During the past year at the Center, I have continued expanding a part of my dissertation project for future publication. My research examines illuminated gospel manuscripts and monastic visual culture in pre-16th-century Ethiopia. I investigate the set of creative choices that shaped the breadth and complexity of visual programs in gospel manuscripts and examine how the intersection of text, image, and the gospel book’s venerated status generated specific meanings for monastic audiences. The project elaborates the ways in which the intertwining of text and image, especially in the prefatory cycles of gospel manuscripts, is characterized by a multivalency that draws upon an overlapping range of visual and textual references and associations. In the past few months, I have explored how such references prompt a layered reading from the monastic reader/viewer by encompassing the elements of both intertextuality and what art historians have termed “intervisuality,” or the visual citations and cross-references between images. I focus especially on how such entwined intertextuality and intervisuality are activated in the elaborately decorated canon tables of the gospel manuscripts. Placed at the opening folios, canon tables provide at once a cross-referencing tool for navigating the parallel passages of the four Gospels and an exegetic guide for understanding gospel harmony. My broader goals for the project include situating the Ethiopian gospel manuscript within the broader context of medieval monastic visual culture.