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The monuments of medieval Armenia have been interpreted variously over the centuries as Gothic, Byzantine, Iranian, and "Saracen". However, few scholars have offered satisfactory answers regarding their origins and relations to other architectural traditions. This study examines the scholarship on the subject in East and West and offers a persuasive explanation for the current scholarly impasse. Maranci highlights Josef Strzygowski (1865-1941), a prominent figure in the Vienna School of art history, who was closely allied to the pan-German movements of the early twentieth century. Using unpublished archival materials as well as Strzygowski's numerous publications, the author shows how the ideology of race and nation pervaded Strzygowski's theories of art, and how his ideas and persona have informed - and inhibited - subsequent generations of scholars. The concluding chapter outlines a revised study of Armenian architecture, moving from issues of architectural style to contextual inquiries of patronage and crosscultural exchange. As a detailed survey of medieval monuments and as a historiographical case study, the work addresses a broad audience: not just art historians but all readers interested in how ideology shapes our critical faculties.

Architecture, Armenian --- Armenian architecture --- Architectuur van Byzantium; Oud-Rusland; Oud-Armenie --- -Architectuur van Byzantium; Oud-Rusland; Oud-Armenie --- 72.033.2 Architectuur van Byzantium; Oud-Rusland; Oud-Armenie --- -Armenian architecture --- Architecture, Medieval --- 72.033.2 --- Middle Ages --- Architecture, Medieval - Armenia

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Armenian manuscripts are treasuries of knowledge and tradition, attesting to the religious, intellectual, literary, economic, scribal, artisanal, and visual practices of Armenian communities and their neighbours across the world. Private collections form an important repository for Armenian manuscripts. Not all such collections are accessible to scholars, meaning that our knowledge of Armenian manuscripts must always be considered only partial. The David and Jemima Jeselsohn Collection consists of ancient and medieval art objects originating in the Near East and the Holy Land. This collection, dating from 1970 and growing over the years, is carefully kept in Zürich, Switzerland. The artefacts belong to three main categories: archaeology (terracotta, bronze, silver and glass; seals and potsherds containing short notes inscribed in Aramaic and Hebrew; and numismatic items from Israel); Judaica (Jewish ritual objects); and medieval manuscripts, incunabula and old printed books written in Hebrew, Syriac, Greek, Latin, and Armenian. Among the Jeselsohn manuscripts are five Armenian codices. Of great importance for Armenian studies and the history of art more generally, these manuscripts occupy a special place in the David and Jemima Jeselsohn Collection. The David and Jemima Jeselsohn Collection offers, in small compass, precious insight into manuscript patronage and production during one of the most prosperous moments in Armenian history.