Note 34 — Chapter XVI · EDGMIATSIN AND THE ARMENIAN CHURCH

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