Manuscript No. 34: Hymnal (Fragments), 16th Century
- Manuscript No. 34: Hymnal (Fragments), 16th Century
- Uniform title
- Date Created
- 16th Century
- Armenian Manuscripts
- A defective copy of the Hymnal (Sharaknots’) of the Armenian Church. Thr principle divisions of the surviving leaves are as follows:Fols. 1-3v [Canon of the Second Sunday.] (The beginning of the text is missing.)Fol.s 3v-15. Canon of the Third Sunday.Fols. 15-18. Canon of the Forty Saints.Fols. 18-21. Canon of the Fifth Sunday.Fols. 21v-22v. Canon of the St. Gregory the Illuminator.Fols. 30-31. Canon of the Raising of Lazarus.Fols. 31-33. Canon of the Coming og the Lord to Jerusalem.Fols. 33-34. Canon of the Second Palm Sunday.Fols. 34-35v. Canon of Monday of the Holy Week.Fols. 35v-37. Canon of Tuesday f the Holy Week.Fols. 37 – 38. Canon of Wednesday of the Holy Week.Fols. 38v. 41v. Canon of Thursday of the Holy Week.Fols. 41v-46. Canon of Good Friday.Fol. 46v. Full-page miniature: Resurrection of Christ.Fols. 47v-48v. “Today is risen from the dead the immortal bride-groom.”Fols. 48v-49v. Canon of Holy Easter.Fols. 49v-55v. Canon of New Sunday.Fols. 55v-70v. Canon of the Sunday of the World Shrine.Fols. 71-75. Canon of the Ascension of Christ.Fols. 75-81v. Canon of Second Palm Sunday.81v-83. Canon of the Second Day.Fols. 83-84v. Canon of the Third Day.Fols. 84v-86v. Canon of the Fourth Day.Fols. 86v-87v. Canon of the Fifth Day.Fols. 87v-88v. Canon of the Sixth Day.Fols. 88v-90. Canon of the Seventh Day.Fols. 90-95. Canon of the Birth of John the Baptist.Fols. 95-96. Canon of the John the Baptist.Fols. 96v-98v. Canon of the removal of St. Gregory the Illuminator from the Pit.Fols. 98v-100. Canon of the sons and grandsons of St. Gregory the Illuminator.Fols. 100-102v. Canon of St. Nerse the Patriarch.Fols. 102v-103. Hymn of the Holy Patriarch Sahak the Parthian.Fols. 103-108v. Canon of St. Hripsime and her companions.Fols. 108v-109. Hymn of St. Sandukht.Fol. 109-109v. Canon of Holy Tabernacle.Fols. 110-112. Canon of the Transfiguration.Fols. 112v-114. Canon of the Second Day.Fols. 114-115v. Canon of the Third Day.Fols. 116-117v. Canon of the Apostle Thaddeus.Fols. 117v-119. Canon of Shoghakat.Fols. 119-121v. Canon of the Dormition of the Holy Theotokos. Fols. 121v-124v. Canon of the Second Day.Fols. 125-126. Canon of the Eve of the Feast of the Holy Cross.Fols. 126-128. Canon of the Second Day.Fols. 128-129v. Canon of the Third Day.Fols. 129v-131. Canon of the Fourth Day.Fols. 131-132v. Canon of the Fifth Day.Fols. 133-134v. Canon of the Sixth Day.Fols. 134v-137. Canon of the Seventh Day.Fols. 137-139. Canon of the Cross of Varag.Fols. 141v-145. Canon of the Invention of the Holy Cross.Fols. 141v-145. Canon of the Holy Prophets.Fols. 145v-149. Canon of Siants Sahak and Mesrop.Fols. 149v-152v. Canon of the Holy Patriarchs.Fols. 152v-153. Hymn of the Patriarch Ignatius.Fols. 153-153v. Hymn of St. John Chrysostom.Fols. 153v. Hymn of St. Basil.Fols. 153v-154. Hymn of St. Gregory the Theologian.Fol. 154-154v. Hymn of St. Ephrem.Fols. 154v-155. Hymn of St. Eustatius and his companions.Fols. 155v-156. Hymn of St. Stephen of Ulna.Fols. 156v-157. Hymn of St. Hesychius and his comnapions.Fol. 157-157v. Hymn of St. Vahan of Goght’n.Fols. 157v-158. Hymn of Davit’ of Duin.
- Text in small bolorgir, written in one column of 22 lines. Subtitles in red bolorgir, and initials in red erkat’agir. Fols. 31-35 written in bolorgir by a different hand. Musical notations throughout the codex.Because folios are missing at the beginning and end of the book and there are many lacunae throughout the codex, the total number of quires and of the leaves in the gatherings cannot be determined. Only the following folios have quire numbers; quire 6 on fol. 33v; quire 7 on fol. 34; quire 14 on fol. 93v; first page of quire 15 on fol. 94; last page of quire 15 on fol. 109v; quire 16 on fol. 122v. These quires are numbered with the letters of the Armenian alphabet written in bolorgir in the lower margin of the page.
- There are no colophons indicating the date of execution and provenance of thecodex. The only notation contemporary with the boo, written at the conclusion of the “Canon of the whole body of martyrs” on fol. 190., reads: “May Christ God, with the intercession of all the holy martyrs, have mercy upon the scribe and his parents, and upon the owner [of this book]. Amen!” Judging from the script, this inscription was written by the scribe himself, who failed to mention his name or that of the individual who commissioned the codex. The same scribe has left another inscription (fol. 29v), in which he pleads: “May Christ God have mercy upon the scribe. Amen!” The paleography and the style of the illustrations suggest that the book was probably written in the 16th century. According to an inscription on fol. 124v, in A.D. 1654 the MS belonged to the priest Kirakos, who asks the reader to pray for the Lord’s mercy upon himself and the members of his immediate family, who are all mentioned by name. An undated inscription (fol. 149), written by someone named Karapet, son of Avetum, merely mentions his own name and that of his mother Arzun and his brother Mkrtich’. There is no indication as to whether Karapet actually owned the book. Fnally, a notation on a slip of paper indicates that Dr. Minasian purchased the codex from Mrs. Tagoohi Shirvanian on June 10, 1947, for 250 rials.
- 190 folios
- 13x9 cm.
- Illustrations note
- The illustrations of the codex consist of one full-page miniature (fol. 46v), four headpieces with illuminated incipit initials and marginal palmettes (fols. 30, 47, 174, 190v), and a fifth headpiece with a marginal tempietto (fol. 125). There are also, throughout the codex, 79 marginal palmettes and 72 tubular and bird-form initials marking the major divisions of the manuscript.Two hands seem to be represented in the decorative illumination of this codex. The unsteady initials and marginalia on fols. 31-35v are drawn in brick red and occasionally picked out in green. They lack the fuller modeling of the headpieces and other initials, all of which are executed with a softer, surer line in red with accents of blue.The full-page miniature, representing the Three Marys at the Empty Tomb, would appear to be the work of a third artist, in whom ambition overreached skill, particularly in the handling of color. The composition is familiar; it is an advanced stage in the series of ever more crowded compositions based ultimately on Sargis Pitsak’s Gospel of A.D. 1357 at Aght’amar (Matenadaran MS 5332). The Myrophores are crushed against the left margin. Only the first of them has a body; the other two are represented by heads peering over Mary’s shoulder. Their hands, gesturing in inquiry, slip behind the angel, who sits on the slab fallen from the tomb. His wings are splayed, the right one lifted up over the tomb, as in the prototype, but here they are virtually wedged between the Holy Women and the empty tomb. The angel gestures, with two left hands, toward the shroud. Below him, three sleeping guards are shown as three heads perched on a bundle of drapery. Above, the sky is filled with drapery and stray bits of architecture. The sense of crowding is enhanced by compulsive overpainting. No area, save the blue ground behind the shroud, carries less than two colors. The faces are tinted with a light orange, lined with a darker shade of the same pigment, over which the features are outlined in black and dark blue. The effect is more of a war paint than of modeling.
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