The first, in chronological order, is the wooden panel of the Descent from the Cross, knows as the Saviour of Havuts T'ar from the name of the monastery to which it was donated in 1013. Its sponsor, Grigor Bahlavuni, better known by his Byzantine title of Grigor Magistros, the son of Vasak Bahlavuni, the father of the future catholicos Grigor Vkayaser (Martyrophile) was the most erudite person of the kingdom; his letters show the breadth of his knowledge in theology, in philosophy and in the sciences. The gifted sculptor who carried out his order created a composition of the Descent from the Cross which is unique in many ways: the cross itself is jeweled and above Christ's head appear the dove of the Holy Ghost and the hand of God. In order to concentrate the attention on Christ's figure the sculptor has placed quite close to Him the men removing the nails from His hands and feet, without the ladders on which they stood. This composition, so moving in its simplicity, was never repeated in the same manner.
    The second object is the gilt silver reliquary known as the Holy Sign of Khotakerats from the name of the monastery where a fragment of the true cross was kept. Made in 1300, this reliquary has both artistic and historical significance for its sponsor, Eatchi Proshian, whose portrait in bust is represented under the cross, was the grandson of Prosh, the founder of the powerful feudal family which, during this period of national revival, endowed many churches and monasteries and who, moreover, were the principal supporters of the famous university of Gladsor. The national element appears in the decoration of this reliquary for Gregory the Illuminator shares with John the Baptist the honor of being represented on the outer side of the wings of the triptych. The delicately incised ornament surrounding the jeweled cross at the center of the main panel, the elegant figures of the angels on the inner faces of the wings and higher up at the sides of the enthroned Christ, make of this triptych one of the finest examples of the goldsmith's craft not only in Armenian but also in medieval art in general.
    The third example, the Gospels No 96 of the Treasury, is again a significant work for both historical and artistic reasons. It was copied in 1374 by Grigor Tat'evatsi who in the long, versified colophon reports that Hohannes Vorotnetsi prepared the vellum; moreover Hohannes himself has added a versified colophon. The two most famous scholars of the second half of the XIV th century have thus collaborated; the teacher, Hohannes, educated at Gladsor, the founder of the Academy of Tat'ev, and his pupil and successor, Grigor. Their portraits, standing side by side, holding the gospel book and right hand raised in the gesture of blessing, are painted at the end of the manuscript. They are also engraved on the back cover of the binding which is exceptionally in gold, while the Crucifixion is represented on the front cover. The gospel scenes painted by Khatchatur of Caesarea, hitherto unpublished, are worthy of special attention, in particular the portraits of the evangelists which reproduce very early iconographic types.
    My last example is the processional banner dated 1448. The delicate embroidery represents, on one side, Christ enthroned and blessing, surrounded by the symbols of the evangelists, and on the other Gregory the Illuminator standing between King Trdat and Saint Hrip'sime. The stitches are so fine and so small that the figures seem to be painted rather than embroidered; the colors are harmoniously blended, the red mantle of Saint Hrip'sime echoes the red tunic of King Trdat while the latter's green belt and the green stripes of his tunic find their correspondences in the tunic of Saint Hrip'sime. Saint Gregory's chasuble, adorned with brown crosses, his pallium which seems to be woven with gold threads show the great skill of the embroiderers as do the faces of all three figures.

    These four objects, each one in a different medium, are the oldest dated ones among the treasures of Etchmiadzin. Most of the others belong to the later centuries including the portraits which adorn the walls of the Cathedral or are exhibited in the Museum. These are for the most part the work of four generations of painters of the same family who, beginning with Naghash Hovnatanian (1661-1722), served the Holy See for well over a century. The imaginary portraits of the venerated Armenian saints of the early church as well as the great national figures of the Middle Ages, such as Gregory of Narek or the Catholicos Nerses the Gracious are among the principal figures but there are also compositions, for instance the death of Gregory the Illuminator.

    The dispersion of the Armenians did not sever the relations with the mother country. Many of the donations were made by men and women living outside Armenia: in Constantinople, in the different towns of Asia Minor, in Persia where since the time of Shah Abbas there was a prosperous community and, slightly later, by the wealthy merchants of India. Like the sponsors of the Middle Ages who wished to have their name recorded in the manuscript they had commissioned so also the men and women who offered church vessels or liturgical vestments to Etchmiadzin often had their name and the date of the donation inscribed on the object. These inscriptions provide a sure basis for grouping the objects by areas, for studying the special technique used in each one, for observing the possible relations between them, and the influence, if any, of one region on another. Besides the usual representations of Christ, the Virgin, and saints, of scenes from the life of Christ, of episodes of the Old Testament which had a symbolical meaning, like the Sacrifice of Abraham, one finds new and elaborate compositions on these various objects, especially on the episcopal copes and on the curtains where the artist disposed of a larger surface.

    Though not selected for that purpose the numerous objects in different artistic categories, plus the large collection of coins, assembled in this Museum show the many facets of our national art over the centuries. Many of the objects are adequately published here for the first time, the album will thus provide the basis for intensive studies within each category, for comparative studies with the arts of other countries, thus enabling to distinguish the national characteristics. By acquainting all students and lovers of art in Armenia or abroad with the objects of this rich collection it will also act as an incentive for further studies.

DR. SIRARPIE DER NERSESSIAN