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Colorful christian cross with music notes isolated vector illustration. Religion themed background. Design for gospel church music

Colorful christian cross with music notes isolated vector illustration. Religion themed background. Design for gospel church music

Cassandra Mathews & San Francisco Gospel Diva

Cassandra Mathews & San Francisco Gospel Diva

Bible New Testament Christian Gospel St Luke Saint

Bible New Testament Christian Gospel St Luke Saint

Bibles on top of each other

New bible and old bible on to of each other. New bible and old bible on to of each other

Photo of a Wooden Crucifix on a Green Velvet Background

Winter Russian church.

Winter Russian church. Kolomna. Moscow region.

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

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

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

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

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

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

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

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

Sharing the Gospel with the youth

Sharing the Gospel with the youth

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

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

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

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

The beginning of the gospel of Luke in the King James Version of the Bible

The beginning of the gospel of Luke in the King James Version of the Bible

The Cross Window to Haeven

An illustration of Jesus and the cross. An illustration of Jesus and the cross.

Bible New Testament Christian Gospel Acts of Apostles

Bible New Testament Christian Gospel Acts of Apostles

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.

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.

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.

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

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

Bible New Testament Christian Gospel Romans

Bible New Testament Christian Gospel Romans

Orthodox wedding. church, the open gospel and priest's glasses

Orthodox wedding objects

Orthodox wedding. church, the open gospel, wedding candles and priest's glasses. Orthodox wedding. church, the open gospel, wedding candles and priest's glasses

Corvey Gospel fragment, Incipit Luke's Gospel, Walters Art Museum Ms. W.751, fol. 1v

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

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

Fire Persecution

This is an image of two hands put against each other to represent Faith and Doubt. The white glow round the fingers emphasises divinity. This is an image of two hands put against each other to represent Faith and Doubt. The white glow round the fingers emphasises divinity.

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, 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.

Soweto Gospel Choir

Soweto Gospel Choir

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

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

Bible New Testament Christian Gospel St Mark Saint

Bible New Testament Christian Gospel St Mark Saint

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

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

Colorful christian cross with music notes isolated vector illustration. Religion themed background. Design for gospel church music

Colorful christian cross with music notes isolated vector illustration. Religion themed background. Design for gospel church music

The cross symbol with bamboo trees and red colour cloth on blue sky and sea designed by illustration

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

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

Christ kneeling and praying to God the Father. Christ kneeling and praying to God the Father

Various christian crosses on world map

Various christian crosses on isolated background

Preaching the Gospel

Preaching the Gospel

Orthodox wedding objects

Orthodox wedding crowns, gospel, cross, cup for wine. Orthodox wedding crowns, gospel, cross, cup for wine

The gospel with a key on a white background. Photo

The gospel with a key on a white background. Photo.

African-American gospel

African-American gospel

Bible New Testament Christian Gospel St Matthew Saint

Bible New Testament Christian Gospel St Matthew Saint

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.

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.

Corvey Gospel fragment, Initial Page Luke's Gospel, Walters Art Museum Ms. W.751, fol. 2r

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.

Gospel Choir Performing Outside in Concert

Gospel Choir Performing Outside in Concert

Bible New Testament Christian Gospel

Bible New Testament Christian Gospel

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

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

Light of the World Sky

German illustration of John 8,12: one of the many names of Jesus. German illustration of John 8,12: one of the many names of Jesus.

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

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

An illustration of the name of Jesus. An illustration of the name of Jesus.

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

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

Corvey Gospel fragment, Page from Luke's Gospel, Walters Art Museum Ms. W.751, fol. 2v

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.

Traditional Easter greeting expressing the joy of Easter. Traditional Easter greeting expressing the joy of Easter.

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