Leaf from the Alexander Romance (History of the Great Conqueror Alexander of Macedon: His Life and Valorous Deeds and the Omen concerning his Death / Պատմութիւն մեծի աշխարհակալին Աղէքսանրու Մակեդոնացւոյ կեանք վարուց քաջութեան եւ գործք արիականք նաեւ վախճան նշանաւք)

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Leaf from the Alexander Romance (History of the Great Conqueror Alexander of Macedon: His Life and Valorous Deeds and the Omen concerning his Death / Պատմութիւն մեծի աշխարհակալին Աղէքսանրու Մակեդոնացւոյ կեանք վարուց քաջութեան եւ գործք արիականք նաեւ վախճան նշանաւք)

Date
1526
Medium
Tempera colors and ink
Culture
Armenian
Department
Manuscripts
Institution
Getty Museum
Object ID
b27253f7-b1e9-435c-81fd-dd4396fdee84

From the Getty Museum record

This leaf once formed part of a generously decorated Armenian manuscript containing the *Alexander Romance*, a text that details the life, exploits, and conquests of Alexander the Great (356–323 BCE). Though known as a “romance”, here the term reflects the Old French definition, which refers to its origin as a fictionalized narrative that often emphasizes storytelling over strict historical accuracy and features historical events combined with fantastical tales of miracles and mythical creatures. This leaf captures two pivotal moments from Alexander’s life: his poisoning and the tender embrace by his wife, Roxane (c. 340–310 BCE), daughter of Oxyartes of Bactria, as he lay dying. Illuminated by Grigoris, Catholicos of Aght‘amar (1512–1545), the 16th century manuscript from which this leaf originally came is a rare example of secular illumination within the Armenian manuscript tradition, as most Armenian manuscripts are religious in origin. This leaf, along with its parent manuscript, which is housed in Venice at the Biblioteca dei Padri Mekhitaristi, San Lazzaro degli Armeni, represents the third earliest known Armenian example of the *Alexander Romance* to feature an image cycle, demonstrating a historically significant genre of Armenian secular illumination. In addition to Grigoris’s imagery, captions were included to guide the viewer, that when combined with the Christian iconography, served to moralize the legend from Antiquity, portraying Alexander as a prefiguration of Christ. The Venice manuscript, from which this leaf originates, embodies the most complete expression of Grigoris’s artistic vision.

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