Close-up of the Virgin and Lazarus in Abraham’s Bosom, The Gospels 1332, town of Surkhat, the Crimea Written (and probably illuminated with other artists) by Grokor Sukiasants

The Ascension, Lectionary 1356, town of Surkhat, the Crimea Written by Karapet, illuminated by Arakel and Kirakos (?)

Among the numerous surviving manuscripts in the Matenadaran collection there are quite a few which were produced outside Armenia by refugees who were forced to leave their homeland at one time or another in search of safety and peace. Armenian settlements or colonies appeared in Greece, Italy, Russia, Persia, Romania, Poland, Bulgaria, India, Egypt and other countries. During certain historical periods these colonies assumed a leading role in the development of Armenian art and culture, which, although always faithful to national traditions, was at the same time in constant interaction with its new surroundings.

The Four Evangelists, The Bible 13th-14th centuries Bologna, the Crimea Written by Arakel (?), Stepanos (14th century), Nikolayos (17th century)

The Annunciation, The Gospels 1256-57, town of Sultaniae, Iran Written and illuminated by Mkhitar Anetsi

First page of the Gospel of St. Mathew, The Gospels 1331, Perugia, Italy Written and probably illuminated by Jeremiah

The art of the Armenian settlers in the Crimea absorbed the traditions of various national schools and trends, among which the most influential were those represented by the Greek and Italian colonists.

The saturated colors are applied in thick layers; the principal combinations are of quiet dark-blue and violet, while red, yellow and gold are only occasionally used. These traits are clearly distinguished in the art of Avetis, Arakel, Kirakos, Stepanos and other masters, with their impasto technique, bold sweeping brushwork, a tendency towards generalization of forms, and a minute and detailed treatment of figures and faces.

Names of illuminators of the first two parts unknown; the third part (written by Nikolayos) illustrated by the scribe himself

The manuscript was begun in the 13^th century in Bologna, Italy, and finished in 1368 in the Crimea. In the seventeenth century the initial parts of the Old Testament were rewritten and newly illuminated, also in Crimea.

This miniature was produced in the Crimea by a master whose art is notable for the refinement and skill in the modeling of faces and for the delicacy of his palette. In accordance with Cilician tradition obviously known to Crimean artists St. Luke is represented with St. Theophilos.

Although the artist’s cognomen Anetsi indicates his native town was Ani, his creative work is very unlike that from his homeland. His work displays a great deal of Persian influence.

The illumination of the Perugia Gospels owes much to the Latin manuscript tradition, with the evangelist’s portraits incorporated into the headpiece of the Gospel. The Evangelists are fair-haired and have tonsures making them look like Roman Catholic priests.