![]() In the case of the Bible, the narrow headpieces of interlaced vegetal patterns are provided at the beginning of the chapters, Figure 17. The paratext in the four manuscripts is organized according to the text-image relationship commonly found in Armenian manuscripts-the main chapters and essential passages of sacred texts are usually indicated with marginal ornaments of vegetal patterns the text begins with zoomorphic, anthropomorphic, ornated or bird-letters, Figure 17 and Supplementary S1 (Supplementary S1.5) titles and the following two-three lines are usually majuscule letters written in alternating red, blue, and gold inks the main text is in black, with neat lines and regular calligraphy. Overview of the Medieval European Palette Such knowledge is indispensable for manuscripts’ conservation and restoration and may contribute to a number of areas, ranging from art history and technology to socio-economic and cultural history. Indeed, understanding the nature of all the components of such complex objects as codices, i.e., binding, parchment or paper, inks, and pigments, will widen our knowledge of the specificities of the production process, artistic techniques, paint and ink formulations, and much more. ![]() 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. ![]() 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.
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