Figure from:Series Byzantina, vol. IX, 2011. FULL TEXT.

Fig. 1. Gospel of Mlke. Canon: Nilotic scene (Venice, Library of Armenian Patriarchate, no. 1144/86)

Fig. 2. Gospel of Mugni. Canon: Egyptian hieroglyphs (Yerevan, Matenadaran, no. MS 7736)

Fig 9. Faras, fresco St. Anna, Warsaw National Museum

Fig. 13. Beta Mariam (House of Mary) Interior. Cross as Tree of Life relief. Source: G. Gerster, op.cit. pl. 66

Fig. 16. Bishop Hovsep. Relief from the church of St. Hovannes, Sisian, Armenia, dated end of 7 century. Source: L. A. Durnovo, op.cit., p. 54

Fig 14. Window in the Cell of Christ in the Church of Golgotha. Source: photo author

Fig. 1a. Round Church rotunda — interior (southwest); 1b - Round Church rotunda — interior

Fig. 2a. Round Church — aerial view (photo by Kamien Vlakhov); 2b - plan

Fig. 4a. Tre-foil, quatre-foil and multi-foil churches in Armenia and Georgia

Fig. 4b. Tre-foil, quatre-foil and multi-foil churches in Armenia and Georgia

Fig. 7a. Round Church rotunda/Holy Savior at Ani (composite image by Stefan Boyadjiev);  7b - plan of Holy Savior

Fig. 8. Round Church rotunda: a - longitudinal section (reconstruction by Stefan Boyadjiev); b - Holy Savior at Ani - interior; c - Holy Savior at Ani -interior/exterior (photos by Yaruz Ozkaya)

Fig. 1b. Plan d’aprés M. Petrossyan, 2008  Fig. 1a. Monastére Sainte-Croix (Sourb Khatch) prés de Sourkhat. Eglise Saint-Signe (1358) et narthex. Vue générale S.O.  ce qui prévalait au Moyen

trées en milieu urbain.

Fig. 2a. Soudak, chapelle Saints-Apdtres. Vue du S.E.

Fig. 2b. Plan d’aprés Yu. Tamanyan

Fig. 3b. Caffa (Féodossia), Hayots Berd/Quar- antaine. Chapelle a nef unique Saint-Etienne (milieu XVe s.). Vue N.O.

Fig. 3c. Caffa (Féodossia), Hayots Berd/Quar- antaine. Chapelle a nef unique Saint-Etienne (milieu XVe s.). Intérieur

fig. 3d. Caffa (Féodossia), Hayots Berd/Quar- untaine. Chapelle a nef unique Saint-Etienne milieu XVe s.). Plan d’aprés Yu. Tamanyan

Fig. 4a. Caffa (Féodossia), Hayots Berd/Quar- antaine. Eglise Saint-Jean Baptiste (c. 1348) et son narthex. Vue S.O.

Fig. 5c.Caffa (Féodossia), Saint-Georges. Plan d’aprés H. Khalpakhtchian  Fig. 4b. Plan d’aprés H. Khalpakhtchian.

Fig. 6a. Monastére Sainte-Croix (Sourb Khatch). Eglise Saint-Signe (1358) et narthex. Vue du S.

Fig. 8a. Caffa (Féodossia), Hayots Berd/Quaran- taine. Saint-Jean et narthex. Vue S.O.

Fig. 8b. Caffa (Féodossia), Hayots Berd/Quaran- taine. Plan d’aprés H. Khalpakhtchian

Fig. 9b. Caffa (Féodossia). Monastére Saint-Serge Plan d’aprés H. Khalpakhtchian  tue peut-étre une reproduction malhabile de déambulatoire occidental’®. On peut y ajou-

Fig. 9a. Caffa (Féodossia). Monastére Saint- Serge. Eglise (1363 [?]), partie de narthex et porche. Vue N.O.

Fig. 10c. Coupes et élévations d’aprés H. Khal- pakhtchian  Fig. 10b. Plan d’aprés A. Jakobson et Yu. Tam- anyan

Fig. 10a. Bakhtchéli (Bogatoié). Eglise du monas- tére Saint-Sauveur (ou Saint-Elie). Vue S.O.

Fig. 12b. Intérieur, voiite longitudinale et coupole

Fig. 12c. Intérieur, coupole et couverture du transept

Abb 3. Kalksteinplatte mit Lowendarstellungen aus dem 9./10 Jh. aus Cherson, grafische Rekonstruk- tion der Fragmente (nach Kolesnikova, ‘Chram v portovom rajone’)

Abb. 6. Tierkampfdarstellung am a4uBeren  Torbogen in der GroBen Moschee (1163) in Diyrbakir (Foto: Yasser Tabbaa/Aga Khan  Visual Archive)

Fig. 1. Eglise Saint Bethleheme, vue ouest

Fig. 4. Monastére Saint-Sau- veur, Cathédrale, intérieur

Fig. 5. Eglise “estivale” au sud de l’église Saint Minas, vue sud-ouest

Fig. 1a. Adoration des Mages, Eglise de Bethléem, Nouvelle-Djoulfa (Photo : S. Laporte)

Fig. 3a. Le Christ et la femme adultére, Eglise de Bethléem, Nouvelle-Djoulfa détail (Photo : S. Laporte)

Fig. 6. Epigonation ou Konker, 1713, Musée du Catholicossat, Etchmiadzine  (Photo : Musée de Fourviére)

Fig. 1. Descent, Targmantchants-Gospel, 1232

Fig. 3. Descent, 1400s; Unknown Artist-Khizan Q

Fig. 2. Galilean-Mountain, Toros Roslin

Fig. 4. Women-Targmantchants Gospel, 1232

Fig. 6. Monastery, Curtea de Arges

Fig. 2. Magnus Bicschlager, Plan of Armenian church in Zamoé¢é, State Archive in Lublin

Fig. 3. Holy Virgin Graceful, Szczebrzeszyn, franciscans church

Fig. 5. Reliquary, Cathedral Museum in Zamos¢

Fig. 1. Lazarus Gospel Book from 1606, Mekhitarist Library in Vienna, no. 97

Fig. 2. Lazarus Gospel Book from 1606, Mekhitarist Library in Vienna, no. 97

Fig. 3. Gospel Book, 1629, Mekhitarist Library in Vienna, no. 272

Fig. 5. Breviary from the turn of the 16&quot; and 17 century, Czartoryscy Library in Cracow, no. 2406

Fig. 2. Hymn- and Songbook (15&quot;-16&quot; c., Ake. 4097), f 168v, The National Library in Warsaw

Fig. 3. Hymn- and Songbook (1344, Surchat, Ake. 4097), The National Library in Warsaw

Fig. 7. Psalter (17&quot; c., 1 12676), p. 13, The National Library in Warsaw

Fig.1. The antique map of Kamenets from 1691 the map wiev, 1691, engraving, National Museum, Warsaw

Fig. 2. The Armenian Quarter on the map of Kamenets from 1672

Fig. 3. The Armenian Quarter on the map of Kamenets from 2008 (by R. Atoyan)

Fig. 1. Carpet, so-called ,,tapis polo- nais”, Kashan, Persia, 16-17&quot; century. (Czartoryski Museum)

Fig. 3. Estoc with scabbard, Arme- nian workmanship, 17&quot; century (The Royal Castle of Wawel)  Fig. 4. Hetman’s mace be- longed to Michal Wisniowiecki, ond half of 17 century (Czartoryski Museum)

Fig. 9. Saddle and housing supposed to have belonged to Jan Lacki, Armenian workmanship, 17&quot; century (The Royal Castle of Wawel)

Fig. 11. Detail of shield, a Turk’s head made of coral

Fig. 14. Kontusz Sash. Woven by the manufac- turer Leo Madzarski, Stuck, Karol Radziwill factory, 1780-1807 (Na- tional Museum Warsaw)

Fig. 16. Kontusz Sash. Woven by the manufacturer Paschalis, factory in Warszawa-Lipkdéw, 1788-1790 (Na- tional Museum Warsaw)

Fig. 1. Fragment of silk with Christ enthroned from the collection of the National Museum in Warsaw, cat. SZT 52

Fig. 2. Silk from the cope from the Historical Museum in Yerevan, 1601, in: Armenians Gold and Treasures, Musée des Tissus et des Arts décoratifs de Lyon

Fig. 1. Gilt leather with coloured (purple red) transparent varnish from the Casino of Venice. (Photo: Magdelena Stoyanova)

Magdelena Stoyanova  metric forms appear (Fig. 3), these are typical of the decoration of a very popular kind  The pomegranate, one of the symbols of Armenia, has its well established semantics

Fig. 1. Ewon Mikonowicz  a Constantinopolitan,  Silk Sashes, 18&quot; Century, National Museum in Krakow

Fig. 1. Megerditch Givanian L’arrivée du « vapor » sur les rives du Bosphore, collection privée

Fig. 3. M. Givanian, Panorama des hauters de Pera, collection privée

Fig. 5. Megerditch Melkonyan, Panorama, 1844, Musée naval, Istanbul

Fig. 6. Megerditch Melkonyan, Panorama, 1844, Musée naval, Istanbul

Fig. 8. M. Givanian La pointe du Sérail, collection privée

Fig. 9. M. Givanian, Une vue de Fenerbahce, collection privée

Fig. 11. H. Aivazovsky, La mosquée d’Ortakéy, Musée des Beaux-Arts de Brest  Fig. 10. H. Aivazovsky, Les murailles maritimes, Galerie nationale d’Armenie

Fig. 14. K. Ekserciyan, La bonne aventure, collection privée ; G. Nichanian, La lettre, collection privée  Bolis aimaient leur ville. Ils ’ont peinte

Fig. 1. The Education of the Balyan Family in Paris. The Collége Sainte-Barbe and the Labroustes

Fig. 2. Early Attempt at an ‘Ottoman Renaissance’ a la La- brouste? The Dolmabahce Palace, its Relief Carved Ornament and Triumphal Arches

Fig. 4. Umed Behzad, Armenian Painter Educated at the Cema- ran Mektebi (in Usktidar), Photograph by Gokhan Tan. Painting by Umed Behzad in the Surp Asdvadzadzin Church, Besiktas.

Fig. 5. Elite Armenian Craftsmen Working for the Balyans.  Vortik Kemhaciyan and his Carpentry Work for the Beylerbeyi Palace

Fig. 7. Coastal Home of Migirdicg Cezayirliyan in Yenikoy  by Jacob Melik  (and Serkis Balyan?)

Fig. 3. Teodor Axentowicz, Les Arméniens en Pologne, 1912. Collection privée

Fig. 4. Teodor Axentowicz, Le Houtsoul (Autoportrait), 1888. Collection privée

Fig. 6. Teodor Axentowicz, Portrait d’une fille d’artiste Jadzia, 1908. Collection privée  Fig. 5. Teodor Axentowicz, Portrait d’une fille d’artiste Kazia, 1907. Musée National de Cracovie

Fig. 8. Teodor Axentowicz, Portrait d’archeve- que Izaak Mikolaj Isakowicz, 1886. La Galerie de la Peinture a Lvov

Fig. 9. Teodor Axentowicz, Ange, avant 1900. Collection privée