Scattered all over the area of Armenia there are stonemade monuments surpassing one another in their beauty and numbering over 40000. And there are many more miracle monuments outside the republic, located in the original Armenian settlemen of historical Armenia. Although they are out of Armenia today such monuments are famous for their architecture, something that cannot be found in any other part of the world. These pieces of art work are: Ani, ld of history and culture of the Transcaucasus and Asia. Those architectural shapes and buildings born in Armenia afterwards spread in neighboring countries with which Armenia was in social and cultural relationship.After the revolution in Armenia (1920 November) Armenian architecture reached its zenith. Part and parcel of Armenian architecture is the Soviet Armenian architecture, which reflects the heroic and glorious history of Armenian nation. Naturally today our republic attracts not only with monuments representing its history, but also with the achievements of contemporary Armenian architecture. Indeed it is a very difficult problem for us to introduce briefly all the architectural monuments of Armenia, even the most important ones in our guidebook. Their number exceeds thousands. So we have tried to introduce them mostly in general features, in brief characterization laying emphasis upon particular aspects and architectural-artistic values. This guidebook is meant for the guests of Armenia. We are sure that it will help you to enrich your knowledge about Armenia and its architecture and it will enable you to choose tourist routes yourselves. We welcome the visitors of Armenia and wish them a good trip with the words of famous writer Nickolay Tikhonov: "At least once in a lifetime one should be in Armenia: Here miracles and discoveries wait for everybody, which will leave an impact on them. And whoever wishes to have unforgettable days just like the old times he should walk through the land of Armenia... And he would not regret it". Armenia is one of the most ancient countries in the world, the coeval of Assyria, Babylon, Medina, Persia, Rome. It is not surprising that during archaeological excavations the artifacts found here are about 6000 years old. These are the remains of the several races that lived in the Armenian highlands, they are stone age caves, bronze and copper age megalithic buildings cut in stone, pieces of pictures on rocks, tombfields and other fortified settlements. The Shengavit fortress-settlement (4-2 millenary B.C.) located on the bank of the Hrazdan river in the South-Eastern part of Yerevan is the most important prehistoric monument found in the area of Armenia. It has dwellings of circular form and it is a unique piece of architecture with originally built settlements representing four successive phases, embodying the rich culture of the time. The fortress-settlement of Metsamor, not far from the village Taronik in Echmiadzin district, is the oldest centre of mountainous land metallurgy (3-1 centuries B.C.). Various archaeological artifacts found in Metsamor testify to the life-stile and particularly to the skill of metallurgy and the high standard of constructions handicrafts in that district. Pieces meant for astronomical purposes are worth attention. In 2800—2600 years B.C. the brightest star Sirius was seen here and people connected the coming of the New Year with that star. All the fortresses that have been found on Aragats mountain and around the basin of the lake Sevan (Horom, Thghit, Garnahovit, Lchashen, Tsaghkahovit, Sarnakhbure, Motkanaberd) were built from masses of rude stones with a Cyclopean masonry. Fortress-settlements were impressive with their defensive systems, which were both natural and artificial, they were located in sites surrounded by rivers and gorges, on rocky, high hills which were also encircled with towers and strongholds, having underground pathways. During the bronze and new stone ages big-stone constructions megaliths as menhirs, cromlechs, dolmens (Sisian's Zorats Dasht, Shamiram, Oshakan) were spread in the Armenian Highlands, Belonging to the big-stone building there are also unique, fishlike compositions cut in one monolith stone about 5m long, covered with symbolic pictures and called in Armenian '"Vishap" (Dragon). As they worshipped water they put idols near the sources of springs, canals reservoirs as in Geghama mountain, on the North-Eastern shore of the Lake Sevan and on the slopes of Aragats. In the 1-st millenary B. C. high valued architectural complexes Erebuni (Arin Berd), Teyshebainy (Karmir Blour) and Argishtikhiliny were organized and developed, consisting of a fortress and a settlement town planning system which had a regular layout and were rectilinear in plan of streets. The remains of Erebuni and Teyshebainy are within the territory of Yerevan and Argishtikhiliny's near the village of Armavir and Haykavan on the neighboring hills in Armavir district. In 1950 during excavations of Erebuni the birth certificate of Yerevan was found which spoke after 3000 years of silence, the cuneiform characters said that in 782 B.C. Argishti the First established Erebuni. You can see the duplicate of this cuneiform-inscription-certificate in the garden near Republic Square. It means that our capital Yerevan is 2770 years old. The 2750th anniversary of Yerevan was festively celebrated in 1968, which was followed by the opening of the museum of Erebuni comprising all the materials found there. Before getting acquainted with the fortress you should visit this museum, which is worth seeing. Erebuni is spread around the Arin-Berd hill on the top of which the fortified citadel with triangular embrasure has survived. Evidently it consisted of royal, worshipping and auxiliary parts. It is due to mention that the royal halls and other festive parts opened onto the sight of Ararat and Aragats mountains. Life continued in Erebuni almost constantly up to modern Yerevan, which has inherited not only its rich culture and traditions, but also, its name Erebuni-Yerevan. In contrast to it Teyshebainy was a military, administrative centre (7 — 6 centuries B.C.) which was of more economic significance too. The storehouses, workshops excavated here on the ground floor of the two-storied citadel testified to this fact. One is surprised seeing such vast wine-stores and huge wine barrels. It means that way back in 9—7 centuries B.C. agriculture and winemaking were highly developed in Armenia. Ample information about this and the export of wine and dried fruits is to be found in some Assyrian cuneiform inscriptions as well as in the writings of such Greek historians as Herodotus, Xcenophone, Strabo and by the Armenian historian of the 5th century Agatangeghos. You can see scenes of gardening, winemaking and royal feasts especially in the sculptures of Garni, Zvartnots and Akhtamar. The reason of the destruction of Teyshebainy apart from the attacks of Sceathians and other local races was perhaps the great fire. Rich archaeological pieces including barley, corn, wheat, grapes and other remains of fruit, which in normal condition could not be saved, have been preserved under the ashes and they were found during the archaeological excavations in 1939—70. These all indicate that Teyshebainy is a unique "Armenian Pompeii". In contrast to Erebuni and Teyshebainy, Argishtikhiliny had two citadels with three rows of fortress walls established in 776 B.C. A lot of data about the defensive, royal, worshipping and economic construction of the town can be found in the numerous cuneiform inscriptions left by Argishthy I and his successors. Many traditions of Ancient Armenian architecture, particularly the skill of masonry, the experience of choosing and adapting the site has been handed down to the next stages of Armenian architecture. In 7—6 centuries B.C. the Armenian state was established by the Yervandunys and the Armenian people passed a new phase of economic and cultural development. This development was unfortunately interrupted by the conquerors: first Medina and then Persia. Xcenophone tell us about the Armenian country-houses of this period. According to the information the houses in the Southern part of Armenia were tower-shaped while in the Northern part they had an opening in the roofs (a kind of skylight) for the light to come in. People would come in and out through that opening by the help of a ladder. This type is called "Hazarashen". Within the last decades of the 3rd century B.C. Armenia became a part of Selevks State, thus being greatly influenced by the Hellenistic culture. Armenians regained their statehood under the reign of Artashes the First, the King of Armenia (189—160 years B.C.). Afterwards Armenia flourished especially under the reign of Tigran the Great 95—55 B.C. becoming one of the most developed countries of the Ancient World. The town planning and urban construction was developed at that time: Artashat, Armavir, Yervandashat, Tigranakert, Vagharshapat and other cities were established carrying out the Hellenistic principles of the urban system. According to Plutarch and Strabo, Hannibal, the general of Carthagen, who had been given shelter in Armenia, took part in selecting the site of Artashat "Armenian Carthagen". Artavazd the Second the son of king Tigran and his successor (55—34 B.C.) was one of the great representatives of Hellenistic art. He was the author of some plays and works on history. As Plutarch says there were many Greek-type theatres in Tigranakert and in Artashat. According to the historian in 53 B.C. during the celebration honoring the alliance with Persia, here the tragedy "Bacchus" was staged in Greek. The archaeological excavations lately carried out in Artashat and Armavir have revealed a lot of artifacts, testifying to the development of the Hellenistic art in Armenia and giving us more information about those towns. One of the most important monuments of Hellenistic art in Armenia is the Fortress of Garni in the Abovian district. According to the historian Movses of Khoren, the fortress was the Arshakunid's royal summer-residence (3 — 2 centuries B.C.). The fortress is situated on a wonderful triangular site, defended by two deep gorges on both sides. The Northern part is encircled with a fortress wall made of huge basalt blocks. Within the fortress, the ruins of pagan temple, royal dwellings and the bathhouse have survived. A Greek inscription which can be seen on a stone installed in the fortress wall indicates that the monument was built by Trdat I, in 77 A.D. who was famous for his building, activities. The four fasads of the peripter type temple are colonaded with Greek orders, decorated by versatile unique buildings with fascinating unrivalled ornaments so lively and plastic, that seem amalgamated and coated, but not sculptured by hand. The temple was ruined in 1679 during a terrible earthquake. The ruins for the first time were cleaned up between 1909—1911 by academician N. Marr. In 1930-s architect N. Buniatian made an attempt for its restoration. Having lain in ruins for nearly 300 years it was reconstructed and rebuilt within 1968—74 by A. Sahinian and it now attracts visitors with its grandeur. The expressiveness of the Garni's temple is not only of its architectural value and constructional accuracy but also because of its compositional harmonious interrelation. The bathhouse of Garni is an example of the earliest civil architecture, which had consisted of five parts: an entrance hall, dressing room, two bathrooms and a heating division. It is particularly valuable due to the mosaic pavement of the entrance-hall, which depicts Greek mythology. The mosaic bears a mysterious inscription on it: "We worked earning nothing". The surroundings of Garni district represent a wonderful collection of monuments comprising not only the monuments in Garni proper, but also those in Geghart, Havuts Tar's Amenaprkich church, Aghchots monastery and indeed the Khosrov Forest (now a preserve). The latter is a bit younger than Garni. It was established in 4th century (332—338) by King Khosrov Kotak as a place for hunting, a pastime and military maneuvers. This preserve has gained recognition due to its original nature and its rare species of plants and animals. The Armenian culture within 6 — 3 centuries B.C. has a strong and reliable basis upon which the full- blooded and unique art of the Middle Ages arose. Christianity became a state religion in Armenia as early as 301. This fact is considered a social, political event of considerable significance in the confirmation of statehood and the development of the economy and culture in the country. In connection with the religion many wonderful and valuable architectural monuments were built. This period is characterized by the struggle of Armenians against Persia, Bysantine Empire and Arab Chalifhate for survival as well as efforts to preserve pure national spirit. Nothing could support the Armenian nation in this hard struggle better than the invention of the Armenian Alphabet, which had a powerful impact on all spheres of thinking and creative activity. Standing proof of this is the Mesrop Mashtots' Matenadaran in Yerevan. Within the Matenadaran there are 14000 manuscripts, handwritten treasures, dating back to 5—18 centuries which deal with history, philosophy, mathematics, geography, medicine and other sciences. These manuscripts have covered a long way of hardships, sharing the bitter fate of the Armenian people. Among these manuscripts can be found translations of Greek, Assyrian and Syrian works, which have not survived, and are known to the scientific world only through their Armenian versions. The Matenadaran is not only a repository of old manuscripts, but also a scientific research institution living its own cultural life. In front of the building the monument of Mesrop Mashtots stands with the Armenian "Erkatagir" letters, while in the background to the left we can read the first sentence ever written in Armenian: "To know wisdom and advice, means to realize word of a genius". A classical example of Armenian town-planning from the early-medieval ages is the capital Dvin, the remains of which lay at the district of Artashat today. The town-planning structure consisted of a citadel, the walled city and its suburbs. The citadel with the Arshakunid's Palace (4th century) was surrounded with a most strong, thick double high walls. To the West of it was situated the central quarter with the Catholicos' Palace, churches, and auxiliary buildings. The 4 — 5 centuries are particularly characterized by efforts to search out and make up the national spirit of the Armenian Monumental architecture. The ecclesiastical architecture of these centuries is mostly represented by single-naved (Lernakert, Tanahat, Garnut, Garni, Kurtan, Odzun, Gulagarak, Parpi) and three-naved (Yereruke, Kasakh, Ashtarak, Dvin, Yeghvard, Aghts, Koghb), hall-type churches, which are of various kinds. Apart from three-naved halls Yereruke, Ashtarak, probably Dvin too had basilical sections, i.e. the middle nave was higher than the side ones, was covered separately. In other examples (Kasakh, Aghts, Koghb, Yeghvard) the three naves were covered by a gable roof of "Oriental type". The summit of these churches and generally one of the important monuments of early Christian architecture is the Yereruke basilica of 5th century, near the settlement called Anipemza today (region of Ani). Aside from a couple of oriental depositories there was one double-storeyed room at each corner of the Western part and the three remaining sides were surrounded by open colonnades. This monument is fascinating because of its perfect and symmetrical pattern of elevating and the restrained and impressive ornamentation of them. Besides hall-type churches, domed-type examples were built within 4 — 5 centuries: a Cathedral in Echmiadzin, Voghchaberd, Shaghath, and Thekor). But the wide-scale constructions of these churches began only in 6 — 7th centuries, when Armenian monumental architecture was reaching its zenith, being achieved in its perfection. Armenian skillful masters knew of many reliable solutions for dome supporting systems. Basilica domes were widely spread (Odzun, Gayane, Kumayri) and in their triapsidal versions (Dvin, Talin) four powerful supports standing in the weight of the dome. The churches of Odzun and Gayane are specimens of classical perfection, with their reasonable and strong composition. The church of Talin impresses with its magnificent decoration and secular spirit. The supports holding the dome divided the pray-hall into parts, this hindered, to some extent, the listeners during the ceremony. Purely Armenian domed-hall churches were not of this type: as the dome was supported on the pillars near the wall (Zovuny, Ptghni, Arouch, and Ddmashen). The last two of the mentioned examples are well-known. The first one is valued for its ornamental decoration, the second for its magnificent interior space with wonderful frescos in the apsid. The latter together with the frescos in Talin, Lmbatavank, Kosh, Zoravar once more come to deny the opinion that the art of frescos was not popular in early medieval Armenia. The creation of domed-hall churches, which were the most widespread and vital type of early medieval worship buildings, continued to be popular in other epochs of the Middle Ages. The oldest Armenian central-domed church is the Cathedral of Echmiadzin, one of the major monuments of Christian architecture. According to bibliographical information (Agatangeghos, Ghazar Parpetsy) the Cathedral of Echmiadzin was built by king Trdat the Third and Gregory The Illuminator. It was completely restored by governor Vahan Mamikonian in 484. The building of the Cathedral laid the foundation for the spiritual and artistic educational centre, which was to determine the fate of the Armenian people. As early as the 5th century, upon the Armenian land under the aegis of the Cathedral of Echmiadzin, the first Armenian school was founded. This was followed by the establishing of the first depository of manuscripts, the first centre of scriptorium and later the first printing house. The outstanding monuments of Armenian architecture Zvartnots, Hripsime and Gayane were built in the same area not far from the Cathedral. Echmiadzin has continuously been the spiritual and ideological centre for those Armenians who had been deprived of statehood and were scattered all over the world. It is a powerful force supporting Armenians and helping them gain self-assertion and self-recognition. The plan of the Cathedral is rectangular with a horse-shoe shaped apsis. This pattern was used later on in Bagaran, Theodoros church which was built in 624 — 631. According to the West-European scientists Strigowsky, J. Dimitrokalis, V. Arslan, Echmiadzin-Bagaran type church with tetra-apsidal pattern and four supporting pillars has been passed on to Europe, influencing such monuments as Constantinople Neu, Milan San Satiro and French Germine de Pries. Examples of the most popular and versatile pattern of central-domed monuments are small-sized churches with an external and internal crossi-form shape plan, one apsid (Shenik, Buzhakan, Karmravor, Bdjni, Artashavan, Lmbatavank, Artavazik, Koghb) triapsidal (Jrvezh, Arzni's St. Kiraki, Hogevank, Mankanots, Parpi, Agarak). The most well known and perfect specimens of these are the churches of Ashtarak's Karmravor, Artik's Lmbatavank, and Talin's St. Astvatsasin (7th century). By the chance in Karmravor the early medieval global roof with its original tiled cover has reached us in a pure form characteristic of the middle ages. (Another example of the type is the six-apsid church recently discovered in Aragats). The church of Dorbatavank stands aside, where the base of the dome is rectangular instead of the usual square with 3:4 ratio of sides, while the dome vault is oval-form in section instead of being circular. The development of central-domed churches with cross-shape compositions moved towards enlarging and integrating of the interior space and giving up the central pillars. This is evident in case of Mastara type churches of the 7th century as in Artik, Harij, Voskepar in which the dome is supported by wide span tromps connecting the apse and overlooking the whole of the interior. It is worth noting that the central, columns throne-hall of the Arshakunids' palace in Akhtamar is supposed to have had a roof typical of the monuments in Mastara, i.e. a huge dome with a skylight over the whole interior. Particularly reliable against earthquakes were tetracongue virgin who was fateful to her religion, turned down the churches, in which there were rooms in the corners between the apses, and the interior four-winged pattern externally encircled by rectangular walls. The first temple of this type is situated in the North-Eastern part of Yerevan, in Avan, which was built by Catholicos Hovnan of Bagaran in 591 —602. In fact this is the most valuable monument of the middle ages in the area of Yerevan. In the churches built later (Hripsime, Aygeshat, Targmanchats, Garnahovit, Sisavan, Aramus, Kolatak) the corner rooms gain a square or rectangular compositional pattern. In the facade of most of them you can see trepoizodal niches. The latter made it possible to avoid the solid masses in the corners, the apses, creating a rich and impressive combination of light and shadow. The most complete and perfect specimen of the given type is the temple of Hripsime 618. It is one of the unrivalled gems of Armenian architecture in which compositional forms have reached to classical perfection carrying a glamorous and inspiring spirit. The name of the temple is connected with a martyr-virgin called Hripsime. The legend goes (by Armenian historian Agatangeghos) that Hripsime and her friends escaped the persecution of the Emperor Deoklitianos, left Rome and took refuge in the gardens of Vagharshapat (the metropolis of that time). Learning about Hripsime's beauty king Trdat decided to take her as a wife, but the virgin who was fateful to her religion, turned down the pagan king, ran away from the palace and hid herself in a stony hill near the road leading to Artashat. But soon the king's men found Hripsime and her friends and tortured the former to death by burning her with candle fire. Her friends were also killed (Gayane, Shoghakat). Gregory the Illuminator, the patron of Christian religion, built tombs on their graves. It was here that the temple of Hripsime, Gayane and Shoghakat were built inheriting the martyrs' names. Driving along Yerevan-Echmiadzin superhighway you can indeed notice the road-sign to Zvartnots, which is a proud eagle, perched on a high pedestal. E. Kochar and R. Israelian created it. Right here, three km away from Echmiadzin not far from the highway you can see the ruins of the temple Zvartnots. The ruins are impressive and inspiring. According to historical evidence Catholicos Nerses of Tay built the temple together with the palace of Catholicos, who was called "The Builder" for his zealous building activities. The temple of Zvartnots did not live a long life. Towards the end of the 10th century it had already been destroyed. It would be forgotten forever, it the ruins of the temple had not been cleaned of thick layer of earth by Toramanian and his assistants. The ruins in themselves are proof of the past grandeur. According to the reconstruction of Toramanian the plan of the temple was a central-dome type construction about 45m high, consisting of gradually reducing extent rounds vertical axes. The facade, the windows and front doors, the cornices (caves), were all decorated with an ornamental belt and arch-bows, the main element of which were the grape-wine, pomegranate brunches, flower bunches and other ornaments. In the space between the arch-bows you can see a high relief of the craftsmen with their tools in hands. On one of them, the name of the craftsman Hovnan has survived. Who is supposed to have been the chief craftsman-the architect. In spite of the validity the reconstruction of the temple by Toramanian, it caused a lot of disbelief and discussion, which disappeared only after 1906 due to N. Marr's efforts. During the archaeological excavations in Ani, among the ruins of the temple St. Grigor (Gagkashen) built by architect Trdat, the statue of king Gagik was found. This was a duplicate of Zvartnots, and in the hand of the Maquet was the model of Zvartnots, coinciding with the Zvartnots reconstruction plan. To have a full idea about the form of the temple you should see its model in 2:20 scale. Zvartnots was an unprecedented religious monument. It is characterized by the originality of its plan and the spatial solution, courageous idea of picturesque dressing with Ararat in the background having a most convenient size and appearance. "It is true that it lacks the vast diameter of the domes of St. Sophia and Partenon. As well as the mounts of gold spent on them, but here is architectural skill, unique monument in the world architecture which honours the Armenian creative talent" (T. Toramanian). Several temples of Zvartnots type are to be found in the Transcaucasus such as; Banaky, Lyakidy, Ishkhan and Gagkashen. Numerous are the monuments bearing the architectural influence of Zvartnots. An important type of central-dome churches is the multiapsid temple of the village of Irind in Talin region (7th century). These are eight-apsidal churches. Their lower part is a prism of eighteen unequal sides with triangular wide niches while the upper part is a drum of twelve facades, which was terminated or surmounted with a pyramid-shaped calotte. A noteworthy example of multiapsided churches is the six-apsid church in Aragats (6th century). Important elements in the architecture of Armenian early middle ages are monument-memorial tombs (Aghts, Gayane, Hripsime, Mesrop Mashtots tomb in Oshakan) winged crosses (Dvin, Avan, Jrvezh, Koghb) column-memorials (Ardvy, Dsegh, Koghb, Berdadzor, Arouch, Talin) tombstones and khatchkars (cross-stones) (Odzun, Aghughy). The versatility of the monuments of the early middle ages naturally is not limited only by religious buildings or memorials, certainly there were civil constructions which unfortunately have been preserved poorly. The reason for this was not only the fact that they had wooden roof and looked less attractive, but also that they were the first targets during the invasions and they were rebuilt less frequently in comparison with the worshipping monuments. Conspicuous civil constructions were the Catholicos's Palace in Dvin, Avan, Zvartnots, Aramus, the royal throne-hall of Dvin and Grigor Mamikonian's Palace in Arouch. The ruins of most of those have been revealed by archaeological excavations. Here the axial compositional centre was the columnique, around which inhabitable, economic and auxiliary rooms were arranged where the latter were comparatively small in size. The general composition and individual or certain details of the column-hall obviously bear the impact of popular architecture (Hazarashen coverings, capitols etc.). At the very beginning of the eighth century Armenia fell under the Arab yoke. This lasted for about 200 years slowing down and hindering the development of architectural-constructive activity. There are many people, tike David of Sasun (the embodiment of the Armenian people) who often rose against the Arab invaders, weakening, and their foundations with powerful uprisings. The country was liberated from the Arab yoke in 885 when Ashot I, the chief Bagratuny Prince, became the Armenian king, thus establishing the Baghratuny’s kingdom. The well-developed phase of the middle ages in the history of the Armenian people began (914) and was characterized (particularly in the architecture) by certain traits and local peculiarities clearly seen in the formation of different architectural schools (Araratian-Shirak, Syunik, Vaspurakan, Gugark). Town planning flourished due to the fact that Armenia was on the crossroads of the major trade routes. The already existing towns and settlements (Dvin, Vagharshapat, Garni) developed rapidly and new ones were founded (Lore, Bdjni, Kapan). The wide-scale construction of defensive buildings and fortresses all over the country can be easily understood if we take into account the economic and political separation on the one hand and the continual foreign invasions on the other. Among such constructions are Amberd, Bdjni, Kapan, Gag, Vorotnaberd, and Smbataberd. The most powerful and impregnable was Amberd, the family Castle of the Pahlavuniies: The remains of this castle are to be found near the village of Burakan (7km to the North-Western direction) on the summit of a triangular hill, surrounded with deep gorges. Among them are the ruins of the bath-house, water supplying complexes, a three-storeyed castle and survived portions of the high fortress wall. Here is the domed-type church in Bdjni (1131) is an early specimen of churches with fan shaped calottes. The capitals of separate kingdoms such as: (Tashir-Dzoraget), Kapan (Syunik), Akhtamar (Vaspurakan) and particularly the Bagratunys' capital Ani, testify to the high level of town-planning and embody its major principles. Ani has been called "The town of a thousand and one churches". It was here that one of the most talented architects of the time, eminent Trdat, worked efficiently creating the Cathedral of Ani, Gagkashen, the Patriarchal seat and the church, which represent the best principles of Armenian architecture. According to historian Stephanos of Taron-Asoghik (1 century) Trdat reconstructed the dome of St. Sophia Cathedral in Constantinople, which had been destroyed by an earthquake. The Austrian scientist Strigowski believes that in the interior solution of Ani's Cathedral, Trdat used such compositional patterns and devices, which we find later in Gothic architecture. Monastery complexes versatile with meaningful compositions, one surpassing the other with interesting and original monuments, are the most glamorous incarnations of developed architecture of the Middle Ages. All of them bear the deep impact of individuality, standing aside with their compositional value. The monastery complexes were not only religious centers, but they played an important role in education and culture. Many of them were historiographic centers where many valuable manuscripts were written, illustrated and copied. Now they enrich the manuscript collections of Yerevan Matenadaran, Mkhitarian repository in Venice and Vienna, Jakobian Monastery in Jerusalem, the British Museum in London, etc. The existence of the universities, ecclesiastical schools and manuscript repositories is due to educational activity of the monasterial complexes as: Haghpat, Sanahin, Tatev, Gladzor. The universities of Sanahin, Tatev and particularly Gladzor were highly valued and reputed. The latter was established in 1282, gained fame by being referred to by its contemporaries as "Glorious second Athens", "Great School", super famous university. The name of numerous eminent scholars such as: Nerses Mshetsy, Yesay Nchetsy, Stephanos Orbelian, Hovhannes Vorotnetsi, Momik, Thoros Taronatsy, Mkhitar Sasuntsi, Hovhannes Archisetsi, Khachatur Kecharetsi are connected with Gladzor. Here were written and illustrated dozens of manuscripts. "Many patterns of spatial, metrical and planned solutions are applied in monuments of the high middle ages, particularly in its early phases. This is an expression of traditions handed down to the following generations" (V. Harutjunian). The new epoch puts forward its esthetical-compositional principles. More importance is attached to the plastic solution of the elevations, the decorating qualities of stone, multicolour sorts of stone masonry, possibilities of the art of frescos, harmony, the best conditions for visual perception and the accord with the surroundings. Horizontal sizes are reduced, while the verticality is emphasized instead. Particular emphasis is laid upon anti-seismic measures, sound and acoustic qualities. In the monasterial complexes the dominant is the Main Church, the other constructions being secondary. The belfry usually attracts attention with its sky-high lines. Sanahin, Tatev, Haghpat, Kecharis and other monastery complexes can easily prove this. The most conspicuous piece of Syunik architectural school is the church of Poghos-Petros in Tatev Monastery, which represents a unique version of domed basilic-type of early middle ages, being a transition from, domed basilics to the crossdome type. The Sanahin and Haghpat Monasteries were formed within several centuries, passing through different phases of construction and naturally being completed riot in one idiom or a simple plan. They were built due to the efforts of builders of several generations. But a unified and interrelated pattern, artistic and stylistic commonness, and space balance characterize this discrepancy between the two complexes. This characteristic trait of the complexes, is typical of Armenian architecture in general and is a result of high skill and dedication to the cause. In each phase of the construction builders usually took into account the already existing ones, inheriting architectural, artistic shapes and devices, handing them down to the coming generations. The main churches of Sanahin and Haghpat monastery complexes, Amenaprkich (966) and St. Nshan (976—991), are outwardly rectangular-domed churches stretching along East-West axis being crossiform in the interior. There are the earliest examples of the mentioned type. Both of the churches were built due to the efforts of Queen Khosrovanush, wife of King Ashot Voghormats, for their sons' Smbat and Kjurik's, longliveress. The names of many noble women are known in the history of Armenian architecture of the middle ages. They were noteworthy for their building activities being Maecenas initiators, financing the construction work. Here are some of them: Katramide (Ani Cathedral), Vanuhi (Sanahin Bridge), Hranush (Sanahin Monastery's St. Grigor church and the library), Mariam (St. Arakelots and St. Astvatsasin churches in Sevan, St. Petros church in Shoghavank), Sophie (Gndevank church) Shahandukht (Vorotnavank church), Khatun (St. Astvatsasin church in Haghpat Monastery), Mariam (church in Kobayr Monastery). Princess Sophie's famous inscription reads: "The gorge of Vayots was a ring to which I built pearl-church as a gem". Second importance after churches in monastery complexes are the gavits, which had both religious and worldly significance as well, being at the same time family tombs. They were usually attached to the western facades of the main churches (though some deviations are known). The gavits of early period are mostly long halls covered with semicylindrical shape roofs (Vahanavank, Gndevank, and Karkop). There are also square-shaped gavits with four central columns, the following being examples of the type: Tegeniants Monastery, Sanahin, Goshavank, and Haghardzin. On the Southern walls of the gavits as well as those of the churches you can often see delicate pictures conjoining with semicircularly arranged characters and radial engravings, which are in organic accordance with the frontal elevations and do not stand aside from decoration elements at first sight. These pictures having certain artistic qualities and purely practical importance serving as sun-dial. The whole "mechanism" consisted of a board of characters and a central stick, by the shadow of which the time was defined. The earliest specimens of sun-dials date back to the 7th century. The sun-dial of Zvartnots attracts attention for its artistic perfection (exhibited in Zvartnots Museum, next to the ruins of the temple). The monumental complexes, civil buildings (schools, refectories, manuscript repositories etc.) are in accordance with the churches because of their expressiveness and ideal composition of concept. In some cases they have left their impact on the architecture of the latter. The church school of Sanahin (1-st half of the 11th century) which was traditionally called Magistrates' seminary (named after Magistrate Grigor Pahlavuny, a scholar, philosopher, pedagogue of the middle ages), occupied the rectangular hall stretching between the churches of Amenaprkich and St. Astvatsasin. In contrast to similar halls of the Middle Ages where the main constructive elements of the pattern were the walls and vaults, the major distinguishing feature is the skeleton consisting of powerful pilasters and arches. This was achieved through the harmonic and rhythmic arrangement of which the force of artistic expressiveness is felt. The biggest and the most ancient among Armenian libraries are the library-repository of Sanahin (1063). It is a building square in plan. The four sides of this construction have a middle in which semicolumns rise supporting powerful arches while the latter support the tent-shaped octahedral dome with a skylight. The roof with its smart picturesque and courageous solution is unique in Armenian monumental architecture. The problem of constant temperature, air conditioning, proper lightening and generally the preservation of the books and manuscripts were taken into consideration in the construction of the libraries. Their high level of culture, the well thought and expressive construction testify not only to highly developed architecture in the 11th century, but also to the love and care for the art of writing in medieval Armenia. The crown of the medieval bridges preserved in the territory of Armenia as well as one of the conspicuous constructions of medieval Armenia is Sanahin's bridge (1192) built across the narrow part of the river Debed. It is one of the oldest bridges which has the biggest span. In the construction of the bridge the constructive artistic intention goes along with subtle architectural-artistic sense. At the end of the 12th century Armenia was liberated from the Seljuk yoke, which, lasted 150 years. The dynasty of Zakarians was established in the Central and North-Eastern regions. Peace and flourishing of economic life promoted building architectural progress. Alongside the towns the monastery complexes became educational developing centres within which major significance was gained by worldly constructions. The construction of gavit-chaples, schools, refectories, libraries, spring-fountains, auxiliary and economic a building was urged forward with a new force. On this ground in the 13—14th centuries such monastery complexes which were formed and gained recognition during the previous centuries prospered and became more complete. Among such complexes are Sanahin, Kecharis, Haghardzin, Makaravank, and Marmashen. New types and versions of worshipping buildings appeared such as (tomb-chapels; Noravank, St. Astvatsasin, Yeghvard, Kaputan, churches; the Zorats church in Yeghegis, Ackory, St. Astvatsasin in Akhtala, St. Grigor in Dsegh). In the period of high Middle Ages, particularly in the 13—14th centuries the problems of artistic expressiveness come forward. The artistic rises up to the level of being picturesque, thus becoming one of the most characteristic aspects of the architectural creation. Great importance is attached to outer and inner dressing of artistic expressive means, bass-relief picturing Maecenas having contributed to the construction, the life-trees, angels, apostles, Christ and St. Astvatsasin become the inseparable part of those complexes, interwoven with architectural patterns and devices. The picturesque style is clearly seen in Adjiots monastery, Harijavank, Makaravank, Nor Varagavank, and particularly in the monuments of Vayots Dzor, Noravank, Spitakavor, Areni, and Arates. The life-size figures of apostles standing on both sides of the entrance of Poghos-Petros church in Aghjots monastery, the high relieves of the columns in the gavit and belfry of Noravank are masterpieces of Armenian architecture. A sculpture in architecture usually plays a complementary role, emphasizing the artistic expressiveness. However, the above-mentioned monuments prove to be the opposite: it seems they were created to be proper background for these sculptures. And it is not by chance that the names of the authors (Momik, Siranes) are worth-mentioning alongside such medieval craftsmen as Trdat, Manuel, and Galdzak. An essential architectural monument of the epoch is the complex of Geghart Monastery (13th century). The most important period of the construction began in the 13th century when the Proshians bought the Monastery from the Zakarians and began the construction of exceptionally perfect rock-cut complex is to be found in Armenia such as (Khor-Khor cells on Vana Rock, rock-cut quarters of Ani, Martirosavank, Vayots Dzor, Spitak caves). Still Geghart is original due to its relationship with the Armenian crystallized ways of architecture. This is due to its unsurpassable expressive features. Here belong the devised pair of crossing arches and the domed cross inscripted plan and the construction of square gavit with four supports and many other ways and devices having gained new meaning and charm. The interior of these complexes is in harmony with the architecture and .decorating sculptures. Here worked a famous craftsman Galdzak together with his apprentices, modestly asking only to remember him. (They created and passed silently away, leaving their breath for centuries" E. Charents). On the background of the simple architecture of Khorakert monastery (1-st half of 13th century) both the inside and outside of the crowning dome of the church will fascinate you. The lower half of its drum is made of thirty-monolith columns hexahedral in section covered with decorated belts of capital anchors. The roof of the dome is completed skillfully with constructive and artistic means. In the flood of light penetrating through the columns immaterialize the huge wreath of the dome with its fascinating interior creation seems to be hanging from the sky. The front gavit with its three-nave construction is unique among Armenian gavits and is supposed to have a common source with medieval royal columned halls (K. Ghafadarian). There is a resemblance of construction between gavits and refectories, examples of which have survived in Haghardzin and Haghpat. These are rectangular halls articulated into two square aisles by a pair of vault based on a pair of crossed arches having in the middle a low octahedral dome with a skylight. A barred vault covers the rectangular refectory of Tegeniats, Kirantsi, and Cobair Monasteries. Beginning with the 13th century many-storeyed belfries, as separate constructions appear in monastery complexes such as: Sanahin, Haghpat. The latter consists of two storeys crowned with a belfry, where the passage from the lower cross-like storey to the square on the second storey is realized by stalactite blocks. The building with nice symmetrical space-extent, interesting partitions and colour unity leaves with the perfect sculpture for the eyes to feast on. Besides the separate ones belfries were also built together with other constructions (church, gavits, libraries and so on). The constructions of spring fountains in Armenia are an age-old trade. These time constructions which are so popular nowadays bear the impact (imprint) of Armenian national architectural traditions, carrying people's wisdom and surviving constantly beginning with the Middle Ages. The existence of such spring-fountains constructed in older epoch of the middle ages are very attractive with their patterns testify to the above-mentioned fact. The most valuable among them refers to the 13th century and appear in the monastery complexes (Haghpat, Sanahin, and Makaravank). They were generally symmetric halls, with vaulted gable-roofs on the general facade separated in one (Tatev), two (Sanahin), three (Haghpat) wide arch-ways which attract passers-by.Scattered all over the territory of Armenia are monuments materializing the rapid progress of Armenian medieval architecture-khatchkars which were erected not only as tomb stones but also on different occasions (important historical events, the establishment of conspicuous constructions, contributions, repairs, water-canal constructions). Some of those khatchkars are perfect specimens of sculptural art, characterized by a wealth of artistic ways, versatility of pictorial devices, extraordinary skill of processing stone and know-how of revealing to the utmost the possibility of stone. It is quite natural that the art of Armenian khatchkars is compared only with another magnificent phenomenon of the Armenian medieval art, that of Armenian miniatures. Exceptionally valuable specimens of khatchkars are to be found in Goshavank, Geghart, Sanahin, Haghpat, Dsegh, Noravank, Echmiadzin etc. Among those "Exceptionally valuable ones" the most valued is indeed the pair lace-like weaved khatchkars by Poghos Kasmogh (the compiler), one of them is exhibited in the "History Museum" of Armenia. In those khatchkars stone seems to have immaterialized as stuff obeying completely the sculptor's boundless imagination, thus becoming the result of his thought and hand.With the flourishing of the international caravan-trade and connected with the development of the trade routes at a distance of one day trip (Atarbekian, Dashtashen, Lernakert, Arakelots, Gjughateghi, (countryside), Arouch, Selim, Hargis).The rapid development of Armenian Architecture began in the mid-fourteenth century and was again interrupted this time by Tatar-Mongols and other Asian nomadic races. The situation of Armenia went from bad to worse when, at the beginning of the 16th century it became the stage of the Turkish-Persian prolonged war, being at the same time an apple of discord. The unbearable conditions compelled the population to scatter all over the world finding refuge in Russia, Georgia, The Balkan states, Western Europe, India and elsewhere. Syunik was an exception as it had gained independence due to a national-liberation struggle. While the whole of Armenia was under the Turkish-Persian yoke. Syunik was independent to some extent. It is not accidental that the late medieval phase of Armenian architecture (15—18th centuries) especially its earlier stage is represented mostly by the architectural monuments of Syunik. In the late-middle ages building activity was mainly limited by repair and reconstruction, particularly after the earthquake of 1679, when the buildings situated in the Ararat valley were damaged greatly. Extensive reconstruction activity was taken up in the Echmiadzin Cathedral. The existence of the frescos in the interior of the Cathedral is worth mentioning. Churches and monastery complexes of the late middle ages differ from those of the previous epochs with their construction, while the latter were created during a prolonged period undergoing several building phases. Those of the late Middle Ages were built according to a single intention, within short periods. As a result of this they are more complete from the point of view of their construction and artistic impression. They are characterized by concentrating other construction around the main building, the church. The complexes are circled mainly with high walls and semicircular towers. Along the high walls secondary and housekeeping buildings are located (Tatev, Mets Anapat, Shatin, Khor Virab, Mughny, Hnevank). They were not only worshipping centres, but also played an important defensive role. Of the different sphere of art and architecture the high level of medieval khatchkar art only can be regarded as the organic continuation of the previous phase. Examples are numerous as scattered in Noradooz, Getashen, Gavar, Mets Mazra and particularly in Djugha (Nakhichevan Autonomous Republic) where a great number of them are in cemeteries. Here the progress of Armenian architectural art is expressed in new colours. With the flourishing of trade bridge-building prospered. (The flourishing of trade gave an impetus to bridge-building). Semicircular or arrow-shaped bridges with one or several arched openings were built (Shatin, Tatev, Ashtarak, Oshakan, Garni). Popular architecture is characterized by working out different geographical regions of Armenia. Particularly attractive are those mountainous settlements, where the houses are situated on terraces in accordance with the relief. In many cases the roof of one house serves as a yard for the other. After the Russian-Persian war (1826—1828) with the liberation from the Persian yoke and the uniting of Eastern Armenia with Russia (according to Turkmenchay treaty 1828) favourable conditions were formed, promoting the progress of the material and cultural life in that region. This new phase of the development of Armenian architecture (the beginning of the 20th century) corresponds to the period of capitalist relations, inclining to get closer with Russian culture and architecture, with town-planning and popular architecture as well. This is proved by an inscription on the facade of the "Ararat" wine-cellar, which states the following "Here (the fortress of Yerevan which was situated in the same place, is meant) in 1827 the comedy "Discontent of mind" by the great Russian writer Alexander Griboedov was first performed. Griboedov played an important role in the fate of Armenian people not only with his works but also his political ideas, promoting Armenian-Russian friendship. On the monument honoring this great friend of the Armenian people you can read the following: "To Alexander Griboedov from the grateful Armenian people". The previous chaotic town planning (Yerevan, Alexandrapol, Kars, Nor Bayazed, Goris) yielded to an urban policy with perspective purposes. The development was carried out according to general plans with houses bearing the architectural influence of Russian classicism by their rectangular plans. The clay-built Yerevan, (earthen houses, with earthen flat roofs, earthen squares, earthen streets, and at last earthen statues, everything made of earth) gradually changed its face, thus becoming a town of "European style" more or less with bearable conditions. The boundaries of the town were extended; new living quarters appeared as streets and squares with rows of workshops, the sanitary-hygienic conditions of the town were made considerably better. Alexandrapol (Gyumri) became a typical town of trade and craftsmanship, gaining military-strategic importance. The development of capitalist relations made it necessary to erect buildings of a new type, (banks, hotels, shopping centres, industrial houses). The latter essentially changed the look of the towns. This incomparably short phase came to be the starting point of that magnificent rebirth in Armenian architecture, which took place after the establishment of Soviet Government. The decades preceding the liberation of the Armenian people from social and national oppression had been the hardest years of nightmare, horrible deprivations and disasters. The Turk yenicheries with the silent support and permission from the West-European countries wanted to solve the problem of the Armenian people "to be or not to be". They evaded the whole population of the Western Armenia turning one and half million Armenians victims of the massacre. The monumental complex rising magnificently on the forestry hill of Tsitsernakaherd in the North-Western part of Yerevan is dedicated to this most cruel page in the history of the Armenian people. The twelve huge stone bents toward the eternal fire in the middle harmonizing with the neighboring sky-high obelisk embodying the Renaissance of the Armenian people, is considered to be a stone elegy to the victims of the Genocide. In the years of bloody massacre it seemed that there would not be enough stone in the rocky land of Armenia to make tombs. "It seemed that an old mason would make the last tombstone with the inscription "Here is buried Armenia", but this did not happen. The October tempest shook and awakened our ancient land". (G. Emin). Within the past seventy years, since the establishment of Soviet power in Armenia, the overchanging force of Lenin's ideas seen in all spheres of the Armenian people is particularly expressed in the flourishing architecture of contemporary Armenia. By the invitation of the newly formed Government of Soviet Armenia a lot of eminent specialists returned to their Motherland from towns of Russia and Western Europe. Among them was the eminent architect academician Alexander Tamanian, who having been educated and cast by long years of hard work, had gained recognition in Russian environment and was it lead Armenian architecture period. The reconstruction of Yerevan as a Capital began in 1924, when the general plan worked out by Tamanian and made for fifteen years, was brought into effect. Yerevan was planned to have a population of 150000 "space should be regarded as architecture, and otherwise we shall not have any architecture". T. L. Wright. Tamanian did so, while working out the plan. He drew the town as a natural amphitheater and circled by Nork, Sari Tagh with a picturesque view to mount Ararat. "It is a complete well-built organism, the elements of which are closely interrelated and deprived of any draw-back typical of town-planning. A town must have green-belt streets and gardens without any constructions which should serve as the lungs of the town", predicated the great architect. Wanted or not one brings to mind the following lines written by E. Charents with great pathos: "He has evidently seen a sunny town"! The speedy development of industry and the unprecedented increase in population put forward a problem to look through the general plan of the capital, in the years of (1938, 1951, 1970). Paying tribute to Tamanian we must say that in all those revisions Tamanian's main principles of city-planning and his important intentions have not only been preserved, but also have become a reliable town-planning landmark for generation to come. Tamanian was not only the author of the general plan of Yerevan but also the first person who carried it out. According to his plan many educational, public and administrative houses were built among which are Spendiarian's Opera and Ballet State Academic Theatre, and the Government House on Lenin Square. These, due to their exceptional feature of intention, modern currents of applying national architecture. These spatial constructions and functional solutions are unified architectural currents and their expressive methods are simple solemn and monumental buildings and their surroundings, available and intimate to the on-lookers hearts. Rising on the gray landscape of Yerevan of the past days, they became a reliable bridge to the vital and perspective traditions of Armenian architecture, throwing lights upon the modern way of its development. The construction of the Government House and the architectural-artistic intentions in general served as a dictating basis for the other buildings located in the same area such as "Ararat Trust", the house of Trade Unions hotel "Armenia", Ministry of Postal Service. Due to this fact the Square is unified and at the same time fascinating. It is the symbol of the achievements of modern Armenian architecture, the constructive heart of the capital's city-planning organism, the centre of social, economic and cultural life and the witness of all the important events in history of the Armenian people for the last decades. In a word, Lenin Square is the throbbing heart of the capital as well as the whole republic. That is why it is dear to everybody. A great number of thoroughfares, streets, squares, namely Shahumian, Abovian, Sakharov, Spandarian were founded. In the pre-war period Yerevan was enriched by a number of important public buildings such as; hotel "Sevan", the public library called after Miasnikian, the central department store, cinema "Moskva", the Medical, Agricultural institutes etc., which are important achievements of the Armenian architecture in the stage of formation and confirmation of realistic principles. Between 1920—1930 the general plans were laid out for many towns and villages such as Leninakan (Gyumri), Kirovakan (Vanadzor), Echmiadzin, Akhta (Hrazdan), Nor Bajazed (Gavar), Hoktemberian (Armavir), Noragavit, Parakar, Verin (Upper) and Nerkin (Lower) Shengavits, etc. These plans are characterized by effective searches for the solution practical appliance, improvements of life conditions, traffic organization, and other problems. The solution of the housing problem in the republic was of social importance in those years. This was especially urgent for Yerevan and Echmiadzin where there were a great number of homeless people who escaped from the great Massacre and for Gyumri where the destructive earthquake in 1926 had deprived many people of shelter. Increasing housing activities in the republic began particularly during the first five-year plan when the solution of this problem was the key problem for the whole country. Not only separate apartment houses but also hall quarters were built, as well as settlements attached to industrial enterprises. The efforts of the Armenian architecture during the years of the Great Patriotic War were directed towards the defensive problems of the country and toward building important industrial centres. Soviet patriotism was brilliantly embodied in numerous spring-fountain monuments, which were built (and nowadays are being built) almost everywhere around Armenia symbolizing the great deed of the Armenian people. The creative searches in the 1950-s led to a new method of applying the traditions of Armenian architecture, finding an outlet in magnificent constructions testifying to the majority of thought and high level of skill of the Armenian architects. Standing proof of this is the construction of such houses as the Matenadaran, Central Committee of the Armenian Communist Party, Central covered Market, the Presidium of the Academy of Science of Armenia, the wine-cellar of "Ararat trust", the plant of Armenian Cognac (brandy), Byurakan Observatory, the Railway Station in Yerevan and many others. These occupy an important place in the formation of the capital's layout being cornerstone creation of Armenian architecture. In post-war five-year plans many towns and health-resorts such as Gyumri, Vanadzor, Alaverdi, Artik, Kapan, Sevan, Dilijan, Arizona, Tsakhkadzor and Jermuk changed, turning noteworthy for their extensive town-constructions. The centre of Gyumri; Lenin Square was completed with a public administrative building. New squares were built in Vanadzor (Kirov Square, Shahumian Square), Kapan, Alaverdi, Echmiadzin. There appeared new suburbs conspicuous with a high-level culture of town-planning, perfect technological design. (Achapnyak, Araratian, Zeytun, New Nork, Avan-Arindj, South-Western Norashen in Yerevan, Antaravan, Yerankyuny in Gyumri, Dimmest, in Vanadzor, Saralanj in Abovian, Vagharshapat in Echmiadzin, Sanahin, Sarahart in Alaverdi, Spandarian in Kapan etc.). The last decades have been extraordinary prosperous in the architectural history of the republic. Numerous comfortable hotels, concert halls, educational, research institutions, exhibition halls, tourist, sport complexes, industrial buildings were erected. Armenian architecture stepped on to the road of constant development sealing the searching period. A noteworthy phenomenon in Armenian architecture was the building of the Ethnographic Museum of Armenia in Sardarapat, being the first after Tamanian's Government House. The USSR People's architect R. Israelian has skillfully combined the contemporary essence of the exhibition building with traditional expressive means, thus achieving a surprising and wonderful result. The Armenian builders have gained honour and fame creating such constructions as the Sundukian Theatre in Yerevan, the Theatre of Drama in Gyumri. The stadium of "Hrazdan", the hotels "Dvin" and "Ani", the cinema "Airarat", the Youth Palate, Airport "Zvartnots", the Chamber Music Hall, the Museum "Erebuni" and "Metsamore", the "Metro" building (the underground railway building), the memorial complexes in Sardarapat, the Sport-Concert Palace Complex, the Complex commemorating the Armenian people's rebirth and many others which having questionable and suggestive aspects, are considered to be successive and perspective creations of Armenian architecture. Many streets and parks stand aside due to their certain virtues and town-planning solutions. Examples of these are the Main Avenue in Yerevan, Aragats, Sayat-Nova Streets in Gyumri, Miasnikian Street in Echmiadzin which are still being completed and improved. Architectural monuments generally represent a people's materialized history, belonging more to the past. The cause of their preservation and of handing them down to the coming generation in perfect state has become the main concern of a state and its people. Recently great importance has been attached to the revealing historical-cultural significance and the role of the monuments. An attempt is made to have them meet modern requirements, extensive work is carried out to include old apartment houses into modern use. They are being reconstructed so that they are in accord with modern constructions. The results of such activities are such national preserved areas as Kumayri in Gyumri, Dzoragyugh in Yerevan and others in Dilijan and Echmiadzin. Armenian architecture, is the heir of the country-old Armenian people under the aegis of the Great October, the token of confidence for the bright future. The representative of Russian culture and friend of the Armenian people Sergey Gorodetsky have once confessed: "My greatest pride and happiness has always been and is the fact, that I can enter any house in Armenia and find shelter and friendly hospitality there". A guest is welcome in an Armenian home. The Armenian proverb says: "The guest is the God's messenger and he is welcome to our house". This is why the Armenian usually acquaints the guest with the achievements of our republic, with a certain love and pure pride giving him the gems of his soul. We are sure that you will like Armenia with its unsurpassable beauties, cultural monuments, sunny colors, with the Armenian people enjoying creative work. And we hope you will have pleasant memories. May the fire of your desire to visit Armenia "The Paradise on the earth" be always burning in the "Armenian corner" of your heart.