Lived in Ardjesh at the end of the thirteenth and the start of the fourteenth centuries.  He got versed in the art of scribing and book illustration at Vardapet Khachatour Ardjishetsi (one of his manuscripts is preserved in the State Hermitage in Leningrad).  The two miniatures presented in the album are taken from his only manuscript preserved in the Madenataran (MS 4052).  Accomplished in painting, the artist fashions with bold dabs his almost athletic figures as though sculptured from bronze.  His characters combine singularly live feelings with profoundly religious motifs.  Illustrations: 5, 6

Artist Stepanos, The Massacre of the Innocents, The Presentation of Christ, Gospel, 1303. Ardjesh MS 4052. Ib, size 23 x 14

Lived and painted at the close of the thirteenth and the start of the fourteenth centuries in the town of Berkri, situated to the east of Ardjesh.  Characteristic of the miniatures of his only surviving manuscript (Madenataran, 4814) is the peculiar insertion of motifs in iconographic schemes, pervaded with real life.  Thus, for instance, the composition "Entry into Jerusalem" is imbued with the disposition of popular spring festivity of reviving nature-the festivity of flowers.  In another miniature, the artist imparts the surrounding real world to the evangelist, through his clothing and the environment.  Illustrations: 7, 8

Artist Khacher, The Entry Into Jerusalem, Gospel, 1294. Berkri, MS 4814. 2a. size 30 x 23

Only one manuscript from the works of this miniaturist is known -- a Gospel written in 1315, No. 2930, Madenataran.  The most prominent impression from Markare's works is the archaism that is partly connected with local and partly with Syrian and Coptic art traditions.  Though Markare lays the paints in rich and thick coating (mainly red, velvet green, and umber), the cold combination of the colours reminds of water-colour technique.  Illustrations: 9, 10, 11, 12, 13

Artist Markare?, The Raising of Lazarus, Gospel, 1315, Khordeants Monastery, MS 2930, 15a, size 31 x 24

The son of Shirkan and Hripsime, the artist, scribe, and book binder, lived and illuminated at the close of the thirteenth and the onset of the fourteenth centuries in the villages Berdak and Azarkan, on the northern shore of Lake Van (the province of Arberan, or Tarberounik).  He was schooled by the priest Astvatsatour.  Housed in the Madenataran are three of the manuscripts has copied (MSS 4806, 4818, 10676).  Hovsian appertains to the artists of typically "popular" trend, whose art is dominated by primitive and somewhat naive traits, at times even shows lack of skill.  Nevertheless, he displays unusual expressiveness, typical of popular creations, unique devices and immediacy of apprehension.  Archaic schemes of iconography, characteristic of early Christian monuments, are traceable in the miniatures of Hovsian.  Thus he again introduces the themes "Sacrifice of Abraham" and "Abraham Entertaining the Angels".  The topical pictures included in the architectural-decorative composition look somewhat theatrical in nature.  Illustrations: 14, 15, 16, 17, 18

Artist Hovsian, Abraham Entertaining the Angel, Gospel, 1316, village Hazarakn (Berkri), MS 4818, 5b, 33 x 23

An author of the first half of the fourteenth century, scribe and miniaturist.  He is noted for one manuscript (Madenataran 4813).  The works of this author are exceptionally original.  Clearly arranged, simplified figures and objects are presented in unusually bright pigments (the basic colours are blue, green, and red), accentuated with expressive contour lines.  These peculiarities of colour composition of the miniatures confer of them bold expressiveness and add to a more precise revelation of the inner content.  Illustrations: 19, 20, 21, 22

Artist Melkisedek, The Nativity, Gospel, 1338, region of Berkri, MS 4813, 2a, size 32 x 23.5

Probably is a pupil of Simeon Ardjishetsi .  His creative efforts coincide with the first half of the fourteenth century.  He lived in the town of Artskeh, on the northeastern shore of Lake Van.  Two manuscripts copied and illuminated by him are preserved in the Madenataran (MSS 4125, 7656).  Vardan is a skilled artist and as such is no inferior to his famed predecessor Simeon Ardjishetsi .  Vardan's illuminations are conspicuously dynamic and are notable for the unity of colour and line solution.  At times, he resorts to a saturation of the colour gamut subtly variating the different shades of blue.  This is in peculiar harmony with the dominating graphic art and light water-colours.  The works of Vardan disguise a peculiar charm. Illustrations: 23, 24, 25, 26, 27

Artist Vardan, The Resurrection, the Ascension, Gospel, 1319, Artskeh, MS 7456, 8a, size 32.5 x 23.5