Codicological Assessment of Three Gospel Books with Sideways- Oriented Illustrations Displayed in the Metropolitan Museum of Art's ARMENIA Exhibition (Sept

Manuscript Studies

Volume 3 Issue 2 Fall 2018 Article 6

2019

Codicological Assessment of Three Gospel Books with Sideways- Oriented Illustrations Displayed in the Metropolitan Museum of Art's ARMENIA Exhibition (Sept. 21, 2018 - Jan 13, 2019)

Zsuzsanna Gulacsi Northern Arizona University, [email protected]

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Recommended Citation Gulacsi, Zsuzsanna (2019) "Codicological Assessment of Three Gospel Books with Sideways-Oriented Illustrations Displayed in the Metropolitan Museum of Art's ARMENIA Exhibition (Sept. 21, 2018 - Jan 13, 2019)," Manuscript Studies: Vol. 3 : Iss. 2 , Article 6. Available at: https://repository.upenn.edu/mss_sims/vol3/iss2/6

This paper is posted at ScholarlyCommons. https://repository.upenn.edu/mss_sims/vol3/iss2/6 For more information, please contact [email protected]. Codicological Assessment of Three Gospel Books with Sideways-Oriented Illustrations Displayed in the Metropolitan Museum of Art's ARMENIA Exhibition (Sept. 21, 2018 - Jan 13, 2019)

Abstract This study focuses on three Armenian gospel books with sideways-oriented illustrations dating from between the 11th and 14th centuries that are part of the ARMENIA exhibition in the Metropolitan Museum of Art between September 21, 2018 and January 13, 2019, and briefly discussed in the printed catalog of that exhibition. With the aim to supplement that publication, it provides codicological descriptions and digital diagrams of the illustrated prefatory matter of the manuscripts in question. The three diagrams give visual overviews summarizing the layout and sequence of the sideways-oriented illustrations, and thus supply a critical tool for comprehending these books themselves as medieval works of art.

Keywords Armenia, codicology, illustrated gospel books, sideways-oriented illustrations, digital diagram, Manuscript studies

This annotations is available in Manuscript Studies: https://repository.upenn.edu/mss_sims/vol3/iss2/6 Gulacsi: Codicological Assessment of Three Gospel Books with Sideways-Oriented Illustrations

M ANUSCRIPT STUDIES

A Journal of the Schoenberg Institute for Manuscript Studies

volume 3, number 2 (Fall 2018)

Manuscript Studies (issn 2381- 5329) is published semiannually by the University of Pennsylvania Press

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volume 3, number 2 (Fall 2018)

ISSN 2381-5329 Copyright © 2018 University of Pennsylvania Libraries and University of Pennsylvania Press. All rights reserved. Published by the University of Pennsylvania Press, 3905 Spruce Street, Philadelphia, PA 1910⒋ Printed in the U.S.A. on acid-  ee paper. Manuscript Studies brings together scholarship  om around the world and across disciplines related to the study of premodern manuscript books and documents, with a special emphasis on the role of digital technologies in advancing manuscript research. Articles for submission should be prepared according to the Chicago Manual of Style, 16th edition, and follow the style guidelines found at http://mss.pennpress.org. None of the contents of this journal may be reproduced without prior written consent of the University of Pennsylvania Press. Authorization to photocopy is granted by the University of Pennsylvania Press for libraries or other users registered with Copyright Clearance Center (CCC) Transaction Reporting Service, provided that all required fees are veriﬁ ed with CCC and paid directly to CCC, 222 Rosewood Drive, Danvers, MA 0192⒊ This consent does not extend to other kinds of copying for general distribution, for advertising or promotional pur- poses, for creating new collective works, for database retrieval, or for resale.

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https://repository.upenn.edu/mss_sims/vol3/iss2/6 2 Gulacsi: Codicological Assessment of Three Gospel Books with Sideways-Oriented Illustrations

M ANUSCRIPT STUDIES A Journal of the Schoenberg Institute for Manuscript Studies

volume 3, number 2

Articles Notes of Exchange: Scribal Practices and Vernacular Religious Scholarship in Early Modern North India Tyler Williams 265

Translating Machiavelli’s Prince in Early Modern England: New Manuscript Evidence Alessandra Petrina 302

Provenance in the Aggregate: Th e Social Life of an Arabic Manuscript Collection in Naples Paul Love 334

Illuminated Leaves from an Ethiopic Gospel Book in the Newark Museum and in the Walters Art Museum Jacopo Gnisci 357

Re- Conceptualizing the Poems of the Pearl- Gawain Manuscript in Line and Color Maidie Hilmo 383

Annotations A Codicological Assessment of Th ree Gospel Books with Sideways- Oriented Illustrations Displayed in the Metropolitan Museum of Art’s Armenia Exhibition Zsuzsanna Gulácsi 421

A Psalter from Maillezais at Maynooth Peter J. Lucas and Angela M. Lucas 431

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A Dossier of Texts for the Augustinian Hermits of Lucca Thomas M. Izbicki 439

Digitizing the University of Pennsylvania’s Indic Manuscripts Benjamin J. Fleming 470

Reviews Kathryn M. Rudy. Piety in Pieces: How Medieval Readers Customized Th eir Manuscripts A. R. Bennett 487

Georgi R. Parpulov. Toward a History of Byzantine Psalters, ca. 850- 1350 AD Barbara Crostini 492

Corine Schleif and Volker Schier, eds. Manuscripts Changing Hands Johan Oosterman 495

Nichols, Stephen G. From Parchment to Cyberspace: Medieval Literature in the Digital Age Bridget Whearty 499

List of Manuscripts Cited 505

https://repository.upenn.edu/mss_sims/vol3/iss2/6 4 Gulacsi: Codicological Assessment of Three Gospel Books with Sideways-Oriented Illustrations

A Codicological Assessment of Th ree Gospel Books with Sideways-Oriented Illustrations Displayed in the Metropolitan Museum of Art’s Armenia Exhibition

Zsuzsanna Gulácsi Northern Arizona University

ospel books with sideways-oriented illustrations are G unusual in the history of Christian art, and the vast majority of them, at least twenty- ﬁ ve such manuscripts, are Armenian, produced between the ninth and sixteenth centuries. The best- known examples date  om the eleventh century and have been traditionally referred to as the “Melitene Group,” a er the multiethnic regional center Malat`ya (Melitene), near the Upper Euphrates in the Taurus Mountains, in and around which Armenian communities  om the Artsruni kingdom settled between 1022 and 106⒍ 1 Three such Gospel books were displayed in the Armenia exhibition at the Metropolitan Museum of Art between 21 September 2018 and 13 January

1 T. F. Mathews, “The Classic Phase of Bagratid and Artsruni Illumination: The Tenth and Eleventh Centuries,” in Treasures in Heaven: Armenian Illuminated Manuscripts, ed. T. F. Mathews and R. S. Wieck (New York: Pierpont Morgan Library, 1994), 63; D. Kouymjian, “The Melitene Group of Armenian Painting in the Eleventh Century,” in Armenian Kesaria/ Kayseri and Cappadocia, ed. R. G. Hovannisian (Costa Mesa, CA: Mazda Publishers, 2013), 79–1⒖

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2019, and they are discussed brieﬂ y in the printed catalog of the exhibition.2 The codicological diagrams provided below form an additional critical part of the overview of the prefatory matter in these manuscripts. They are intended to give a visual summary of the layout and sequence of the sideways- oriented narrative illustrations and author portraits in these codices, and thus supply an essential tool for comprehending these books themselves as medieval works of art. Considering the compositional structure of these unique objects is essential for contextualized and/or comparative research of them. The illustrations in these Gospel books are grouped together as  ontispieces—an organization followed in some of the earliest illustrated Gospels known  om sixth- century Greek (Rossano Gospels) and Syriac (Rabbula Gospels) contexts.3 The non- illustrated texts of the four Gospels in these types of Gospel books are preceded by prefatory matter including, in order, Eusebius’s letter to Carpianus, ten canon tables correlating the contents of the Gospels, depictions of Christ’s life on a varying number of pages, and a combined portrait of the four evangelists.4 While the contents of these Armenian Gospel books follow earlier mod- els, the sideways orientation of their illustrations set them apart. Without exception, they are vertical codices, bound along their taller side. The tex- tual components in them, written in Armenian  om le to right and top to bottom, are in harmony with this design. In contrast, the pictorial components are oriented horizontally. On each page, the ﬁ gures’ heads are toward

2 Based on decades of codicological examinations of manuscripts with sideways- oriented illustrations, such as Manichaean service books and Eastern Christian (Armenian and Syriac) Gospel books—including the three Gospels in question—I was invited to write an essay related to the codicological descriptions of three codices for the Met’s exhibition catalog. See Zs. Gulácsi, “Armenian Gospel-Books with Sideways-Oriented Illustrations,” Armenia: Art, Religion, and Trade in the Middle Ages, ed. Helen C. Evans (New Haven, CT: The Metropoli- tan Museum of Art and Yale University Press, 2018), 201–⒌ 3 J. Lowden, “The Beginnings of Biblical Illustration,” Imaging the Early Medieval Bible, ed. J. Williams (University Park, PA: Pennsylvania State University, 1999), 18–21, 26–30. 4 Occasional variations on this include when the portrait of an evangelist is not sideways at the start of the respective Gospel (Matenadaran, MS 2930, MS 4818, MS 7456, and MS 9423), intratextual sideways scenes (Matenadaran, MS 10780), and mixed orientations (Matenadaran, MS 238, MS 2877, and MS 7736). https://repository.upenn.edu/mss_sims/vol3/iss2/6 6 Gulacsi: Codicological Assessment of Three Gospel Books with Sideways-Oriented Illustrations Gulácsi, Three Gospel Books | 423

the outer margin, while their feet are toward the inner margin, so that their alignment mirrors one another on the facing pages. Such an arrange- ment does not lend itself to a comfortable viewing experience, as the book must be turned ninety degrees clockwise to view the images on the le , and then turned again 180 degrees counterclockwise to view the facing images on the right. An abbreviated style of representation characterizes the paintings.5 Arranged against blank backgrounds and within thick  ames, the art is to the point and deliberate, fulﬁ lling its function without reﬁ nements, expen- sive pigments, or skilled pictorial techniques, such as shading. Occasionally, the scribe doubles as the book illuminator.6 Thus, the pictorial  ontispieces in these Armenian Gospel books seem to be more functional than aesthetic, for reasons yet to be explored.

Matenadaran, MS 974

The earliest of the three Gospel books under discussion (MS 974) is a parchment codex  om the collection of the “Matenadaran” Mesrop Mashtots Institute of Ancient Manuscripts in Yerevan. The closed book measures 40.4 × 32 × ⒑ 2 cm. The exact number of its folios is unknown. This book was made in either Melitene or Sebastia sometime during the mid- eleventh century and can be attributed to the School of Miesk–Turub.7 This codex retains three folios with sideways- oriented images (ﬁ g. 1). At least six folios are lost  om the beginning of the prefatory matter: they contained Eusebius’s letter and ten canon tables, as well as the ﬁ rst scene  om the

5 See Mathews, “The Classic Phase of Bagratid and Artsruni Illumination,” 65; Kouymjian, “Melitene Group,” 83–8⒋ 6 For example, Matenadaran, MS 3784, copied and likely illustrated by the priest Tovmas in Melitene (Kouymjian, “Melitene Group,” 84), and MS 4813, copied and illustrated by the scribe and artist Melk`isedek at Berkri (V. Nersessian, Treasures from the Ark: 1700 Years of Armenian Christian Art (Los Angeles: J. Paul Getty Museum, 2001), 168–69 n. 9⒊ 7 L. A. Dournovo, Armenian Miniatures (New York: Abrams, 1961), 59–60; V. Kazazian and S. S. Manukian, Matenadaran (Moscow: Kniga, 1991), 79–81; A. Gevorgyan, Ananun Hay manrankarichʻner matenagitutʻiwn, IX–XVII dd. (Erevan: Matenadaran, 2005), 3⒊

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figure 1. Th ree folia surviving from the prefatory matt er of an eleventh-century Armenian gospel book. Erevan, Matenadara, MS 974. Images reproduced with permission of the Matenadaran Mesrop Mashtots Institute of Ancient Manuscripts.

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pictorial cycle of the life of Christ, most likely the Nativity with the Adoration. The scene surviving on what is today folio 1 recto features the Presentation and the Baptism of Christ, which concludes the Theophany cycle, while the verso shows the Transfi guration and the Raising of Lazarus. Between folios 1 and 2, one folio seems to be lost with events  om the early Passion. Nothing seems to be missing  om between folios 2 and 3, since the Crucifi xion on folio 2 verso is naturally followed by the combined events of the Burial of Christ and the Harrowing of Hell on folio 3 recto. The latter page concludes what was most likely an eight- page narrative. The combined portrait of the four evangelists, on folio 3 verso, originally faced the start of the Gospel texts, written in rounded erkatàgir script in two columns,  om which the fi rst pages of Matthew are now lost.

Morgan Library and Museum (MS M 1112) and Metropolitan Museum of Art (57.185.3)

Among the loose pages known  om the prefatory matter of Armenian Gospel books, two paper folios are preserved in two collections in New York  om the same codex, the rest of which is considered lost. One of them belongs to the Metropolitan Museum of Art (5⒎ 18⒌ 3), while the other is housed in the Morgan Library and Museum (MS M 1112). Based on their painting style, they were most likely produced in the Lake Van region of Vaspurakan, Turkey, sometime between 1290 and 1330 CE.8 The shared painting style and  ame design, the quality and measure- ments of their folios (ca. 3⒊ 5 × 23 cm), as well as the cursive handwriting that identifi es the fi gures in the bolorgir script confi rm that these folios are

8 Alice Taylor, “Vaspurakan Manuscript Illumination and Eleventh-Century Sources,” in Medieval Armenian Culture: Proceedings of the Third Dr. H. Markarian Conference on Arme- nian Culture, ed. Thomas J. Samuelian and Michael E. Stone (Philadelphia: University of Pennsylvania, 1984), 306–11, fi gs. 1, 2; Alice Taylor, “Armenian Illumination Under Geor- gian, Turkish, and Mongol Rule: The Thirteenth, Fourteenth, and Fi eenth Centuries,” in Treasures in Heaven: Armenian Illuminated Manuscripts, ed. T. F. Mathews and R. S. Wieck (New York: Pierpont Morgan Library, 1994), 184, no. 52, fi g. 61, pl. ⒙ The matching of these folios was fi rst noted in Gulácsi, “Armenian Gospel- Books.”

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related (fi g. 2). The Morgan folio (MS M 1112) features the Nativity and the Visitation as the narratively earlier events on its recto and the Baptism of Christ on its verso. The Metropolitan Museum folio (5⒎ 18⒌ 3) contains the combined portrait of the Four Evangelists on one side, confi rming it as a verso, which followed the Empty Tomb and Resurrection on the recto as the last scene  om the life of Christ depicted in this cycle. Based on the book- making practice of matching the hair- and fl esh- sides on the facing pages while nesting the folded sheets of bifolia within the quire, these two were separated by at least three folios, now lost, that contained six pages of illustrations with events  om the Theophany and the Passion, and arguably at least one episode  om Christ’s ministry. Moreover, the Nativity scene was most certainly preceded by an Annunciation scene on the verso of another lost folio with the last canon table on its recto, as is o en the case in this corpus. The original Gospel book would have also contained Eusebius’s letter and ten canon tables, as well as a twelve- page narrative cycle and a one- page combined portrait of the four evangelists preceding the texts of the four Gospels.

Matenadaran, MS 4813

A fourteenth- century example (MS 4813)  om the collection of the Mat- enadaran in Yerevan was also part of the Armenia exhibition at the Metro- politan Museum of Art. This book consists of 188 paper folios and measures 3⒈ 5 × 24 × ⒐ 6 cm when closed. Its colophon confi rms that it was illustrated and bound by Melk’isedek in 1338 CE in Berkri, Turkey.9 Originally, two quires held the preparatory matter in this codex (fi g. 3). The fi rst quire is lost. The original second quire now begins this Gospel book. The fi rst two folia of this quire are unfi nished: both sides of the fi rst folio remain blank (unnumbered folio recto and verso) followed by a folio that contains two incomplete canon tables (fol. 1r and fol. 1v). To these, a

9 H. Hakobyan, V. Kazarian, and A. S. Matʻevosyan, Haykakan manrankarchʻutʻyun, Vas- purakan (Erevan: Sovetakan Grogh Hratarakchʻutʻyun, 1978), 19–22; Nersessian, Treasures from the Ark, 168–69 n. 9⒊ https://repository.upenn.edu/mss_sims/vol3/iss2/6 10 Gulacsi: Codicological Assessment of Three Gospel Books with Sideways-Oriented Illustrations Gulácsi, Three Gospel Books | 427

figure 2. Two folia surviving from the prefatory matt er of a fourteenth-century Armenian Gospel book. New York, Morgan Library and Museum, M 1112; New York, Metropolitan Museum of Art, 57.185.3. Images reproduced with permission of the Morgan Library & Museum and the Metropolitan Museum of Art.

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figure 3. Six folia surviving from the prefatory matt er of a fourteenth-century Armenian Gospel book. Erevan, Maten adaran, MS 4813. Images reproduced with permission of the Maten adaran Mashtots Institute of Ancient Manuscripts.

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non- sideways Annunciation scene was added later (fol. 1v). These two folios were followed by a now lost folio, which most likely contained the last canon table on its recto and the fi rst narrative scene  om the life of Christ on its verso. The quire then preserves an intact bifolio in its middle with four successive narrative scenes: the Nativity with the Adoration (fol. 2r), the Presentation (fol. 2v), the Baptism (fol. 3r), and the Entry into Jerusa- lem (fol. 3v). These were followed by a now missing folio with what would have been scenes  om the Passion of Christ on both sides (such as the Last Supper, the Washing of the Feet, the Betrayal, and/or the Arrest of Jesus) that typically come before what survives in the second half of the quire, the Crucifi xion (fol. 4r), the Empty Tomb and Resurrection (fol. 4v), and the Ascension (fol. 5r). This quire concludes with a sideways- oriented combined portrait of the four evangelists (fol. 5v), which faces the fi rst page of the next intact quire, where the Gospel of Matthew begins (fol. 6r). As seen here, the start of each of the four Gospels in this book is crowned by a prominent headpiece, consisting of geometric and vegetal motifs defi ned against a red background, which culminates in an arch along its lower center. The texts begin with a calligraphic initial and are decoratively lettered in the capital erkatàgir script in alternating red- and black- ink lines. In contrast, the subsequent pages of the four Gospels are neatly written in the cursive bolorgir script and remain unadorned (fol. 6v and fol. 7r).

The study of Armenian illustrated Gospels is essential for reaching a new understanding about the formation of book art in late antique and early medieval West Asia. The above three examples are representative of other Armenian Gospel books illustrated with sideways- oriented scenes in their prefatory matter in a sense that they, too, depict the life of Christ without visually narrating any one of the four Gospels. Instead, they give what is maybe best thought about as “an abbreviated visual version of a Gospel harmony,” that is, a single popular account on anywhere  om eight to twenty- four pages. Although the scenes tend to include the liturgically most signiﬁ cant events (such as the birth and baptism of Christ  om the Theophany cycle, celebrated on 6 January; or the Cruciﬁ xion and Resurrec- tion  om the Passion cycle commemorated during the Easter week), some

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scenes contain nonbiblical elements that diﬀ er  om what is discussed in the Gospel texts.10 Thus, they lend strong support to John Lowden’s theory, according to which depictions of the life of Christ in early Gospel books did not originate as illustrations within the texts of ancient manuscripts, but ﬁ rst developed instead in various other, solely pictorial media independent  om the biblical texts.11

10 See Gulácsi, “Armenian Gospel- Books.” 11 Lowden, “The Beginnings of Biblical Illustration,” 48–58; cf. V. Nersessian, Armenian Illuminated Gospel-Books (London: British Library, 1987), ⒊ https://repository.upenn.edu/mss_sims/vol3/iss2/6 14 Gulacsi: Codicological Assessment of Three Gospel Books with Sideways-Oriented Illustrations

LIST OF M ANUSCRIPTS CITED

Baltimore, Walters Art Museum Dublin, Trinity College Library W.527: 374 n. 33 MS 58: 366 n. 10 W.530.A: 374 n. 33 Edinburgh, National Library of Scotland W.531: 374 n. 33 MS Hawthornden 2064: 306, 318, 318 n. W.838: 358, 360, 362, 362 fi g. 5, 364 41, 320–21, 330–31 table 1, 365–77, 380–2 W.839: 358, 360, 361 fi g. 4, 362, 365–77, Florence, Biblioteca Medicea Laurenziana 370 n. 29, 380–2 Plut. ⒈ 56: 374 n. 33, 422 W.840: 358, 360, 360 fi g. 3, 365–77, 370 The Hague, National Library of the n. 29, 380–2 Netherlands Boru Śǝllase Monastery MMW 10 A 19: 412, 412 n. 57 Gospels of Boru Śǝllase: 367, 367 n. 17, Jaipur, Maharaja Sawai Singh II Museum 369–72, 373 fi g. 7, 374–82, 376 fi g. 8, 378 MS 2440.28: 288, 288 n. 33 fi g. 9 Jaipur, Rajasthan Oriental Research Institute Cambridge, MA, Harvard University, MS 2165: 296 Houghton Library Jodhpur, Rajasthan Oriental Research MS Eng. 1014: 306, 316–17, 317 n. 38, Institute 320, 330 MS 24778: 294 n. 42 MS Richardson 28: 441 n. 12, 442 n. 14 MS 26094: 286–87 Chandigarh, Puǌ ab University, AC Joshi MS 26334: 277 fi g. 3 Library MS 26579: 296; 297 fi g. 6 MS 1428: 292 n. 39 MS 27518: 284 fi g. 4 MS M-105: 292 n. 39 Leiden, Rĳ ksuniversiteitbibliothek Cleveland, Cleveland Museum of Art BPL 108: 435 194⒉ 1511: 374 n. 33 BPL 111: 435 Scaliger 38: 435 Däbrä Ḥayq Ǝsṭifanos Monastery London, British Library Gospels of Iyäsus Mo’a: 377–78, 377 n. 40, MS 2 B I: 398, 399 fi g. 10, 407, 410 379 fi g. 10, 381 MS Add. 5111: 374 n. 33 Däbrä Tä’amina Monastery MS Add. 62925: 403–4, 405 fi g. 13 Gospels of Däbrä Tä’amina: 367, 367 n. 18, MS Cotton Nero A.x: 383–90, 383 n. 1, 369–72, 372 fi g. 6, 374–75, 381–82 384 n. 3, 388 fi g. 1, 389 fi g. 2, 390 fi g. 3,

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391 fi g. 4, 391 fi g. 5, 392 fi g. 6, 392–407, MS Harley 5943: 311 n. 30 394 fi g. 7, 395 fi g. 8, 401 fi g. 11, 406 f MS Harley 5944: 311 n. 30 ig. 14, 408 n. 48, 408 n. 49, 409–20, 411 MS Harley 5945: 311 n. 30 fi g. 15 MS Harley 5946: 311 n. 30 MS Egerton 1070: 401 n. 32 MS Harley 5947: 311 n. 30 MS Harley 364: 306, 317, 317 n. 39, 320 MS Harley 5948: 311 n. 30 MS Harley 966: 305 MS Harley 5949: 311 n. 30 MS Harley 967: 302, 306 MS Harley 5950: 311 n. 30 MS Harley 2292: 306 MS Harley 5951: 311 n. 30 MS Harley 5903: 311 n. 30 MS Harley 5952: 311 n. 30 MS Harley 5906b: 311 n. 30 MS Harley 5953: 311 n. 30 MS Harley 5908: 311 n. 30 MS Harley 5954: 311 n. 30 MS Harley 5909: 311 n. 30 MS Harley 5956: 311 n. 30 MS Harley 5910: 311 n. 30 MS Harley 5957: 311 n. 30 MS Harley 5914: 311 n. 30 MS Harley 5958: 311 n. 30 MS Harley 5915: 311 n. 30 MS Harley 5959: 311 n. 30 MS Harley 5916: 311 n. 30 MS Harley 5960: 311 n. 30 MS Harley 5917: 311 n. 30 MS Harley 5961: 311 n. 30 MS Harley 5918: 311 n. 30 MS Harley 5962: 311 n. 30 MS Harley 5919: 311 n. 30 MS Harley 5963: 311 n. 30 MS Harley 5920: 311 n. 30 MS Harley 5964: 311 n. 30 MS Harley 5921: 311 n. 30 MS Harley 5965: 311 n. 30 MS Harley 5922: 311 n. 30 MS Harley 5966: 311 n. 30 MS Harley 5923: 311 n. 30 MS Harley 5967: 311 n. 30 MS Harley 5924: 311 n. 30 MS Harley 5968: 311 n. 30 MS Harley 5925: 311 n. 30 MS Harley 5969: 311 n. 30 MS Harley 5926: 311 n. 30 MS Harley 5970: 311 n. 30 MS Harley 5927: 311 n. 30 MS Harley 5971: 311 n. 30 MS Harley 5928: 311 n. 30 MS Harley 5972: 311 n. 30 MS Harley 5929: 311 n. 30 MS Harley 5973: 311 n. 30 MS Harley 5930: 311 n. 30 MS Harley 5974: 311 n. 30 MS Harley 5931: 311 n. 30 MS Harley 5975: 311 n. 30 MS Harley 5932: 311 n. 30 MS Harley 5976: 311 n. 30 MS Harley 5933: 311 n. 30 MS Harley 5977: 311 n. 30 MS Harley 5934: 311 n. 30 MS Harley 5978: 311 n. 30 MS Harley 5935: 311 n. 30 MS Harley 5986: 311 n. 30 MS Harley 5936: 311 n. 30 MS Harley 5987: 311 n. 30 MS Harley 5937: 311 n. 30 MS Harley 5988: 311 n. 30 MS Harley 5938: 311 n. 30 MS Harley 5989: 311 n. 30 MS Harley 5939: 311 n. 30 MS Harley 5990: 311 n. 30 MS Harley 5940: 311 n. 30 MS Harley 5991: 311 n. 30 MS Harley 5941: 311 n. 30 MS Harley 5992: 311 n. 30 MS Harley 5942: 311 n. 30 MS Harley 5993: 311 n. 30

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MS Harley 5994: 311 n. 30 Gärima III: 363, 363 n. 4, 363 n. 5, 366, MS Harley 5995: 311 n. 30 366 n. 10, 367–68 MS Harley 5996: 311 n. 30 Naples, Università degli Studi di Napoli MS Harley 5997: 311 n. 30 L’Orientale MS Harley 5998: 311 n. 30 MS ARA 30: 340 n. 14, 342 n. 21, 343 n. MS Harley 6795: 306 24, 344 n. 28, 347 n. 37, 356 MS Royal 6 E VI: 396, 396 n. 21 MS ARA 50: 340 n. 14, 340 n. 15, 342 n. MS Royal 6 E VII: 396, 396 n. 21 21, 344–45, 344 n. 27, 345 n. 29, 345 n. MS Royal 16 G VI: 403, 403 n. 40, 404 30, 345 n. 31, 347 n. 37, 356 fi g. 12 MS ARA 51: 356 MS Royal 19 B XV: 393 n. 19 MS ARA 71: 340 n. 14, 343 n. 24, 347 n. MS Sloane 885: 311 n. 30, 312 37, 356 MS Sloane 1044: 311 n. 30 MS ARA 93: 340 n. 15, 343 n. 24, 356 MS Sloane 1086: 311 n. 30 MS ARA 259: 345 n. 30, 345 n. 31, 347 MS Sloane 1983: 311 n. 30 n. 37, 356 London, Lambeth Palace Library MS ARA [no shelfmark] “Kitāb al-jawāhir MS Arc.L.40.2/E.23: 307 al-muntaqāt”: 345 n. 30, 345 n. 31, 347 n. MS Arc.L.40.2/E.25: 307 37, 356 MS Arc.L.40.2/E.64: 308 n. 22 MS ARA [no shelfmark] “Fiqh Ibāḍite”: MS Sion L40.2/E24: 307–8, 309 fi g. 1, 347 n. 37, 356 312–15, 316 fi g. 2, 318–19, 321–29, 325 New York, Metropolitan Museum of Art fi g. 3, 328 fi g. 4, 331–33, 331 n. 50, 332 5⒎ 18⒌ 3: 425–26, 427 fi g. 2 fi g. 5 New York, Morgan Library and Museum London, University College London MS M.639: 374 n. 33 Library MS M.828: 363 n. 4, 367, 367 n. 15, 369 MS Ogden 7: 305 n. 13 n. 28, 378 n. 43, 381 n. 53 Los Angeles, J. Paul Getty Museum MS M.1078: 396, 397 fi g. 9, 409 n. 52 MS 33: 413–14, 413 fi g. 16 MS M.1112: 425–26, 427 fi g. 2 MS 89: 370–71, 370 n. 31 Newark, Ǌ , Newark Museum Manchester, John Rylands Library Coll. 9⒍ 4⒍ 1: 357–58, 358 fi g. 1, 365–77, Hindustani MS 1: 275 fi g. 2 375 n. 35, 380–82, 380 n. 46–51 Rylands French 142: 406–7, 407 n. 43 Coll. 9⒍ 4⒍ 2: 357–58, 359 fi g. 2, 360, 362, 364 table 1, 365–77, 380–82 Maynooth, Russell Library RB36: 431–32, 432 fi g. 1, 433 fi g. 2, 436, Oxford, Bodleian Library 438 MS Ashmole 792: 306, 312 n. 32 MS. Eng. poet. a. 1: 398, 398 n. 28 Mehakelegnaw, Abba Garima Monastery MS Junius 11: 396, 396 n. 20 Gärima I: 363, 363 n. 4, 363 n. 5, 366 n. 10, 367–68 Oxford, Queen’s College Library Gärima II: 363 n. 4, 363 n. 5, 366, 366 MS 251: 306, 313, 317–18, 318 n. 40, n. 10, 367 320, 330, 333

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508 | Journal for Manuscript Studies

Paris, Bibliothèque Nationale MS Indic 6: 476 n. 15 MS Éthiopien 32: 365 n. 7, 367–68, 368 MS Indic 10: 274 fi g. 1 n. 18 MS Indic 26: 475 n. 13 MS. lat. 964: 435, 435 n. 6 MS Indic 28: 275 n. 15 MS. lat. 4892: 435 Rossano, Rossano Cathedral, Diocesan MS. lat. 5019: 435 Museum MS. lat. 9435: 435 GA 042: 374 n. 33, 422 Philadelphia, University of Pennsylvania MS Codex 85: 442–69, 442 n. 15, 443 Šemazānā, Akkala Guzāy, Däbrä Libanos n. 16, 443 n. 17, 443 n. 20, 444 n. 21, 444 Monastery n. 22 Gospel of Däbrä Libanos: 365 n. 6 MS Codex 736: 441–42, 441 n. 12, 442 Tǝgray, Church of Qärsäbär Mika’el n. 14 Gospels of Qärsäbär Mika’el: 371 n. 32 MS Coll. 390, Item 42: 483 MS Coll. 390, Item 178: 480 Vatican City, Biblioteca Apostolica Vaticana MS Coll. 390, Item 292: 484 n. 28 Pal. Gr. 220: 374 n. 33 MS Coll. 390, Item 497: 482 n. 25 Vat. Gr. 364: 374 n. 33 MS Coll. 390, Item 533: 483, 483 fi g. 4 Venice, San Lazzaro, Mekhitarist Library MS Coll. 390, Item 890: 474 n. 10 MS 1400/108: 374 n. 33 MS Coll. 390, Item 893: 474 n. 10 MS Coll. 390, Item 896: 474 n. 10 Vienna, Österreichische Nationalbibliothek MS Coll. 390, Item 1136: 479 n. 18 Cod. Suppl. Gr. 52: 374 n. 33 MS Coll. 390, Item 1334: 479 n. 19 Washington, D.C., U.S. Library of MS Coll. 390, Item 1567: 482 Congress MS Coll. 390, Item 1783: 485 MS 1–85–15⒋ 77: 276 n. 16 MS Coll. 390, Item 2053: 484 n. 28 MS Coll. 390, Item 2172: 480 Yerevan, Matenadaran MS Coll. 390, Item 2615: 480, 481 fi g. 3 MS 238: 422 n.4 MS Coll. 390, Item 2660: 480 MS 974: 423, 424 fi g. 1, 425 MS Coll. 390, Item 2670: 475 n. 13 MS 2877: 422 n.4 MS Coll. 390, Item 2671: 475 n. 13 MS 2930: 422 n.4 MS Coll. 390, Item 2672: 475 n. 13 MS 3784: 423 n.6 MS Coll. 390, Item 2673: 475 n. 13 MS 4813: 423 n.6, 426, 428 fi g. 3, 429 MS Coll. 390, Item 2674: 475 n. 13 MS 4818: 422 n.4 MS Coll. 390, Item 2675: 475 n. 13 MS 7456: 422 n.4 MS Coll. 390, Item 3020: 474 MS 7736: 422 n.4 MS Coll. 390, Item 3045: 483 MS 9423: 422 n.4 MS Indic 2: 476 n. 15 MS 10780: 422 n.4

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