manuscripts of the scriptures such as the Vienna Genesis. Most pages have small "frieze" images in a landscape format taking the width of the written page. These are interspersed in the text, with between none and three per page, the number and placement in the text depending on the story at that particular point. Other images are near-squares, with the text wrapping round them, and there are larger or whole page miniatures at a few key points. Several scenes are shown more than once as they appear in the different gospels. Many images contain more than one scene side by side, or sometimes one above the other. The images probably follow closely a lost Greek model, perhaps of the 11th or 12th century. The miniatures are mostly very close to those in a Greek manuscript made in the 11th century in the Monastery of Stoudios, the largest in Constantinople (now in Paris as BnF, cod grec 74), and were probably very largely copied from this or another Byzantine exemplar in the same tradition. The colophon, unusually, refers to but does not name the artists (in the plural) who worked on the book, and the hands of three main masters can be detected, as well as other less competent stretches which were probably the work of less experienced trainees. All would probably have been monks. The main master, responsible for the royal portrait and other major scenes on a larger scale, has been claimed to be very innovative in his technique, while a second master partly followed his style, and the third was more conservative. However non-Bulgarian historians regard the style as a somewhat conservative one which "adhered closely to Byzantine models". According to Robin Milner-Gulland, "All the painters use saturated colours, relish picturesque details and confidently handle a linear, basically twelfth-century Byzantine manner that is distinctly archaic by the standards of the fourteenth century." The royal portraits Folios 2v and 3r have a famous double spread miniature of the Tsar, his second wife, and his five children from both marriages, with his son-in-law on the far left, all identified by inscriptions. All wear crowns, have halos, and carry sceptres, and above the Tsar and his wife a double Hand of God emerges from the cloud to bless them. But only the tsar and his eldest son, standing to the left of him, wear a form of the loros, the cloth