich and complex interlace. This fragment contains the opening pages of Luke (fols. 93-94) and John (fols. 137-138) that were originally part of Ms. 10 from the Bibliotheque Municipale in Rheims, a Gospel Book originally owned by the Chapter Library of the Cathedral of Rheims until it was confiscated, along with the rest of the cathedral's manuscripts, during the French Revolution. Related manuscripts include Pierpont Morgan Library Ms. M. 755 and New York Public Library Ms. 1. This manuscript consists of four folios from a Gospel Book that was likely made at the monastery of Corvey in Western Germany during the last quarter of the tenth century. Dating to the reign of Otto I, these pages offer a magnificent example of early Ottonian manuscript illumination. The heavily ornamented pages, which introduce the Gospels of Luke and John, shine with gold and jewel-like colors against dyed purple grounds. These pages combine monumental classicizing square capitals on purple grounds with rich and complex interlace. This fragment contains the opening pages of Luke (fols. 93-94) and John (fols. 137-138) that were originally part of Ms. 10 from the Bibliotheque Municipale in Rheims, a Gospel Book originally owned by the Chapter Library of the Cathedral of Rheims until it was confiscated, along with the rest of the cathedral's manuscripts, during the French Revolution. Related manuscripts include Pierpont Morgan Library Ms. M. 755 and New York Public Library Ms. 1.

Illuminated Manuscript, Upper Aegean Sea with the islands of Imbros (Imroz, GÃ¶kÃ§eada) and Bozca (Tenedos), f

Originally composed in 932 AH / 1525 CE and dedicated to Sultan SÃ¼leyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include this world map with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=19195. Originally composed in 932 AH / 1525 CE and dedicated to Sultan SÃ¼leyman I ("The Magnificent"), this great work by Piri Reis (d. 962 AH / 1555 CE) on navigation was later revised and expanded. The present manuscript, made mostly in the late 11th AH / 17th CE century, is based on the later expanded version with some 240 exquisitely executed maps and portolan charts. They include this world map with the outline of the Americas, as well as coastlines (bays, capes, peninsulas), islands, mountains and cities of the Mediterranean basin and the Black Sea. The work starts with the description of the coastline of Anatolia and the islands of the Aegean Sea, the Peloponnese peninsula and eastern and western coasts of the Adriatic Sea. It then proceeds to describe the western shores of Italy, southern France, Spain, North Africa, Palestine, Israel, Lebanon, Syria, western Anatolia, various islands north of Crete, Sea of Marmara, Bosporus and the Black Sea. It ends with a map of the shores of the the Caspian Sea (fol.374a). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=19195

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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Illuminated Manuscript, Book of Hours, St. Anthony, Walters Art Museum Ms. W.165, fol. 116v

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. The illumination begins the suffrage.

Five poems (quintet), King Solomon and two demons, Walters Manuscript W.624, fol. 94b detail

This is a deluxe copy of the Quintet (Khamsah) of AmÄ«r Khusraw DihlavÄ« (d.725 AH /1325 CE). Although now incomplete, this manuscript was penned in nastaÊ¿lÄ«q script by the famous late 16th century Mughal calligrapher Muá¸¥ammad á¸¤usayn ZarrÄ«n Qalam al-KashmÄ«rÄ« and decorated by a number of illuminators and painters. Its illustrations are signed by eleven painters: LaÊ¿l (LÄl), ManÅ«har, SÄnwalah, Farrukh, AlÄ«qulÄ«, DharamdÄs, Narsing, JagannÄth, MiskÄ«nÄ, Mukund, and SÅ«rdÄs GujarÄtÄ«. On the other hand, its headpieces and a medallion are inscribed with the names of á¸¤usayn NaqqÄsh, Maná¹£Å«r NaqqÄsh, KhvÄjah JÄn ShÄ«rÄzÄ«, and Luá¹f AllÄh Muáº•ahhib. The codex has beautifully decorated borders with vegetal, bird, animal motifs and human figures. The figures are portrayed in various traditional activities such as praying, reading and hunting. This illustration depicts the story of two divs (demons) who, out of boredom, wreak havoc on the world. Recognizing the dangers of idleness, the wise King Solomon consigns them to a life of futile activity: filling the sea with sand and the desert with water. The inscription naming the artist â€˜Ali Quli is composed in red ink at the bottom of the page. This is a deluxe copy of the Quintet (Khamsah) of AmÄ«r Khusraw DihlavÄ« (d.725 AH /1325 CE). Although now incomplete, this manuscript was penned in nastaÊ¿lÄ«q script by the famous late 16th century Mughal calligrapher Muá¸¥ammad á¸¤usayn ZarrÄ«n Qalam al-KashmÄ«rÄ« and decorated by a number of illuminators and painters. Its illustrations are signed by eleven painters: LaÊ¿l (LÄl), ManÅ«har, SÄnwalah, Farrukh, AlÄ«qulÄ«, DharamdÄs, Narsing, JagannÄth, MiskÄ«nÄ, Mukund, and SÅ«rdÄs GujarÄtÄ«. On the other hand, its headpieces and a medallion are inscribed with the names of á¸¤usayn NaqqÄsh, Maná¹£Å«r NaqqÄsh, KhvÄjah JÄn ShÄ«rÄzÄ«, and Luá¹f AllÄh Muáº•ahhib. The codex has beautifully decorated borders with vegetal, bird, animal motifs and human figures. The figures are portrayed in various traditional activities such as praying, reading and hunting. This illustration depicts the story of two divs (demons) who, out of boredom, wreak havoc on the world. Recognizing the dangers of idleness, the wise King Solomon consigns them to a life of futile activity: filling the sea with sand and the desert with water. The inscription naming the artist â€˜Ali Quli is composed in red ink at the bottom of the page.

Illuminated Manuscript, Book of Hours, Decorated Initial, Walters Art Museum Ms. W.165, fol. 27r

This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Short hours of the cross: Vespers. This mid-fifteenth century illuminated Book of Hours is written entirely in Dutch on fine vellum, and is remarkable for its eighteen grisaille miniatures. The technique, wherein the figures are modeled primarily in a gray wash, became a favorite in the Netherlands, and the hand behind the paintings in this manuscript has been identified with a group of artists known as the "Masters of the Delft Grisailles." This manuscript has been grouped with more than a dozen related works, including New York PML M. 349, London, Victoria and Albert Geo. Reid Ms. 32, Leiden B.P.L. 224, Brussels, BR 21696, Antwerp, Plantein Moretus Ms. 49, and the Hague K.B. Ms. 74 G 35. The manuscript is comprised of 152 folios and is almost completely intact, lacking only two miniatures, and retains its original brown leather binding decorated with mythological beasts and a now illegible inscription. The calendar is for the use of Utrecht, which helps localize its original ownership, as might a mostly erased ownership inscription that has been partially recovered by Marrow. Short hours of the cross: Vespers.

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.

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.

Illuminated Manuscript Collected works (Kulliyat), Walters Art Museum Ms. 617, fol. 3b

An illuminated and illustrated copy of the collected works of Sa`di (d.691/1292) (KullÄ«yÄt-i SaÊ¿dÄ«) containing, among others, his GulistÄn and BustÄn. The present manuscript was penned by an anonymous calligrapher in Shiraz (Iran) in 934 AH / 1527 CE. This is the first of two richly decorated pages with verses in honor of SaÊ¿dÄ« inscribed in the upper and lower panels. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=22469. An illuminated and illustrated copy of the collected works of Sa`di (d.691/1292) (KullÄ«yÄt-i SaÊ¿dÄ«) containing, among others, his GulistÄn and BustÄn. The present manuscript was penned by an anonymous calligrapher in Shiraz (Iran) in 934 AH / 1527 CE. This is the first of two richly decorated pages with verses in honor of SaÊ¿dÄ« inscribed in the upper and lower panels. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=22469

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 351b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book KitÄb-i IqbÄl nÄmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Illuminated headpiece with the inscription in white ink on blue background giving the title of the book KitÄb-i IqbÄl nÄmah. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Illuminated Manuscript of Five Poems (Quintet), Walters Art Museum Ms. W.605, fol.1b

An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The present codex, opening with a double-page decoration and the inscription giving the name of the author and the title of the work,contains four additional illuminated headpieces with the names of the individual books and 26 repainted miniatures. The page is the first of a double-page decoration containing the title and the author's name executed in gold thuluth script and placed in four cartouches. An elegant copy of the "Quintet" (Khamsah) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) penned by AbÅ« Bakr ShÄh ibn á¸¤asan ibn Ê¿AlÄ« al-ShahrastÄnÄ« and illuminated by JamÄl al-DÄ«n ibn Muá¸¥ammad al-á¹¢iddÄ«qÄ« al-Iá¹£fahÄnÄ« between 892 AH / 1486 CE and 900 AH / 1494-05 CE. The present codex, opening with a double-page decoration and the inscription giving the name of the author and the title of the work,contains four additional illuminated headpieces with the names of the individual books and 26 repainted miniatures. The page is the first of a double-page decoration containing the title and the author's name executed in gold thuluth script and placed in four cartouches.

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 149b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Shackled MajnÅ«n being lead by an old woman in front of LaylÃ¡â€™s pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Shackled MajnÅ«n being lead by an old woman in front of LaylÃ¡â€™s pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

The Four Evangelists and Two Apostles, The four evangelists and the two chief apostles, Walters Manuscript W.530.C, fol. 211r

This image originally faced the beginning of the Acts of the Apostles in a late eleventh-century Psalter and New Testament in Mount Athos, Vatopedi Monastery, MS 762. It seems likely that in this manuscript's scribe and illuminator were the same person. The Evangelists and Apostles appear in the following order: Paul, Peter, John (above), Luke, Matthew, Mark (below). This image originally faced the beginning of the Acts of the Apostles in a late eleventh-century Psalter and New Testament in Mount Athos, Vatopedi Monastery, MS 762. It seems likely that in this manuscript's scribe and illuminator were the same person. The Evangelists and Apostles appear in the following order: Paul, Peter, John (above), Luke, Matthew, Mark (below).

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.

Five poems (quintet), Tayyib and Tahir at a party with their rescuers in European attire, Walters Manuscript W.666, fol.

This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade in 1133 AH / 1721 CE. There are thirty-eight illustrations, and illuminated incipits introduce the different poems (fols. 1b, 22b, 63b, 107b, and 142b). The brown leather binding is original to the manuscript. This is an illuminated and illustrated copy of the á¸ªamse (quintet) of the Ottoman Turkish poet and scholar Ê¿Aá¹ÄÊ¾ullÄh bin Yaá¸¥yÃ¡ Ê¿Aá¹ÄÊ¾Ä« (d. 1044 AH / 1634 CE). Although different in content, this work takes its inspiration from the famous Persian Khamsah of Niáº“ÄmÄ« GanjavÄ« (d. 605 AH / 1209 CE) and the Khamsah of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). This Ottoman copy of Ê¿Aá¹ÄÊ¾Ä«'s work ends with a portion of his DÄ«vÄn (fols. 142b-151b) instead of the fifth poem (mesnevi), á¸¤ilyet Ã¼l-efkÄr. The text, written in nastaÊ¿lÄ«q script, was copied by á¸ªeyrullah á¸ªeyrÄ« Ã‡ÄvuÅŸzade in 1133 AH / 1721 CE. There are thirty-eight illustrations, and illuminated incipits introduce the different poems (fols. 1b, 22b, 63b, 107b, and 142b). The brown leather binding is original to the manuscript.

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 203a

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents BahrÄm GÅ«r killing two lions. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents BahrÄm GÅ«r killing two lions. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 372a

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents Iskandar and the seven philosophers, including Aristotle, Socrates and Plato. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents Iskandar and the seven philosophers, including Aristotle, Socrates and Plato. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Burning and melting, Prince DÄniyÄl accompanies the young Hindu girl to the funeral pyre, Walters Manuscript W.649, fol. 17b

Emperor Akbar eventually permits the young Hindu girl to practice sati (self-immolation). Akbar's son, Prince DÄniyÄl, accompanies the woman to the funeral pyre. An elegantly calligraphed, illuminated and illustrated copy of the poem SÅ«z va gudÄz ('Burning and melting') by NawÊ¿Ä« KhabÅ«shÄnÄ« (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid MurÄd al-á¸¤usaynÄ« and illustrated by Muá¸¥ammad Ê¿AlÄ« MashhadÄ« in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391. Emperor Akbar eventually permits the young Hindu girl to practice sati (self-immolation). Akbar's son, Prince DÄniyÄl, accompanies the woman to the funeral pyre. An elegantly calligraphed, illuminated and illustrated copy of the poem SÅ«z va gudÄz ('Burning and melting') by NawÊ¿Ä« KhabÅ«shÄnÄ« (d.1019 AH /1610 CE) which recounts the love story of a Hindu girl who decides to burn herself on the pyre of her betrothed killed accidentally just before their marriage. The present codex was penned by Ibn Sayyid MurÄd al-á¸¤usaynÄ« and illustrated by Muá¸¥ammad Ê¿AlÄ« MashhadÄ« in 1068 AH / 1657 CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=30391

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 197b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Iskandarâ€™s victory over the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Iskandarâ€™s victory over the Zanghis. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Illuminated Manuscript Anthology of Persian poetry, Walters Art Museum Ms. W.653, fol. 16b

This small anthology of Persian poetry consisting of poems by such authors as JÄmÄ«, AzÄrÄ«, FayzÌ¤Ä«, NavÄÊ¾Ä«, and SaÊ¿dÄ« was put together by an anonymous scribe in 1105 AH / 1693 CE. Illustrated with six miniatures, the margins of this manuscript are embellished with stenciled designs of angels, men and animals. The illumination depicts a woman holding a vase of flowers. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=19402. This small anthology of Persian poetry consisting of poems by such authors as JÄmÄ«, AzÄrÄ«, FayzÌ¤Ä«, NavÄÊ¾Ä«, and SaÊ¿dÄ« was put together by an anonymous scribe in 1105 AH / 1693 CE. Illustrated with six miniatures, the margins of this manuscript are embellished with stenciled designs of angels, men and animals. The illumination depicts a woman holding a vase of flowers. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=19402

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 224b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents BahrÄm GÅ«r in the green pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. The folio represents BahrÄm GÅ«r in the green pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Calligraphic page from an album, Walters Art Museum W.672, fol.3a

An album (muraqqaÊ¿) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qurâ€™an (SÅ«rat al-baqarah, 2:65-68 and SÅ«rat al-nisÄÊ¾, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (á¸³aralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Åžeyh Hamdullah (á¸¤amd AllÄh al-AmÄsÄ«, d. 926 AH /1520 CE). An album (muraqqaÊ¿) of calligraphy in the form of an accordion book put together by an anonymous collector, probably in the 12th century AH/ 18th CE. It consists of leaves bearing fragmentary passages from the Qurâ€™an (SÅ«rat al-baqarah, 2:65-68 and SÅ«rat al-nisÄÊ¾, 4:103-106), some sayings of the Prophet Muhammad, and two sheets of pen exercises (á¸³aralama). Folio 5a bears the name of the celebrated Ottoman calligrapher Åžeyh Hamdullah (á¸¤amd AllÄh al-AmÄsÄ«, d. 926 AH /1520 CE).

Koran, Text page with illuminated heading for chapter 7 of the Qur'an, Walters Manuscript W.552, fol. 32b

This horizontal-format manuscript on parchment is an illuminated fragment of the Qur'an, covering chapter 6 (SÅ«rat al-anÊ¿Äm), the end of verse 54, through chapter 9 (SÅ«rat al-tawbah), verse 79. The fragment probably dates to the third century AH / ninth CE. The text is written in an Early Abbasid (Kufic) script in dark brown ink and vocalized with red dots. Chapter headings are in gold ink, and verse markers in the shape of a stylized letter hÄ' and rosettes with colored dots indicate groups of five and ten verses. The green goatskin binding with gold-painted central floral design and cornerpieces is thirteenth century AH / nineteenth CE or later. See this manuscript page by page at the Walters Museum Website: art.thewalters.org/viewwoa.aspx?id=1528. This horizontal-format manuscript on parchment is an illuminated fragment of the Qur'an, covering chapter 6 (SÅ«rat al-anÊ¿Äm), the end of verse 54, through chapter 9 (SÅ«rat al-tawbah), verse 79. The fragment probably dates to the third century AH / ninth CE. The text is written in an Early Abbasid (Kufic) script in dark brown ink and vocalized with red dots. Chapter headings are in gold ink, and verse markers in the shape of a stylized letter hÄ' and rosettes with colored dots indicate groups of five and ten verses. The green goatskin binding with gold-painted central floral design and cornerpieces is thirteenth century AH / nineteenth CE or later. See this manuscript page by page at the Walters Museum Website: art.thewalters.org/viewwoa.aspx?id=1528

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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Illuminated Manuscript Poem in Honor of the Prophet Muhammad, Walters Art Museum Ms. W.582, fol. 6a

A beautifully calligraphed and illuminated small codex containing the famous poem in honor of the prophet Muhammad, popularly known as Qaá¹£Ä«dat al-Burdah (â€œThe poem of the Mantleâ€), composed by Sharaf al-DÄ«n Muá¸¥ammad al-BÅ«á¹£Ä«rÄ« (d.694 AH / 1294 CE) and executed in a number of scripts, probably in Iran, by á¸¤abÄ«b AllÄh ibn DÅ«st Muá¸¥ammad al-KhwÄrizmÄ« in the 11th AH / 17th CE century. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=23935. A beautifully calligraphed and illuminated small codex containing the famous poem in honor of the prophet Muhammad, popularly known as Qaá¹£Ä«dat al-Burdah (â€œThe poem of the Mantleâ€), composed by Sharaf al-DÄ«n Muá¸¥ammad al-BÅ«á¹£Ä«rÄ« (d.694 AH / 1294 CE) and executed in a number of scripts, probably in Iran, by á¸¤abÄ«b AllÄh ibn DÅ«st Muá¸¥ammad al-KhwÄrizmÄ« in the 11th AH / 17th CE century. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=23935

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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Five poems (quintet), Illuminated frontispiece with shamsah, Walters Manuscript W.624, fol. 1a

This is a deluxe copy of the Khamsah (quintet) of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). The manuscript was written in nastaÊ¿lÄ«q script by one of the greatest calligraphers of the Mughal atelier, Muá¸¥ammad á¸¤usayn al-KashmÄ«rÄ«, honored with the epithet ZarrÄ«n Qalam (golden pen). This copy of DihlavÄ«'s Khamsah, likely produced in Lahore (present-day Pakistan) in the late tenth century AH / sixteenth CE, is associated with the patronage of Akbar (r. 963-1014 AH / 1556-1605 CE). The manuscript bears the names of a number of painters and illuminators. The illustrations bear ascriptions to the following artists: LaÊ¿l (LÄl), ManÅ«har, SÄnwalah, Farrukh, AlÄ«qulÄ«, DharamdÄs, Narsing, JagannÄth, MiskÄ«nÄ, Mukund, and SÅ«rdÄs GujarÄtÄ«. The illuminators are á¸¤usayn NaqqÄsh, Maná¹£Å«r NaqqÄsh, KhvÄjah JÄn ShÄ«rÄzÄ«, and Luá¹f AllÄh Muáº•ahhib. The borders are all elaborately illuminated with animal, bird, and geometric motifs, as well as human figures engaged in such activities as hunting, praying, and reading. The lacquer binding, decorated with pictorial scenes, is contemporary with the manuscript. Eight leaves from this copy of the Khamsah of DihlavÄ« are housed in the Metropolitan Museum of Art (13.228.26-33). This illuminated frontispiece has a central twelve-pointed star (shamsah). The page is further decorated with floral motifs executed in gold. There are five seals. This is a deluxe copy of the Khamsah (quintet) of AmÄ«r Khusraw DihlavÄ« (d. 725 AH / 1325 CE). The manuscript was written in nastaÊ¿lÄ«q script by one of the greatest calligraphers of the Mughal atelier, Muá¸¥ammad á¸¤usayn al-KashmÄ«rÄ«, honored with the epithet ZarrÄ«n Qalam (golden pen). This copy of DihlavÄ«'s Khamsah, likely produced in Lahore (present-day Pakistan) in the late tenth century AH / sixteenth CE, is associated with the patronage of Akbar (r. 963-1014 AH / 1556-1605 CE). The manuscript bears the names of a number of painters and illuminators. The illustrations bear ascriptions to the following artists: LaÊ¿l (LÄl), ManÅ«har, SÄnwalah, Farrukh, AlÄ«qulÄ«, DharamdÄs, Narsing, JagannÄth, MiskÄ«nÄ, Mukund, and SÅ«rdÄs GujarÄtÄ«. The illuminators are á¸¤usayn NaqqÄsh, Maná¹£Å«r NaqqÄsh, KhvÄjah JÄn ShÄ«rÄzÄ«, and Luá¹f AllÄh Muáº•ahhib. The borders are all elaborately illuminated with animal, bird, and geometric motifs, as well as human figures engaged in such activities as hunting, praying, and reading. The lacquer binding, decorated with pictorial scenes, is contemporary with the manuscript. Eight leaves from this copy of the Khamsah of DihlavÄ« are housed in the Metropolitan Museum of Art (13.228.26-33). This illuminated frontispiece has a central twelve-pointed star (shamsah). The page is further decorated with floral motifs executed in gold. There are five seals.

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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™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 â€œturning the pagesâ€ presentation of this manuscript and downloadable PDFs, visit the Walters Art Museumâ€™s Works of Art Web site at www.art.thewalters.org/detail/19057/freising-gospels/

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 175b

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. LaylÃ¡ and MajnÅ«n fainting at the sight of each other. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. LaylÃ¡ and MajnÅ«n fainting at the sight of each other. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

Illuminated Manuscript Khamsa, Walters Art Museum Ms. 609, fol. 25a

An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Two scholars quarreling in the presence of the king. The inscription on the left reads al-sulá¹Än al-Ê¿Ädil. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272. An elegantly illuminated and illustrated copy of the Khamsah (quintet) of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE) executed by YÄr Muá¸¥ammad al-HaravÄ« in 922 AH / 1516 CE. Written in four columns in black nastaÊ¿lÄ«q script, this manuscripts opens with a double-page decorative composition signed by Ê¿Abd al-WahhÄb ibn Ê¿Abd al-FattÄá¸¥ ibn Ê¿AlÄ«, of which this is one side. It contains 35 miniatures. Two scholars quarreling in the presence of the king. The inscription on the left reads al-sulá¹Än al-Ê¿Ädil. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=21272

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.

Illuminated Manuscript Turkish version of Sindbadnama, Walters Art Museum Ms. W.662, fol. 24b

Tuá¸¥fet Ã¼l-aá¸«yÄr. Folio from an Ottoman Turkish version of the well-known story of Sindbad (SindbÄdnÄmah) made from the Persian by Ê¿AbdÃ¼lkerÄ«m bin Muá¸¥ammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuá¸¥fet Ã¼l-aá¸«yÄr. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391. Tuá¸¥fet Ã¼l-aá¸«yÄr. Folio from an Ottoman Turkish version of the well-known story of Sindbad (SindbÄdnÄmah) made from the Persian by Ê¿AbdÃ¼lkerÄ«m bin Muá¸¥ammed during the reign of Sultan Sulayman (Soliman) (reg.926 AH / 1520 CE - 974 AH / 1566 CE) and entitled Tuá¸¥fet Ã¼l-aá¸«yÄr. This anonymous copy contains six illustrations made in the 10th century AH /16th CE. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=35391

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 180b

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Incipit page with an illuminated headpiece introducing SharafnÄmah (the first part of IskandarnÄmah). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Incipit page with an illuminated headpiece introducing SharafnÄmah (the first part of IskandarnÄmah). See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 165a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the sandal-wood pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. BahrÄm GÅ«r in the sandal-wood pavilion. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Five poems (quintet), Walters Art Museum Ms. W.607, fol. 86a

This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Khusraw announcing his marriage to Shakar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718. This is an illustrated copy of four of the five poems that comprise the Khamsah of Niáº“ÄmÄ« GanjavÄ« (d.605 AH / 1209 CE). It does not include LaylÃ¡ va MajnÅ«n. The text was copied by a certain YÄdkÄr the Calligrapher (al-KÄtib) in 935 AH / 1529 CE, most probably in Safavid Iran. An illuminated double-page composition opens the manuscript and each poem is initiated with a decorative headpiece. The miniatures appear to have been repainted at some point in the manuscriptâ€™s history. Their date and provenance are open to question. The textblock is bound in late Zand lacquer covers with scenes depicting BahrÄm GÅ«r hunting and Khusraw watching ShÄ«rÄ«n bathing. Khusraw announcing his marriage to Shakar. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=17718

Illuminated Manuscript Collected works (Kulliyat), Walters Art Museum Ms. 617, fol. 381a

An illuminated and illustrated copy of the collected works of Sa`di (d.691/1292) (KullÄ«yÄt-i SaÊ¿dÄ«) containing, among others, his GulistÄn and BustÄn. The present manuscript was penned by an anonymous calligrapher in Shiraz (Iran) in 934 AH / 1527 CE. SaÊ¿dÄ« in landscape being served a watermelon. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=22469. An illuminated and illustrated copy of the collected works of Sa`di (d.691/1292) (KullÄ«yÄt-i SaÊ¿dÄ«) containing, among others, his GulistÄn and BustÄn. The present manuscript was penned by an anonymous calligrapher in Shiraz (Iran) in 934 AH / 1527 CE. SaÊ¿dÄ« in landscape being served a watermelon. See this manuscript page by page at the Walters Art Museum website: art.thewalters.org/viewwoa.aspx?id=22469

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.

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