INTRODUCTION
Severed for many centuries from Western Europe by the flood of Turkish barbarism which descended upon their country in the Middle Ages, and subjected for the last two generations to oppressions and cruelties such as few civilised people have ever had to undergo, the Armenians have been less known to Englishmen and Frenchmen than their remarkable qualities and their romantic history deserve. Few among us have acquired their language, one of the most ancient forms of human speech that possess a literature. Still fewer have studied their art or read their poetry even in translations. There is, therefore, an ample field for a book which shall present to those Englishmen and Frenchmen, whose interest in Armenia has been awakened by the sufferings to which its love of freedom and its loyalty to its Christian faith have exposed it, some account of Armenian art and Armenian poetical literature. Miss Boyajian, the authoress of this book, is the daughter of an Armenian clergyman, whom I knew and respected during the many years when he was British Vice-Consul at Diarbekir on the Tigris. She is herself a painter, a member of that group of Armenian artists some of whom have, like Aïvazovsky and Edgar Chahine, won fame in the world at large, and she is well qualified to describe with knowledge as well as with sympathy the art of her own people.
That art has been, since the nation embraced Christianity in the fourth century of our era, chiefly ecclesiastical. The finest examples of ancient Armenian architecture are to be seen in the ruins of Ani, on the border where Russian and Turkish territory meet, a city which was once the seat of one of the native dynasties, while the famous church of the monastery of Etchmiadzin, at Vagarshabad, near Erivan, is, though more modern, a perfect and beautiful existing representative of the old type. Etchmiadzin, standing at the north foot of Mount Ararat, is the seat of the Katholikos, or ecclesiastical head of the whole Armenian church. There was little or no ecclesiastical sculpture, for the Armenian church discouraged the use of images, and fresco painting was not much used for the decoration of churches; missals, however, and other books of devotion and manuscripts of the Bible were illuminated with hand paintings, and adorned with miniatures; and much skill and taste were shown in embroideries. Metal work, especially in silver and in copper, has always been a favourite vehicle for artistic design in the Near East and is so still, though like everything else it has
