The scribes name themselves on fols.130v and 264rv as Azaria of Dschulfa (modern Julfa, Azerbaijan), who dates the completion of his work to 1106 by the Armenian calendar (1656/57 AD.), and on fol.85r as Murat, son of Luke, whose own efforts ended in 1107 (1657/58 AD.). Azaria may be identifiable as the sixteenth- or seventeenth-century poet and author of the same name who wrote on the monastery of Julfa: K.B. Bardakjian, Reference Guide to Modern Armenian Literature, 2000, p.38, or an inmate of the same house who took the name after him.
The use of simple purple penwork to pick out the figures of the evangelists, with blank vellum being left for their skin, is reminiscent of other Armenian works from the seventeenth century (cf. Venice, Mekhitharist Library MS.600, fol.9v, and Freer Gallery MS.36.15, p.40: S. Der Nersessian, Armenian Manuscripts in the Freer Gallery of Art, 1963, figs.368 and 333). However, on occasion, such as the first portrait accompanying the Eusebian tables, these become impressive examples of Armenian art, conveying much in a few spartan brushstrokes.
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