Relics of the Armenian community from the churches of Ukraine
Discovering lost artifacts from Armenian churches in southwest Ukraine: Cross and Chalice
The oldest Armenian communities in southwest Ukraine lived in Kilia, Izmail, and Akkerman (now Bilhorod-Dnistrovskyi). Each city had an Armenian church, a separate cemetery, and parochial schools. All parishes and churches belonged to the Armenian Apostolic Church.
The German merchant and traveler Nikolaus Kleemann mentioned in his notes that there were two Armenian churches in Kilia in 1768. One of them was the Church of the Holy Mother of God, from which the altar cross originated.
Altar cross. Front side (1744) by UnknownNational Museum of the History of Ukraine
An inscription in Armenian on its base evidences the origin: “This cross was made and donated by the God-loving mahdesi Harutiun to the Church of the Holy Mother of God in Kilia in 1193 [1744]).”
This cross is made of silver and decorated with pictorial enamels. The master employed jewelry techniques such as filigree, hammering, chasing, gilding, and engraving.
On the front side of the central cross is the scene “Resurrection of Christ,” below it is “Crucifixion,” on the right is “Laying into the grave,” on the circle – “Angel with the instruments of Christ’s execution.”
Altar cross. Back side (1744) by UnknownNational Museum of the History of Ukraine
The reverse side features the scenes “Mother of God and Child,” four medallions depicting the symbols of the four evangelists, “Annunciation,” “Presentation of Christ,” and “Baptism in the River Jordan.”
Plan of the Kiliya fortress (1830-ті роки)National Museum of the History of Ukraine
In 1792, Armenians of Kilia were resettled in Grigoriopol (now Moldova), and the church was probably closed. There are no mentions of Armenian churches in the city in the 19th century, so the further fate of the Church of the Holy Mother of God remains
Chalice. General view (1740-1760) by UnknownNational Museum of the History of Ukraine
A silver, gilded chalice hails from Izmail. Its bowl and stepped, three-tiered tray are adorned with embossed, openwork, floral ornament, as well as images of seraphs.
The stylistic features of the chalice’s decoration suggest that it was crafted in the mid-18th century.
There are no stamps on the object, so the craftsman’s name remains unknown. An engraved inscription in Armenian is on the rim of the chalice: “This chalice was donated by an Izmail resident to the Church of the Holy Mother of God.”
Plan of the Izmail fortress (1830-ті роки)National Museum of the History of Ukraine
The earliest information about the Church of the Holy Mother of God dates back to the beginning of the 17th century.
By the mid-18th century, the church had fallen into disrepair, but it was restored in 1763. Probably, in honor of the restoration of the temple, a resident of Izmail made a valuable contribution by donating a chalice to the church.
According to cartographic data from the 1770s, the Church of the Holy Mother of God was situated in the Armenian part of the city. At that time, Izmail was divided into four parts: Moldovan, Turkish, Tatar, and Armenian. Turks and Armenians were the most socially and economically significant groups in Izmail’s urban population. Two Armenian Apostolic churches operated in the city at that time, with Armenian shopping arcades located next to them.
The engraving "Siege of Izmail, December 22, 1790" by Samuil SchiflarNational Museum of the History of Ukraine
The Church of the Holy Mother of God was significantly damaged or completely destroyed in 1790, when Suvorov’s troops stormed the city. The Holy Assumption Church was likely built on its foundation in the 19th century. This Orthodox church still stands in Izmail today.
Chalice. General view (1740-1760) by UnknownNational Museum of the History of Ukraine
This story was prepared as part of “The Treasury of the National Minorities” project, which is supported by the European Union under the House of Europe programme.
Author: Tetiana Savchenko
Translation: Mariia Prokopenko
Technical implementation: Oleg Mitiukhin, Oksana Mitiukhina, Liudmila Klymuk
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