This Homiliary was created in Gondar, Ethiopia during a period of artistic flowering in the late seventeenth century. The Imperial court and its accompanying aristocracy took up permanent residence in Gondar at this time, and the taste of these wealthy patrons for paintings and extensive image cycles is exemplified by this richly illuminated manuscript. The text, a Homiliary focused on the miracles of the Archangel Michael, combines liturgical readings with forty-nine brightly colored renderings of God, St. Michael, and the miracles related in the text. Sections of the manuscript would have been read aloud on monthly feast days of the Archangel, and the images would have punctuated the readings. The artists were likely trained as painters, rather than solely manuscript illuminators, and their art can therefore be linked stylistically to contemporary mural painting. The nobleman depressed when he realized that his property passed to the child. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This Homiliary was created in Gondar, Ethiopia during a period of artistic flowering in the late seventeenth century. The Imperial court and its accompanying aristocracy took up permanent residence in Gondar at this time, and the taste of these wealthy patrons for paintings and extensive image cycles is exemplified by this richly illuminated manuscript. The text, a Homiliary focused on the miracles of the Archangel Michael, combines liturgical readings with forty-nine brightly colored renderings of God, St. Michael, and the miracles related in the text. Sections of the manuscript would have been read aloud on monthly feast days of the Archangel, and the images would have punctuated the readings. The artists were likely trained as painters, rather than solely manuscript illuminators, and their art can therefore be linked stylistically to contemporary mural painting. The Archangel admonishing the idle man. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This square-format manuscript on parchment is volume 9 (al-juzʾ al-tāsiʿ) of the Qur'an, covering chapter 29 (Sūrat ʿankabūt), verse 46, to the end of chapter 37 (Sūrat al-ṣaffat). It dates to the sixth century AH / twelfth CE and was produced in the Maghreb. The text is written in Maghribī script in dark brown ink and vocalized with polychrome dots. The manuscript opens with a double-page illuminated frontispiece (fols. 3b-4a) and incipit (fol. 4b). Verse markers in the shape of trefoils indicate the end of each verse, and the letter hāʾ in the form of a teardrop and discs with rosettes indicate groups of five and ten verses. The illuminated finispiece with colophon (fol. 133b) states that it is the end of volume 9 of the Qur'an (al-juzʾ al-tāsiʿ min al-rabʿah) and offers a prayer for the Prophet Muhammad and his family. The dark red goatskin binding dates to the tenth century AH / sixteenth CE. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This Armenian Gospel book was produced in 904 of the Armenian era (1455 CE) at the monastery of Gamałiēl in Xizan by the scribe Yohannēs Vardapet, son of Vardan and Dilšat, and was illuminated by the priest Xačʿatur. The priest Pʿilipos commissioned the manuscript as a memorial to himself, his parents Łazar and Xutʿlumēlikʿ, and other relatives listed in the colophon on fols. 300r to 301v. Pʿilipos is depicted on fol. 14v alongside his brothers Yusēpʿ and Sultanša, as they kneel before the Virgin and Child enthroned (Theotokos). The book contains 26 full-page polychrome miniatures, including 4 Evangelist portraits; ornately-designed canon tables; 4 decorated incipit pages; numerous marginal miniatures of floral and faunal motifs; and 19 marginal miniatures of biblical characters or allusions to biblical narratives. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This Armenian Gospel book was produced in 904 of the Armenian era (1455 CE) at the monastery of Gamałiēl in Xizan by the scribe Yohannēs Vardapet, son of Vardan and Dilšat, and was illuminated by the priest Xačʿatur. The priest Pʿilipos commissioned the manuscript as a memorial to himself, his parents Łazar and Xutʿlumēlikʿ, and other relatives listed in the colophon on fols. 300r to 301v. Pʿilipos is depicted on fol. 14v alongside his brothers Yusēpʿ and Sultanša, as they kneel before the Virgin and Child enthroned (Theotokos). The book contains 26 full-page polychrome miniatures, including 4 Evangelist portraits; ornately-designed canon tables; 4 decorated incipit pages; numerous marginal miniatures of floral and faunal motifs; and 19 marginal miniatures of biblical characters or allusions to biblical narratives. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This fragmentary manuscript, comprised of four canon tables spread over one bifolium, would originally have been the introductory pages of a fourteenth- or early fifteenth-century Gospel Book. Written in the Lake Tana region of Ethiopia, the pages contain canons I-V, which relate the concordance of the Gospels through a chart in which each number corresponds to a Gospel passage, a system originally created by Eusebius of Caesarea in the early fourth century. The numbers here, in keeping with a long tradition, are placed within an arcade of brightly decorated columns and arches. Common within Ethiopian canon table decoration are the curtains, which hang from the sides of the columns, and the interlace-filled arches adorned with birds. These pages provide an excellent example of Ethiopian canon table illumination from the early Solomonic period. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This is an illuminated and illustrated maritime atlas, referred to as the Walters Deniz atlası. It is an early Ottoman atlas, perhaps dating to the tenth century AH / sixteenth CE. The work contains eight double-page charts executed on parchment. Four of the maps show the Mediterranean, Aegean, and Black seas. There is also a world map and a chart of the Indian Ocean. The various geographical names are written in black nastaʿlīq script. A distinguishing feature of this atlas is the detailed approach to representing such features as city vignettes. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

This manuscript was created ca. 1500 in Bruges or Ghent, and was influenced by the Master of the Prayerbooks, the Master of the Dresden Prayerbook, and the Master of the David Scenes in the Grimani breviary. It was likely made for a female patron with Franciscan affinity, as suggested by the contents of the calendar. The book is heavily illuminated with nineteen miniatures, marginalia on pages without miniatures, and twenty-four calendar illuminations, the latter including zodiac signs paired with illustrations of the labors of the month. Miniatures show detailed interior spaces with Renaissance architectural elements and proportional figures.

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Dated to the tenth century, this manuscript is the oldest Armenian codex in North America and the fifth oldest among documented Armenian Gospel Books. The principal colophon on 2v indicates that Sargis the Priest completed the text in 415 [966]. Within the framed area, the commission of the codex is described: a priest, whose name was replaced by the later owner T’oros, commissioned the work "as decoration and for the splendor of [the] holy church and for the pleasure of the congregation of Rznēr." As the codex was written and commissioned by priests, the manuscript is referred to as the “Gospels of the Priest.” It was formerly known as the “Gospels of the Translators,” as, following the date 415, someone erased the formula “of the Armenian era” and replaced it with “of our Lord,” suggesting an earlier date and that the text was based on the original translation of the Gospels into Armenian during the fifth century. The text is copied in large angular erkat‘agir script. The full page paintings and marginal ornaments bear stylistic characteristics of Armenian illumination of the tenth and eleventh century associated with non-royal patronage. The illustrations comprise the Canon Tables, with only the last two remaining; the Virgin and Child on a wheeled chariot; the framed colophon; ornamental cross with donor’s portrait; portraits of Mathew and Mark together (7sv, at the end of Matthew); and Mark with Luke (114v, at the end of Mark); two unknown saints (192a, at the end of Luke). Marginalia is found throughout the text. It has been suggested that the scribe was also responsible for the illumination. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This illuminated Book of Hours was produced in the second quarter of the fifteenth century. It is written in the Netherlandish translation of Geert Grote. Although lacking in full-page miniatures, the manuscript contains eighteen historiated initials by the Masters of Zweder van Culemborg with ornamental initials and decoration throughout. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.

This illuminated Book of Hours was produced in the second quarter of the fifteenth century. It is written in the Netherlandish translation of Geert Grote. Although lacking in full-page miniatures, the manuscript contains eighteen historiated initials by the Masters of Zweder van Culemborg with ornamental initials and decoration throughout. To explore fully digitized manuscripts with a virtual page-turning application, please visit Walters Ex Libris.