[ENLUMINATION]. [ARMENIA]. From a manuscript of the Gospels. Resurrection of Lazarus Inscription in Armenian (in lowercase "bolorgir") above the miniature: "Resurrection de Lazare; Christ ressuscita le mort de quatre jours" (Macler translation, 1913). Oriental paper, ink, tempera, liquid gold. Iran, Isfahan [New Djolfa (New Julfa, Armenian quarter)], early 17th century [1615]. Attributed to illuminator Mesrop de Khizan (b. circa 1560, active 1605-1651). Good overall condition, paper restoration in lower left corner, some minor paint rubbing not serious, small stain on Christ's head. Sheet dimensions: 230 x 170 mm Rediscovery of a sheet painted by Mesrop de Khizan, from the Tetraevangile of Jacques de Morgan, an important archaeologist and collector. This sheet is one of the missing leaves from the manuscript preserved at the Getty Museum under the symbol Ms. Ludwig II 7 (83.MB.71), the text of which was copied by Hayrapet and illuminated by Mesrop de Khizan, for a certain "Martiros" and his wife "Mariam". This is a manuscript containing the Four Gospels (Tetraevangile), formerly part of the Jean Pozzi collection, see Rheims et Laurin, commissaires-priseurs, Collection Jean Pozzi, sale Paris, Drouot, April 30, 1971, no. 104. Note that the leaves of this manuscript are of the same format (230 x 171 mm) as the present leaf showing the "Resurrection of Lazarus" (230 x 170 mm). When the manuscript was acquired by the Getty Museum in 1983, leaves were already missing, some of which were found (Nativity and Adoration of the Magi and Shepherds, acquired by the Getty Museum, 2019 (Ms. 118 (2019.129)), a leaf from the former Charles Ratton (1895-1986) collection; Baptism of Christ, acquired by the Getty Museum, 1985 (Ms. Ludwig II 7a); Crucifixion, acquired by the Getty Museum, 2021 (Ms. 123 (2021.55)). Two leaves are also in the Chester Beatty collection in Dublin (Sirarpie Der Nersessian (1958), no. 576, vol. I, pp. 88-90). The illumination is attributable to the painter identified as Mesrop of Xizan or Mesrop de Khizan, one of the greatest Armenian painters of his generation, with his vivid colors and rich iconography. In fact, the colophon of the manuscript held by the Getty Museum indicates that it was written by the priest Hayrapet in Isfahan in 1615 and illuminated by Mesrop de Khizan. Armenian living in Persia, Mesrop de Khizan (circa 1560 - circa 1652) was a manuscript illuminator, as well as a scribe, cleric, teacher, doctor of theology, restorer and bookbinder. Mesrop de Khizan was born around 1560 in Turkey (Ottoman Empire) of Armenian parents from the Khizan region (today known as Hizan), near Lake Van. The artists who painted in this region are sometimes referred to as the "Van School", and the manuscripts produced here are highly refined. After defeating the Ottoman Empire around Lake Van, in 1604 Shah Abbas I of Persia (reign 1587-1629) forcibly relocated many Armenians from the region to his new capital, Isfahan, and more specifically to a district called "New Julfa" ("Mesrop's departure from Khizan should, no doubt, be connected with the forced transportation of the Armenians by Shah Abbas, following his victory over the Turkish armies in 1604" (Sirarpie Der Nersessian, 1958, p. 89). After his family's removal, Mesrop's father, Martiros de Khizan, himself a painter and illuminator, was replaced by his son, who now paints and lives in Isfahan, Iran, among the displaced Armenian community. Mesrop de Khizan's last known work is dated 1651. Signal that the Nelson-Atkins Museum of Art (Kansas City, Missouri) also holds a Tetraevangile manuscript painted by Mesrop de Khizan, which in turn holds the miniature catalogued as "The Second Coming of Christ" (Mesrop of Xizan, painter and scribe, and Yovhannes, scribe, The Second Coming from The Four Gospels, New Julfa, Isfahan, Iran, Armenian culture, 1618-1622, acquired in 2015: call number 2015.27.14). It seems to us that it is more a question of the Resurrection of Lazarus. Provenance : 1. Jacques de Morgan (1857-1924), Paris. - The manuscript was purchased by the latter in Isfahan around 1897, when he was General Delegate of the Ministry of Public Instruction for archaeological excavations in Persia. After 1924, the manuscript was amputated. Jacques de Morgan sold the manuscript to Charles Ratton (circa 1924?), who was probably responsible for the removal of several leaves with full-page illuminations. The manuscript was described and viewed by F. Macler in 1913 (Journal asiatique, 1913, vol. II, pp. 643-651). Macler lists