![]() ![]() This chronology expands by studies of Keheyan and co-workers, based on manuscripts from different miniature schools, and being the first to implement Raman microscopy in this process. Their examination of 24 manuscripts using mostly elemental analysis draws the overall image of the Armenian medieval palette, Table 1. Orna, Cabelli and Mathews’s collaboration were the first to study the pigments of Armenian illuminations systematically. ![]() Previous studies exploring the materiality of Armenian manuscripts include important works by two main groups: Orna and co-workers, and Keheyan and co-workers, and complemented by other studies. This table is based on the information collected in Tables S1 and S2. This work will compare the main colorants identified with previous studies on Armenian manuscripts summarized in Table 1. Therefore, the Gulbenkian group of Armenian manuscripts offers the possibility to study the manuscript production of the last Armenian scriptoria, and to evaluate the art and craftsmanship of miniature workshops of Constantinople, Isfahan, and Crimea. It has been suggested that these diaspora workshops bear influences from traditional Armenian schools, particularly from Cilicia, as well as from Byzantine and Western art. These broad connections can be particularly observed in the manuscript art of the 17th century Armenian diasporas, where the local artistic traditions are very often conjoined with new westernized inspirations. The inheritance of Byzantine and Seljuk art intersects here as well. It is in the Kingdom of Cilicia (1198–1375), open to the Mediterranean, that Armenian art has its apogee and where, in the 13th century, flourish the scriptorium of Hromkla (present-day Rumkale, Gaziantep, Turkey), and the legacy of Toros Roslin, scribe and illuminator of seven dated manuscripts. This style is strongly characterized by the continuity of Armenian medieval local traditions and contacts with European art conveyed by the Crusaders in the Latin Kingdoms of Cyprus, Antioch, and Jerusalem. The artistic production of this period, developed beyond the historical frontiers of Armenia, is distinguished by its eclectic style. At the same time, these communities shared wider connections globally, from East to West. The three centers were interconnected through the dynamic mobility of people that promoted the circulation of goods and ideas between them. These communities were prospering centers of Armenian trade and artistic production patronaged by the wealthy merchant class. Original resource at: Irish College in Paris.ĭescription based on data extracted from World Digital Library, which may be extracted from partner institutions.As already mentioned, this group of manuscripts was produced within the Armenian diaspora communities of Constantinople, Isfahan, and Crimea, during the 17th century, as shown in Figure 1. Original resource extent: 130 folios, not paginated 21 centimeters by 15.5 centimeters. Title devised, in English, by Library staff. Vrelant, Guillaume, died 1481 Contributor. ![]() The manuscript is unfortunately incomplete about 26 leaves have been removed. The English binding dates from the early 18th century. The leaves of the manuscript are decorated with numerous ornamental initials, historiated letters (with figures of people, flowers, animals, or birds), and decorated borders. Wyelant, also known by the Flemish spelling of his name, Willem Vrelant, was an influential illuminator who was active in Bruges from 1449 until his death in 1481. The manuscript, written in Latin and on vellum, is most likely the work of William Wyelant or his studio. Heures de Notre-Dame (The book of hours of Notre Dame) was made in Bruges (present-day Belgium) around 1470. They were the most common illuminated works of the Middle Ages. Books of hours are collections of prayers used for private devotion. ![]()
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