[14] Specifically in the nineteenth century, three colophons were written with deteriorating articulation and heavy vernacular, two of which were dated 1852 and 1859 and pertained to the Ottoman army.

[18] Nearly five years after the start of the Armenian genocide, after the Battle of Marash in 1920, the manuscript was then given to James Lyman, an American missionary, by Father Khachadur Der Ghazarian for safe keeping.

[6][20][21] In 1994, the canon tables were sold to the J. Paul Getty Museum for $950,000 after being exhibited at the Pierpont Morgan Library in New York.

[22] In 2015, an agreement was signed between the Getty and the Western Prelacy of the Armenian Apostolic Church of America, which acknowledged that the Armenian Church was the rightful owner of the canon tables, but that the manuscript pages would remain in the Getty "in order to ensure their preservation and widespread exhibition.

[25] Even though he modeled this manuscript after other scribes, he tended to intensify his narratives and added exquisite illuminations into the margins, which were unrivaled for the time in Armenian art.

He also introduced Western motifs into this manuscript, which could have been a visual nod towards pro-union Armenian forces (which echoed earlier connections with Rome created by Nerses of Lambron).

[26] In the Zeytun Gospels, Roslin combined Byzantine elements with Cilician designs and Western motifs creating a new distinctive style.

[30] Roslin recounts in his colophons his appreciation to his teachers Yovhannes (Hovhannes), Skewray and Kirakos, who were thought of as the greatest masters of manuscripts in the 1240s and 1250s.

Roslin wrote many colophons in the Zeytun Gospels margins, one of which is "Whoever was unworthy who opened it [this book] and read it, it did not turn out well for him...Fathers and brothers!

"[30] T'oros Roslin specifically reintroduced the Lamb of God, aligning with the gospel of 1253 by his teacher Yovhannes, which appears on the incipit page of John atop the headpiece.

By reintroducing the Lamb of God, Roslin is paying homage to the archbishop Nerses of Lambron and the Latin Church.

[33] An example of an exceptional illumination in the margins and unique iconography from Roslin in the Zeytun Gospels is on folio 391, with the portrait of Christ walking to the Calvary carrying the heavy cross.

The depiction of Christ this way is a rarity in Eastern Christian manuscripts, since typically Simon carries the cross in Byzantine and Armenian art.

Roslin also shows Christ leaning from the weight of the cross going up a small knoll representing the Golgotha, similar to the style of the Moralized Bible (Oxford, MS 270b).