Fig. 55. Edgmiatsin: Interior of the Cathedral.
Passing now to the interior (Fig. [55] and plan), it is the form which is impressive—the quadruple apse with a canopy altar in each of these recesses, except that on the west. In the centre, beneath the dome, stands the altar which I have already described; there are therefore four altars in this church. In front of the apse on the east rises the parapet of the daïs, as usual; but the higher level of the floor in those on the north and south is approached by steps which extend from wall to wall. The lateral chapels on the east, which are so constant a feature in Armenian churches, are scarcely noticeable in this building, being, I think, incorporated in the additions which were made by George IV. at the back of the church. The space on the floor of the edifice is railed off in two places from north to south. There is of course no pulpit, and there are no pews. The light falls from twelve little windows in the spacious dome upon a scene which is rendered dim by the darkness of the mural paintings, and which serves to enhance the flashing ornaments on the central altar. I am told that there are in all no less than thirty-five windows; but they are small and insignificant. Their distribution is not subordinate to any plan. The paintings on the walls are of no merit; they represent Biblical subjects, and while some are in fresco, others are on canvas applied to the stone. They must have been added at a comparatively recent date; for we are expressly told by Chardin that in his time the interior was quite bare. The dome has been pleasantly decorated in the Persian style with coloured arabesques. These and the various frescos are attributed to an Armenian artist who lived during the reign of Nadir Shah (1736–47).[34]
Fig. 56. 1.
Fig. 56. 2.
The church is large if compared to other ancient Armenian temples, but small if judged by a Western standard. The area enclosed must be rather less than in the case of the cathedral at Ani, although the dimensions are about the same when the four projections are included. The measurements of the interior, which I took myself, give an extreme length of 108 feet 4 inches, and an extreme breadth of just over 98 feet. Each apse has a depth of about 15 feet 3 inches—a dimension which I have included in my totals.[35] In the south apse stands the chest containing the vessel with the holy oil, and beside it a little lamp which flickers night and day. The recess of its opposite counterpart is adorned with mural paintings representing eight full-length portraits of the pillars of the Armenian Church. They are identified as St. Gregory, with his sons Aristakes and Verthanes, and his grandson Grigor; as Yusik, Nerses the First, Sahak and Mesrop. The ceremony of ordination of bishops takes place in this northern apse. A cistern has been sunk below the floor in front of the recess to serve in time of siege. Two thrones are conspicuous in the body of the church, both of which may be discerned in my illustration. The first, which adjoins the central altar, is inscribed with the name of Petros Katholikos (Peter II. 1748) and is said to have been a present from the Pope.[36] The second, situated further east, is that which was occupied by the Katholikos during the service which I attended. It is the gift of Armenians during the pontificate of Astvatsadur (1715–25).
The treasury and room of relics contain many interesting objects. To these chambers is allotted the building on the east of the church. Both are entered from the interior and through doors in the east wall, that on the north of the apse communicating with the treasury, and that on the south with the apartment containing the relics. Among the treasures are several objects which deserve the attention of the student of art, examples of mediæval Armenian craft being, I imagine, none too frequent. I observed a crystal cross, said to belong to the Bagratid period, and some other crosses reputed to have come from Ani. A gold crown, inlaid with jewels, is ascribed to King Tiridates, and, whatever its origin, is a very interesting object. The same may be said of a silver saucer with repoussé figures dating from the pontificate of Nerses IV. (1166–73). There are a quantity of jewelled mitres and embroidered stoles and ornaments for the church. There are seals of the pontiffs and coins of the Rupenian (Cilician) dynasty. Some store is set upon a head of Dionysus which is believed to be of Egyptian origin. The monastery has become possessed of a most curious object in the shape of a huge caldron, standing on three legs, and having as handles four tigers in the act of climbing. It was found not many years ago in a cloister near Tiflis; buried within it was a bell. An inscription round the rim gives the date of the Armenian era 781 or A.D. 1331. In the chamber of relics are preserved a fine collection of episcopal staves surmounted by a cross above a knot of hissing serpents’ heads (Fig. 56, Nos. 1 and 2). Many are of exquisite workmanship.