had previously collaborated with Roslin in 1262 at Sis and illustrated by Roslin at Hromkla. The Sebastia Gospel of 1262 (MS No. 539) is located in Baltimore's Walters Art Museum. It was copied for the priest Toros, nephew of Catholicos Constantine I. Written in uncials it is the most lavishly decorated among the signed works of Roslin. The manuscript was kept in Sivas since the 17th century where it remained until the deportation of Armenians in 1919. Ten years later it was purchased by American rail magnate Henry Walters in Paris, whose long standing interest in Armenian art was rekindled by the tragic events of the previous decade. His wife Sadie Walters donated the manuscript to the Walters Art Museum in 1935. The Zeytun Gospels of 1256 (MS. 10450), copied for Catholicos Constantine I {See link}and the Malatia Gospel of 1268 (MS No. 10675) are located at the Mashtots Institute of Ancient Manuscripts in Yerevan. The manuscript (formerly MS No. 3627) was presented to Catholicos Vazgen I as a gift by Archbishop Yeghishe Derderian, patriarch of Jerusalem. The Catholicos in turn gave the manuscript to the institute. The manuscript was commissioned by Catholicos Constantine I as a present for the young prince and future king Hethum. In the colophons of the manuscript Roslin describes the brutal sack of the Principality of Antioch by the Mamluk Sultan Baibars: "...at this time great Antioch was captured by the wicked king of Egypt, and many were killed and became his prisoners, and a cause of anguish to the holy and famous temples, houses of God, which are in it; the wonderful elegance of the beauty of those which were destroyed by fire is beyond the power of words." Canon tables and ornaments The principal innovation of Roslin in regards to ornaments within canon tables is the addition of bust portraits. In the Gospel of 1262 (MS No. 2660), Eusebius and Carpianus are represented as full figures standing in the outer margins of the Letter of Eusebius. Roslin also represented prophets such as David, Moses and John the Baptist. This system was highly unusual for canon table decoration, for although portraits of prophets had been represented next to canon tables as early as the 6th-century Syriac Rabbula Gospels, their relationship to the gospels was not made explicit through the quotation of their messianic prophecies. New zoomorphic creatures are also added to the usual repertoire