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    Lusavorich statue erected in Vatican YERKIR Online - January 14, 2005

    A statue of Grigor Lusavorich, the first Catholicos of the Armenian Apostolic church, was placed Friday on the external wall of the St Peter's Cathedral in Vatican.

    ANSA Notiziario Generale in Italiano mercoledì il 19 gennaio 2005



    (ANSA) - CITTA' DEL VATICANO, 19 GEN - Giovanni Paolo II ha inaugurato questa mattina la statua di San Gregorio Armeno, l'Illuminatore, sulla fiancata destra della basilica vaticana, nella strada interna alla Citta' del Vaticano, che prende il nome di via delle Fondamenta. Il papa ha benedetto la statua di marmo bianco di Carrara, commissionata dal collegio Armeno di Roma, ed opera dello sculture armeno Kazan Khatechik. (ANSA).

    Vatican Unveils Monument of Saint Gregory the Illuminator

    (VATICAN CITY)--Pope John-Paul II, along with Armenian Church officials, attended the official inauguration of the statue of Saint Gregory the Illuminator in the Vatican on January 19.

    The almost 18 feet high statue was placed in the last remaining empty niche

    along the walls leading to St. Peter's Basilica, which house the statues of famous saints. It is situated at the site where visitors wait to climb the cupola.

    An almost two-foot gilt bronze Armenian Cross is situated in the right

    hand of the statue, and a Holy Bible in the left. Two Armenian crosses and Saint Gregory's adorn the statue's vestment.

    The Latin and Armenian inscription on the pedestal reads, "Saint Gregory

    Illuminator of Armenia 301."

    On his trip to Armenia to mark the 1700th anniversary of the conversion of

    the Armenian nation to Christianity, Pope John-Paul II became inspired by a visit to Khor-Virab where Saint Gregory was confined, crouched in the dark for 13 years.

    Thus, at the urging of the Armenian catholic Patriarch Nerses-Bedros XIX, the

    Pope pledged to do his utmost to erect, in the Vatican, a statue of the Saint Illuminator of the first Christian nation.

    In 2001, the Vatican Launched an international design contest for a marble

    statue of the Founder of the Armenian Church.

    The winner was artist Khachik Kazandjian from Paris, who recently created

    a 30 feet high monument of Alfred Nobel. That statue is in the center of the city of Sevran where Nobel lived and worked. Kazandjian is also a founding member and the First President of the Society of Armenian Artists of France.

    Zenit News Agency, Italy Jan 20 2005

    St. Gregory Finds a Niche at a Vatican

    Pope Blesses Statue of Apostle of Armenia

    VATICAN CITY, JAN. 19, 2005 ( John Paul II blessed a statue of St. Gregory the Illuminator which now stands in one of the exterior niches of St. Peter's Basilica.

    It is the first time that a statue of an Eastern-rite saint -- in this case, the apostle of Armenia -- has been placed among the founding saints that surround the exterior of St. Peter's, according to the basilica's archpriest, Cardinal Francesco Marchisano.

    The ceremony, which took place today as the Pope was on his way to Paul VI Hall for the general audience, was attended by Patriarch Nerses Bedros XIX of Cilicia of the Armenians, whose see is in Lebanon.

    Nerses Bedros XIX leads approximately 10% of the Armenian Christians who live in his homeland and in the diaspora, and who are in communion with Rome.

    Some 90% of Armenian Christians obey the Armenian Apostolic Patriarchate, which separated from Rome after the Council of Chalcedon in 451.

    A key step was taken in 1996 to overcome this division, when John Paul II and then Patriarch Karekin I signed a joint declaration that resolved misunderstandings on the nature of Jesus.

    Attending the ceremony were representatives of the Armenian Apostolic Patriarchate and the Armenian republic.

    The statue of Gregory the Illuminator -- also known as Gregory the Armenian -- was sculpted by artist Khatchik Kazandjian, of Lebanese origin. He won a competition convoked by the Vatican and the Catholic Armenian Patriarchate.

    The statue, 5.64 meters (18 feet) high and weighing 18 tons, is in Carrara marble and cost 250,000 euros ($325,000).

    With this gesture, the Pope wished to culminate the celebrations for the 1,700th anniversary of the Armenian people's conversion to the Christian faith.

    According to Armenian tradition, Gregory, who was born around 250-252, miraculously cured Armenian King Tiridates III, who converted to Christianity in 301 together with all his court, making Armenia the first Christian nation.

    The gesture of placing the statue at the basilica, said Cardinal Marchisano, "expresses marvelously" the "natural variety of the traditions and rites of the Church, which contribute to her spiritual enrichment."

    Catholic World News Jan 20 2005

    Armenian patriarch, Pope dedicate statue at St. Peter's

    Vatican, Jan. 19 ( - Patriarch Nerses Bedros XIX, the head of the Armenian Catholic Church, was in Rome on January 19 for the installation of a statute of St. Gregory the Illuminator--the "Apostle of Armenia"--outside St. Peter's Basilica.

    Pope John Paul blessed the statue prior to his weekly public audience. During that audience the Pontiff called attention to the presence of the Armenian Catholic patriarch and several other Armenian bishops who had accompanied him.

    AZG Armenian Daily #146, 19/08/2005



    Artyom Grigorian, head of RA State Agency of Monument Preservation, informed that 6 historical monuments will be restored with $1 million allocated from the state resources. The castle of Dashtadem, several constructions of the Amberd castle, the church of Voskevaz, the Spitakavor monastery, Vahanavank and Hnevank will be restored very soon.

    The layouts for the restoration works are to be completed soon. A competition will be announced for the construction companies to launch the reconstruction works.

    Mr. Grigorian stated that the restoration works of some of these monuments will last several years and each year they will be provided with financial sources from the state budget for the construction works.

    By Ruzan Poghosian


    "The Armenian people have come into our world from such hoary antiquity when the modern Europeans had not been in existence; even the Romans and the Hellenes, those peoples of the antique world, were barely emerging on the historical arena."

    Valery Bryussov.

    The Armenian people are one of the oldest in the world with the roots of its culture and art entrenched deep down the vista of ages. The history of the Armenians is one of heroic liberation struggle for independence, for their own mother tongue and culture.

    Dozens of oral and written legends- about Armenia and her heroic sons have come down to us since time oat of mind. Armenia is often termed an open-air museum with Yerevan, its capital, as the best exhibit.

    Archaeological diggings have certified the date of the city's foundation—782 B. C. by the Urartaean King Arguishti I, son of Menoua. In 1968 the 2750th foundation anniversary of the city was observed with pomp and circumstance.

    As a habitation site Yerevan's birth date goes farther back than the above date, the fact being brilliantly illustrated by the multitude of historical monuments, still available; among others, the cave of Yerevan (the Stone Age), Shengavit (4th—3rd millennium B. C.), Tsitsernakaberd (2nd millennium B. C.), Arin-berd (Erebouny) (8th century B. C.), Karmir Blour (Teyshebaini) (7th century B. C.)

    No state-run museum had been in existence in Armenia prior to Soviet power in the republic. Currently the number of museums comes up to forty. Twenty-four of those museums are in Yerevan; some of them are state-owned, others are departmental museums and expositions where hundreds of thousands of exhibits—treasures of our national spiritual culture—are the object of solicitous care and study.

    Those visiting the museums familiarize themselves with the heroic pages from the annals of our people and with its unparalleled gains in socialist construction.

    The organization of new museums and the extension of existing exhibitions have called for the re-edition of this booklet.

    The compiler expresses his acknowledgments to the officials of all the museums of Yerevan for their assistance in revising and supplementing the contents of the previous publication.

    The present guide-book offers concise information on the museums of our capita1, carrying at the same time reference data for visiting tourists and guests.


    One of the first decrees promulgated by the government of Soviet Armenia envisaged the establishment of the National Museum of the History of Armenia. Today the museum is a centerpiece of the republic's science and culture.

    Initially the Museum comprised the departments of history, archaeology, ethnography, arts and letters. The departments of arts and letters developed into museums of their own, in scheme with a decision of the government.

    The collection of the Museum of the History of Armenia numbers three hundred thousand exhibits of great scientific and instructive value for studying the ancient history of Armenia as well as those of Asia Minor and the peoples of Transcaucasia. The museum has developed extensive connections with opposite numbers and research institutions of the Soviet Union and foreign countries and with progressive organizations of the Armenian Diaspora.

    The museum consists of the departments of registration and preservation of stocks, archaeological, ethnographic, numismatic memorabilia, works on modern and new history, research-popular editions. It accommodates a rich library on Armenology, a photo-restoration laboratory, etc.

    Thanks to the spade work of research expeditions and the explorations of scientists, the museum is in possession of a large number of systematically stocked archaeological and ethnographic artifacts.

    Nearly seven thousand exhibits featuring in the halls of the Museum explains the centuries-old history and culture of Armenia. The specimens cover a period ranging from the primordial-communal system to our own days.

    The first hall displays finds from the period of the primordial-communal system: stone-made hand cutters,"1 scrapers, grinding labor tools made of the volcanic glass of the New Stone and Eneolithic Ages, stone-made axes, arrows, earthenware, implements for farming and stock-raising and sickles. The Bronze Age is copiously represented. In 1956 a burial ground was unearthed around Lake Sevan, in the vicinity of the village Lechashen. Moulds, crucibles and other tools relating to metal processing are of universal appeal. Unique bronze-cast statuettes are demonstrated along with models of carriages, agate and cornelian ornaments, armour, three-colour ceramics discovered in graveyards in Artik and Kirovakan.

    Of great interest are the four-wheel wooden carriages ornamented with fretwork. They were used as vehicles for tribal chiefs. The carriages were uncovered during diggings in the basin of Lake Sevan.

    A special hall is assigned to the displays of Urartu—the first slave-owning state in our country. Impressive are the cuneiform inscriptions discovered in Arin-berd (Erebouny) and Karmir-blour (Teyshebaini), the statuettes of supreme Urartaean gods, warriors, outsize clay-made jars for wine, bronze bowls, iron instruments, weapons, ornaments of the kings Arguishti I and Sardour II and the remnants of grain cultures. Featuring is also a cauldron from the fortress of Teyshebaini (7th c.B.C.). The walls of the hall are graced with magnificent frescoes from the fortress of Erebouny (8th c.B.C.). The concluding item of this hall is a cuneiform inscription testifying to the foundation of Yerevan.

    The specimens of the next hall refer to the origin of the Armenian people and the first state of the Armenians (6th c.B.C.). On show are exhibits of the material culture going back to the first millennium B. C. and brought to light in Oshakan, Ijevan and Dvin. The bronze statuettes of deer from the village of Tolors (the district of Sissian) are exquisite carvings of animals and men (of cult significance) and earthenware. Data bearing upon the relationship of the Armenians with Persia, Greece and Rome are demonstrated here. The tombstones and memorabilia available in this hall illustrate the adoption of the Christian religion by the Armenians in 301.

    The exhibits of the succeeding halls throw light on the pages of the heroic history of the Armenians in the battle of Avarayr waged against Persian conquerors.

    The documents pertaining to the invention of the Armenian alphabet and the growth of mediaeval Armenian literature and architecture attract attention. Here the visitor gets a glimpse of the 7th—8th cc. architectural vestiges, familiarizes himself with the model of the majestic cathedral of Zvartnots and interesting facts about the monasteries Tekor (5th c.), Hripsime {7th c.), Karmravor |7th c), Lembatavank {7th c.). Khetskonk (10th c.}, etc.

    There are the Armenian khachkars-tombstones elaborately wrought with crosses.

    The second floor demonstrates specimens of the material culture dug out in Dvin (7th c.): ceramics (9th c.), faience, porcelain (9th—t3th cc.).

    The model of the city of Ani, famed for its architectural gems, has invariably been engaging the attention of visitors.

    A special section is set apart for documents reflecting the history of the national-liberation struggle of the Armenian people in the 17th and 18th centuries, the outstanding individuality of Israel Ori, the liberation movement of Syunik, the activities of commander David-bek.

    Highly interesting is the ukase of Peter I (1724) on creating favorable conditions for the Armenians, the edict of Catherine II (1779) providing for the foundation of the town of New-Nakhichevan by the Armenians on the bank, of the Don.

    "Ourbataguirk"—the first printed book in Armenian put out in Venice in 1512, is the object of solicitous care in the museum; this is also true of books printed in the 16th through 18th centuries in other regions peopled with Armenians, and of volumes on national musical instruments.

    The articles and documents exhibited in the next halls, illustrate a signal event in the history of the Armenian people—the incorporation of Eastern Armenia: into, Russia. The documents throw light on the Russo-Persian (1826— 1828) and Russo-Turkish wars (1828—1829) and the selfless struggle of Armenian militiamen fighting in the ranks of Russian troops. Rich data is available on the Treaty of Turkmencha, on A. S". Griboyedov and the Dekabrists. The feelings of gratitude the Armenians entertain for the great Russian people run high in the novel The Wounds, of Armenia" by the eminent Armenian educationalist Khachatour Abovian. One of the first editions of the novel is shown in the museum.

    Armenian ethnography takes up a considerable portion of the exposition: farming implements, primitive machines and instruments made by artisans and objects typical of the urban and rural way of life in Eastern and Western Armenia, are placed on show. An appreciable number of exhibits highlight the history of capitalist relations in Armenia. Documents explain the construction of the railroad Tiflis— Alexandropol—Kars, Alexandropol—Erivan.

    The displays of the last halls elucidate the history of the growth of the Armenian socio-political, democratic mind of the 19th century and its close ties to the representatives of Russian progressive thinking. The material objects associated with Armenian culture of the second half of the 19th century arouse curiosity. The stands display Armenian magazines, newspapers, printed books, the portraits of prominent men of letters and arts, photographs and pictures.

    A number of documents expose the cruel policy of the Turkish government and the diplomatic manoeuvres of European states concerning the Armenian Question.

    The last hall features documents and portraits of the first Armenian Marxist revolutionaries B, Knuniants, S, Lalayants, S. Spandarian, S, Shahumian.


    The Matenadaran is the research institute of old manuscripts named for Mesrop Mashtots. In number and value of manuscripts this establishment is considered to be one of the world's oldest and richest treasure-troves.

    Stocked in the Matenadaran is the treasurable age-long heritage of Armenian culture. Only after the institution of Soviet power in Armenia were favorable conditions created for the collection and preservation of rare specimens of the people's material culture. Initially the manuscripts of Echmiadzin lay at the base of the republic's first research institute, transferred to Yerevan in 1939. Subsequently the Matenadaran was promoted to the status of a research institute under the Council of Ministers of the Armenian SSR and named for Mesrop Mashtots, the inventor of the Armenian alphabet.

    Currently this establishment is in possession of thirteen thousand hand-written books and fragments, some of which are singular copies of the given edition. The collection includes also a large number of unique manuscripts in different languages. The fragments that have reached us relate to the 5th—7th centuries.

    Of the complete parchment manuscripts the oldest is the "Gospel of Luke" of 887. Exceptionally interesting is the 28 kg. manuscript "Homilies of Moush" scribed in Moush in the 18th century. Shown next to it is the 15th century tiny book-calendar weighing 19gr.

    In the multitude of superior manuscripts Matenadaran numbers the works of famed historians: Koryun, Kazar Parbetsi, Pavstos Boozand, Yegishe (5th c.), Sebeos (7th c.), Ghevond (7th c.), Aristakes Lastivertsi (11th c.), etc. They are stocked along with the research writings of the Armenian philosophers: Yeznik Koghbatsi (5th c.), David Anhaght (the Invincible) (6th c.), Hovhannes Sarkavag (12th c.), Hovhann Vorotnatsi and Grigor Tatevatsi. A rare manuscript in the collection is "The History of the Afghans" the only work of the Armenian historian Movses Kagankatvatsi. As to belles-lettres the repository owns the productions of the mediaeval poets Grigor Narekatsi (10th c.), Nerses Shnorali (12th c.), Frick (13th c.), Mekertich Nagash (15th c.) and others. Some of the writings deal with the natural and the exact sciences—mathematics, astronomy, chemistry, geography; highly valuable are the works of Ananya Shirakatsi (17 c.). Unique medical manuscripts are exposed to view: the studies of Mekriiiar Heratsi (12th c.), Amirdovlat Amassiatsi (15th c.) and so on. The book of the illustrious Armenian lawyer Mekhitar Gosh "Code of Laws" (13th c.) has likewise been preserved.

    Fascinating are the religious and secular songs in Armenian names written as early as the 9th century.

    Exceptionally valuable among the memorabilia that have come down to us are the 11th —14th cc. miniatures of the Armenian artists: Toros Roslin (13th c.), Sarkis Pitsak (19th c.), Toros Taronatsi (14th c.), Hakop Jughayetsi (17th c.) and others, in addition to the oldest manuscripts-translations from foreign languages into Armenian, most of the original writings failing to reach our times.

    The foreign writers whose works are available in their Armenian translation are: the illustrious Greek philosopher Aristotle, Plato, Philo of Alexandria, Porphyry, Zeno, etc. Only the Armenian translations of Zeno's work "On Nature" and Eusebius of Caesaria's "Chronicle" have been preserved.

    The Matenadaran owns also handwritten volumes in Arabic, Persian, Greek, Latin, Hebrew, Polish, classical Slavonic, their investigations adding fresh chapters to the histories of Europe, Transcaucasia, the Middle and Near East.


    The Armenian state museum of revolution was established in 1921.

    A new exposition, timed to coincide with the 40th anniversary of Soviet power in Armenia, opened in 1960. The museum's stock counts upwards of fifty thousand different documents, illustrations, letters, the paraphernalia of outstanding revolutionaries. Out of this number five thousand exhibits feature in the thirteen spacious halls of the museum.

    The exposition reflects the history of the rise of the social-democratic labor organizations in Russia and Armenia, the struggle of the working men for the institution of Soviet power in Armenia and the republic's advances in socialist construction under the guidance of the Communist Party. The achievements of the republic's working people in the national economy in time of developed socialism are in evidence.

    Exhibited are rich data on the activities of V. I. Lenin, the founder of the Soviet state, and his Armenian comrades-in-arms: S. Shahumian, B. Knuniants, S. Spandarian, Kamo (S. Ter-Petrossian). A. Myasnikian and others.

    The first stands show the activities of K. Marx and F. Engels, the founders of scientific communism. Attractive are the materials referring to the propagation of Marxism in Russia, Transcaucasia and Armenia. The same section displays specimens concerning the first study group of Marxism launched in Tiflis in 1898 and made up of Armenian workmen. Here is also the newspaper "Banvor" published by the study group. Again, the activities of the first Marxist group in Armenia, set up by S. Shahumian in Jalaloghlu (Stepanavan) in 1899 and the first social-democratic organizations in Haghpat (1903) are explained.

    On view is the first issue of the Leninist "Iskra", the model of the printery "Nina" of the Baku committee, facsimiles of the newspaper "Proletariat", organ of the union of Armenian social-democrats, the first issue of which carried the union's manifesto highly appreciated by V. I. Lenin; also copies of the newspaper "The Struggle of the Proletariat" edited in three languages (Georgian, Azerbaijani and Armenian), organ of the Caucasian union committee of the RSDWP.

    The hall assigned to the Great October Socialist Revolution exhibits historical documents respecting the overthrow of autocracy, the preliminaries to the October Revolution, the decrees about Peace and the Land adopted by the 2nd all-Russian, congress of Soviets, the decree about Turkish Armenia, etc.

    Each Armenian participant in the Revolution and the Civil War is allotted a stand: V. Avanessov, A. Myasnikian, M. Ter-Ha-rutyunian, L. Karakhan, A. Khalatov, L. Lissinian. H. Bezheshk-iants (Guy), G. Voskanian, Khakanian and others.

    The numerous photographs and documents of this section illustrate the activities of the Baku Commune. There are S. Shahumian's credentials signed by V. I. Lenin nominating him Provisional extraordinary commissar of Caucasian affairs.

    The museum is rich in articles relating to the struggle of Armenia's working people for the institution of Soviet power and their assistance to the Eleventh Red Army.

    Featuring is the telegraphic apparatus through which the military-revolutionary committee of Armenia communicated on November 29, 1929 the establishment of Soviet power to V. I. Lenin. Exhibited is also the text of V. I. Lenin's telegram addressed to S. Kassian, chairman of the revolutionary committee of Armenia: "I congratulate in your person the liberation of the working people of Soviet Armenia from the yoke of imperialism".

    The samples in the next halls demonstrate the assistance of Soviet Russia, the undertakings of new-create Soviet Armenia aimed at reviving the republic from its economic ruin and restoring the national economy.

    The visitors stand for a long while at the show case displaying the "personal effects of the stanch Leninist A. F. Myasnikian, the first chairman of the government of Armenia.

    A special section of the exposition is assigned to the Great Patriotic War of 1941—1945.

    Quite interesting are the stands and photo-cases devoted to K- KH. Baghramian, marshal of the Soviet Union, H. S. Issakov, USSR fleet admiral, A. Babajanian, chief marshal of armoured troops, the aircraft designer A. I. Mikoyan, N. Stepanian, twice hero of the Soviet Union and many other glorious sons of Armenia.

    Quite a few are also the documents bearing upon the Armenian participants in the partisan movement, upon the selflessly toiling people of the rear and in the Resistance.

    Much has been done to show the labour exploits of the working people of Armenia in the post-war period, their unparalleled gains in the national economy, science and culture.

    The final exposition deals with data highlighting the resolutions of the XXIV, XXV and XXVI Congresses of the CPSU and the labour feats of the republic's workers in putting into effect those resolutions.

    The museum has got out an album 'Together with Lenin" and a number of guide-books and brochures. — 10-,

    The museum counts five branches: the memorial houses named for St. Shahumian (in Stepanavan), B. Gharibjanian (in Lenina-kan), brothers Dorian (the village of Verin Chambarak in the Krasnoselsk district), "The institution of Soviet power in Armenia" museum in Ijevan and the museum of the social-democratic workers' party of Haghpat.


    The museum of literature and art ranks among the largest in Armenia. It is made up of four divisions: literature, theatre, music and cine art, and counts seven branches—the memorial houses named for Hovhannes Toumanian in the village of Desegh (district of Toumanian), Hovhannes Hovhannessian in Echmiadzin, Perch Proshian in Ashtarak, Avetik Issahakian in Leninakan, Axel Bakunts in Goris, Derenik Demirchian in Yerevan and Armcn Tigranian in Leninakan.

    The museum is in possession of over half a million exhibits: literary writings, monuments of art, handwritings, photographs, personal effects, works of art and sculpture owned by 700 men of letters, arts and artistic organizations from the onset of the 19th century.

    The collection of the literary section preserves the handwritings and personal effects-of Khachatour Abovian, Sayat-Nova, Mikael Nalbandian, Raphael Patkanian, Perch Proshian, Gabriel Soundoukian, Hovhannes Hovhannessian, Avetik Issahakian, Yeghishe Charents, Derenik Demirchian, Siamanio, Daniel Va-rouzhan, Hakop Paronian, Petros Dourian and many more. The specimens of the literary section mirror the history of literature in the pre-Soviet and Soviet periods. Handsomely got up stands and show cases expose to view the portraits of eminent Armenian authors, their paraphernalia, facsimiles of handwritings and books.

    A separate subdivision highlights the literary life of the Armenian Diaspora.

    The theatrical division comprises the private archives—• handwritings, letters, bills, programmes, personal effects and other valuables of the outstanding actors P. Adamian, G. Abelian, A. Mandinian, Siranouysh, V. Papazian, A. Voskanian, V. Vagh-arshian, to mention but a few.

    The exposition dedicated to the 2000-year history of the Armenian theatre places on show the model of the theatre in old Artashat, copious documents and illustrations explaining the history of the old theatre.

    This is succeeded by an exhibition of the growth of the Armenian theatre in the 19th and 20th centuries, particular prominence being given to the Armenian professional theatres of Tiflis, Baku, Alexandropol, Yerevan and Constantinople. Separate stands show different items concerning the headlines of the Armenian stage and their productions, theatrical costumes and personal effects. The subdivisions focusing attention on the stage activities of such big names as P. Adamian, Siranouysh, G. Abelian and the career of the playwrights G. Soundoukian, H. Paronian and A. Shirvanzadeh are of universal appeal.

    The exhibits of the next hall throw broad light on the evolution of the Soviet Armenian theatre, with special emphasis on the play-house bearing the name of Gabriel Soundoukian. Featuring are also the activities of the republic's theatres of Leninakan, Kirovakan and others. Particular models depict scenes from different plays. The visitors can enjoy the portraits and sculptures of V. Papazian, H. Nercissian, V. Vagharshian and other stars of the Armenian stage.

    The show cases display photographs and documents on contemporary theatricians, producers and leading lights. A large number of documents highlight the activities of the Russian and Azerbaijan theatres of Yerevan, the Young Spectators' Theatre and the Theatre of Musical Comedy. The musical section deals overwhelmingly with the Alexander Spendiarian Lenin Order state academic theatre of opera and ballet. Exhibited are also the activities of musical critics of the Armenian Diaspora.

    The musical division of the museum owns valuable stocks on classical Armenian music, among others, from the heritage of Komitas, A. Spendiarian, Kara-Mourza. M. Yekmalian. T. Chuk-najian, A. Tigranian, R. Melikian, A. Maylian, A. Merangulian,B. Kanachian. As the museum is now being reconstructed and extended, the research fellows are getting ready to mount another exposition. The collection of the museum is constantly supplemented with fresh documents which are properly classified before being made available to the public and the research fellows of the republic.

    The museum cultivates professional relations with its opposite numbers in the Soviet Union, with men of arts and letters as well as progressive organizations of the Armenian Diaspora. It arranges periodically temporary and traveling exhibitions, symposiums and under the general heading "Literary Legacy" brings out collections based on archival documents.


    (branch of the V. Charents museum of literature and art)

    "...Derenik Demirchian is a past master of psychological analysis. He has a keen observant eye, a penetrating mind and sense of humor".


    In view of the distinguished services rendered by Derenik Demirchian, a classic of Soviet Armenian literature, the government of Armenia made his apartment into a memorial-house, timed to coincide with the birth centenary of the author.

    The museum opened on May 8, 1977 in time of the centennial celebrations.

    The memorial house is an apartment of three rooms, split into five exhibition halls that outline the author's life and literary career. Only his study has been left intact. An ornamented stele with the inscription "Derenik Demirchian, a past master of Armenian prose, lived in this house from 1922 to 1956" has been erected in the alley leading to the building.

    The door to the left from the entrance of the memorial-house leads to a small ante-room displaying exhibits from the early period of the author's life. Here on show are the pictures of the author's parents—Karapetand Natalia Demirchoghlians, and D. Demirchian's birth certificate (he was horn on January 17, 1877 in the Georgian town of Akhalkalaki). The exhibited items include views of his native town and the author's pictures of his early years in company with his family members.

    Shortly the Demirchians moved to the town of Ardahan where Derenik went to the local parish school which he finished in 1882. On display is also the copy of the letter of recommendation of the board of guardians of the Ardahan parish school to the directorate of the Gevorkian seminary in Echmiadzin. The letter introduces Demirchian as an extraordinarily industrious and capable student. A large number of documents relate to his period of studies in the Echmiadzin seminary where he was taught by Hovhannes Hovhan-nessian and Komitas from whom he derived his inspiration.

    Separate stands and show cases demonstrate D. Demir-chian's first printed poem, copies of his collected verses published in 1899 and 1913 as well as memorabilia and photographs illustrating his pursuits during his studies in Tiflis, Moscow and Geneva.

    A special show case exhibits D. Demirchian's violin which he played for many years.

    The last stands of the hall feature group photographs where D. Demirchian is pictured with H. Hovhannessian, V. Terian, Shant, A. Issahakian, M. Sarian and other conspicuous personalities in whose milieu he lived and worked.

    The next division of the museum is the author's study which has been preserved in its original form. Here is the desk with Sayat-Nova's statuette, an inkstand, a lamp and a telephone. Hanging from the wall in front is a reproduction of G. Bashin-jaghian's canvas "At Dawn" and a number of photographs. A book-case stands in the left corner. The unpretentious furnishings of the room indicate the author's modest way of life. In this room he often had talks with his favorite friend A. Issahakian and other eminent authors and artists, of Armenian or other nationality. In this room he toiled day and night over his novels "Varda-nank" and "Mesrop Mashtots" (unfinished) and a great many plays.

    The next hall shows specimens associated with the post-October period of the author's creative endeavors.

    D. Demirchian hailed the Great October Revolution and became a passionate advocate of the Soviet regime. The heroes of his books are men oppressed in old times who, however, turned in our days into builders of a new society.

    Arranged on the stands and in the show-cases are samples of the author's handwritings, editions, articles carried in the periodicals, certificates of government awards conferred on him, single and group pictures, his clothing and other personal effects.

    The hall conveys a full picture of his intense selfless creative efforts in the grim years of the Great Patriotic War.

    The specimens of the next small room reflect the author's endeavors in playwriting. Patriotism and honest labour underlie most of his plays. In his immortal comedies the writer ridicules the loafers and those who are alien to oar society. His "Nazar the Brave" is a favorite comedy of the people.

    The walls this hall are bedecked with wonderful hangings tasted on the author's plays: etudes, bills, announcements end other interesting items.

    The memorial-house arranges get-togethers, lectures, talks at schools and other educational establishments and institutions .of the capital.


    To eternalize the memory of the artist Hakop Kojoyan and the sculptor Ara Sarkissian, both people's artists of Armenia, the government of our republic took the decision in May 1970 to transform the two-storey private residence of both artists (on Pushkin Street 62/7) in Yerevan into a memorial-house.

    September 23, 1973 was the inauguration day of the memorial-house. Our story begins with the memorial section of Hakop Kojoyan, the founder of Soviet Armenian graphic art. He lived on the second floor.

    Hakop Kojoyan was born in the town of Akhaltsikha (Georgian SSR) in 1883. He received his professional education in Munich; then he lived in Paris. In 1918 he left for Armenia where he developed prolific artistic activities to the end of his life in 1959.

    The first two rooms display his singular black-and-white art, especially his book designs, of which the following deserve particular mention: "An Anthology of Armenian poetry" by V. Bryussov, "Gulliver's Travels" by J. Swift, "The Dare-devils of Sassoun", M. Gorky's "Verses and Legends" as well as the drawings "Dzoragyugh" and "Phoenix". Hakop Kojoyan designed a fairyland of multiform and multicolor works.

    The third hall is the artist's atelier, exhibiting his paintings. His self-portrait done in 1907 and drawings depicting workday life capture wide-eyed attention. "Women Baking Lavash", "Aparan", "David of Sassoun". Interesting are also his landscapes "Apricot Trees in Bloom" and "The Mountains of Vardenis".

    Imbued with patriotism and lyricism, his book drawings shown in the hall create a vivid impression. On view are his illustrations of the books "Ara the Handsome" by N. Zarian, "The Girl and Death" by M. Gorky, "Armenian Tales" by S. Zorian, which bring into relief the teemingly exuberant imagination and accomplishment of the artist. Most of them have been displayed in different cities of the Soviet Union and in foreign countries.

    The first floor of the house shows the works of Ara Sarkis-sian, People's Artist of the USSR and member of the USSR academy of arts. Here the study of the sculptor is preserved in its original form.

    Born in Istanbul in 1902 Ara Sarkissian went to Vienna at the age of 19 where he finished the local academy. Later he came to Armenia where he was appointed president of the artists' union of the republic. In 1924 he left for Paris and a year later he set up home in Yerevan where he devoted all his energy to promoting the cultural life of the republic.

    In 1949 he founded and directed the Institute of Art and Theatre in Yerevan.

    The first room demonstrates the pictures of the early carvings of the sculptor: sculptured portraits, positional statuary exhibited in the show halls of the Mekhitarist congregation in Vienna or owned by private collectioners. Well-known among those pieces of art are the compositional productions "The Silent Grief of the Pink Marble" and the sculptured portraits of Robert Richard and Simonovich, professors of the conservatory in Vienna.

    The sculptor's spacious atelier and other halls have mounted an extensive exposition of his sculptured portraits and positional statuary executed in Soviet Armenia, the best among them being "Mother Armenia", a 16-metre figure composition erected in the old park in Leninakan to perpetuate the memory of the fallen in the Great Patriotic War, the large-scale statuary "Sahak Partev and Mesrop Mashtots", "Hiroshima" and also his exquisite busts of Nelson Stepanian, Sotiren Spandarian, V. Bryussov, Raffi, the architect M. Mazmanian, the actor V. Vagharshian, the choir master Aram Ter-Hovhannessian, "King Artavazd", made of basalt, marble and bronze. On show are also a number of drawings and theatrical sketches.

    The visitor is overwhelmed with excitement watching the sculptor's study: a sofa, an armchair, his working clothes and instruments.

    The specimens demonstrated in the museum testify to the fact that the talented sculptor Ara Sarkissian has been equally good in organizational matters and public activities.

    To quote Martiros Sarian "Ara Sarkissian is a mainstay of the fine arts of our generation. All of his best productions are permeated with the spirit of the renascence of our people and a heart-enrooted faith in the future."


    The history museum of the city of Yerevan was established in 1931. Today it is a notable cultural-educational hearth of the capital. Over the past fifty years about fifty-five thousand samples have been collected there; they reflect the history of the city's distant past and present, its unparalleled upsurge in Soviet times.

    The museum's exposition consisting of two divisions (pre-Soviet and Soviet) and a large number of sections reproduce the history of Armenia's capital.

    The first hall demonstrates specimens of material culture unearthed in time of diggings in Shengavit; they bear testimony to the fact that as a habitation Yerevan had been in existence some 4,000 years ago while the artifacts uncovered in Tsitserna-kaberd, Moukhannai Tepe, Karmir Blour indicate the uninterrupted development of life in Yerevan.

    The second hall deals with the foundation of the city. On view is the cuneiform inscription of Arguishti, King of Urartu, which evidences the building of the fortress of Erebouny (now Yerevan) in 782 B. C. and other objects of material culture brought to light by the archaeologists: frescoes from the temple to god Khairii, cuneiform inscriptions, etc. betokening the high cultural standard of the kingdom of Urartu.

    The objects exhibited in profusion in the third hall, viz. weapons, helmets, labour implements, remnants of agricultural products, outsize wine jars, vessels for making beer and ornaments, illustrate graphically the mode of living in this 7th century B.C. major administrative-economic hub lying in the north of the kingdom of Urartu-Teyshebaini (Karmir blour) within the city limits of Yerevan.

    The exhibits of the fourth and fifth halls highlight the history of early medieval Yerevan. Featuring is a fragment of the book of the 8th century chronicler Sebeos, who makes mention of Yerevan, lapidary inscriptions of medieval Yerevan, house-hold goods and objects of the traditional Armenian crafts: carpets, rugs, fretwork, national costumes and embroidery.

    Documents and materials in great numbers as well as paintings throw light on the political and economic condition of Yerevan as the administrative centre of Armenia, on the sorry plight of its inhabitants under Persian yoke.

    The specimens of the sixth hall demonstrate the way of life in Yerevan in the 17th—19th centuries, the uprisings of the Armenian people against joint Persian and Ottoman domination, the part played by Israel Ori, Hovsep Emin, Shahamir Shaha-mirian, Nerses Ashtaraketsi, Harutyun Alamdarian and Khacha-tour Abovian in the liberation struggle of the Armenian people, the assistance offered to the Russian troops in capturing the fortress of Yerevan. Salient among the exhibits are the original drawings of famous Russian artists of those days: M. M. Ivanov. V. I. Mashkov, Gagarin. Their works portray nature and the customs prevailing in Yerevan and different episodes from the Russo-Persian war. Featuring are also banners, types of weapons and the original painting "The capture of the fortress of Yerevan" by F. A. Rubeau.

    An array of documentary data and articles illustrates brilliantly the age-long friendship of the Armenian and Russian peoples and the historic act of incorporating Eastern Armenia into Russia. The portraits of the Dekabrists exiled to the Caucasus engage the visitors' attention: Pushchin, Shipov, Raevski, hero of the 1821 war, V. Madatov, Lazarev, Bebutov, A. S. Griboyedov are assigned a special section. Superlative among the articles is the title-page of the first edition of "Wits' Woe" and the model of a scene from his play first staged in Yerevan in 1827.

    The specimens of the seventh hall interpret the history of Yerevan at the link of the 19th and 20th centuries, covering the first quarter of our age: the growth of capitalist relations in industry, the rise 01 the urban proletariat and the revolutionary movement, the formation of the bolshevik organization of Yerevan... A special section deals with the activities of Stepan Shahumian, a faithful Leninist.

    Richly exhibited are the products of the first industrial enterprises (1913—1918), medals and diplomas for tinned goods, wine and brandy, non-alcoholic beverage.

    The show-case on the wholesale massacre of 1915 is a centerpiece of the exposition. Other stands show the portraits of M. Gorky, H. Toumanian and other intellectuals who in those tragic days of our people played an immense part on the international arena in enlisting support for the Armenian people.

    A good many documents and photographs expose the notorious role of the dashnak government (1918—1920).

    Particular stands reproduce the story of the formation and the activities of the bolshevik organization of Armenia and the youth association "Spartak", the speech of S. Alaverdian denouncing the dashnak government, illustrations of the May Uprising and the executions of S. Alaverdian, S. Moussaelian and B. Gha-ribjanian, heroes of that uprising.

    The other halls are devoted to the rich history of Yerevan in Soviet times; paintings, models and photographs illustrate the rejoicings of the Armenian people, the population of Yerevan, at the entry of the 11th Red Army and the institution of Soviet power in Armenia on November 29, 1920.

    "Yerevan in the years of the Great Patriotic War of 1941 — 1945" is the name of the section telling of the participation of the metropolitan population in the war against Hitler's hordes. Separate albums contain data and photographs of the participants in the heroic defense of Leningrad. The walls are hung with the portraits of Armenian warriors. In addition, numbers of diverse items are shown: the products of large industrial enterprises, models, diagrams and pictures portraying the achievements in the post-war period in architecture and town planning, science, culture, public health and other spheres.

    The personal effects and documents of conspicuous men arouse keen interest: Al. Tamanian, T. Toramanian, M. Mazmanian, H. Kochar, Haykanoush Danielian, L. Hovhannissian, A. Mnjoyan and others.

    A section in the museum displays the friendly relations of Yerevan with overseas cities. Here, exported products and souvenirs are exposed to view.

    The concluding items of the exposition include the plans and prospects of the development of Armenia's capital, documents relating to the 26th Congress of the CPSU and the 27th Congress of the CP of Armenia and the materialization of the decisions of those congresses.

    The museum conducts extensive research on fresh data and initiates the publication of catalogues, booklets; its archives are available to the research fellows of different organizations.

    Recurrently the museum stages exhibitions (permanent and traveling), get-togethers and lectures. The Museum of Modern Art is a branch of the History Museum.


    "The Museum of Modern Art in Yerevan offers a splendid, diverse, exciting, traditional and experimental, collection of pieces of art. In those productions I perceive the Armenian people more powerful, viable than ever before. The talent is colossal, the museum is thoroughgoing. It is quite an enjoyable venue..."


    On June 8, 1972 the Museum of Modern Art opened in Yerevan, It marked a keynote in the artistic life of the capital. The exposition comprises objects d'art displaying a wide range of style and creative method.

    Here on view are the canvases of Armenian artists, adherents of the decorative trend characterized by bright, clear drawing and intense colour. This trend has come down to us from the hoary past to be upheld by the mighty brush of Martiros Sar-ian, Georgt Yakulov and other past-masters of the senior generation; the trend was further developed by such talented artists as' Harutyun Galents, Minas Avetissian, Ashot Hovhannisstan, Vrouyr Galstian, Henrik Elibekian, Gayane Khachaturian, Seyran Khatlamajian and Robert Elibefcian. Their can-vases are distinguished by richness, harmony and conceptual accomplishment. The museum places on show the works of such masters of the brush as A. Bazhbeuk-Melikian, Yervand Kochar, Gevork Grtgorian, Yossif Karalian, Petros Kondourajian, Hakop Anani-kian, Hakop Hakopian, L. Bazhbeuk-Mel'ikian, Roubert Adamian, Martin Petrossian and Raphael Atoyan who show a true flair for restrained colour-scheme and detailed preliminary arrangement of compositional structure.

    The museum makes a broad display of Armenian statuary. Making use of prodigious local stones, the masters of plastic art have created a great number of interesting monumental statuary and figurines.

    The best carvings of Ara Shiraz, Yuri Samvelian, Ohan Petrossian, Levon Tokhmajian decorate the halls of the museum.

    The museum puts on regularly one-man shows attracting visitors in numbers.

    Many artists whose works are exhibited in the museum enjoy nationwide and world-wide popularity. Thus the museum-goers of socialist countries as well as those of tire USA, France, Yugoslavia, the FRG, Italy, Austria and Holland have in the past decade familiarized themselves with the chef d'oeuvres of Armenian artists.

    The splendid exposition building came as a gift to the artists from the city Soviet of the capital; in turn the artists presented Yerevan with their best pieces of art—a token of the happy magnificent life of Armenia.

    The numerous entries in the guest-book are full of admiration and gratitude. Here is one of them: "Lifelikeness, intellect, true artistic instinct, a sense of fantasy and colors of modern Armenian art are*prodigiously illustrated in the Museum of Modern Art..."

    "Aside from the accomplished mastery of most artists the museum excited in me a feeling of something heroic, a feeling of genuine patriotism".

    Renato Guttuso.


    The famous Urartu citadel "Erebouny" is located in the southeastern suburbs of the capital, on the elevation Arin-berd. During an archaeological excavation in 1950 the walls of the citadel came into view on the top of the elevation. The scrotinous research of many years resulted in a thorough investigation of the citadel with its auxiliary buildings; water-tubes have likewise been discovered in addition to frescoes, statuettes, ornaments, weapons and twenty-three cuneiform inscriptions side lighting the construction of various structures of the citadel. One of these inscriptions divulges the foundation of the city of Yerevan: "By the grandeur of god Khaldi I, Arguishti, son of Menua, built this mighty citadel, gave it the name Erebouny, in token of the power of the land of Byaynili and to frighten the hostile countries. Arguishti says... the land was barren, I performed feats there. By the grandeur of God Khaldi, Arguishti, son of Menua, powerful sovereign, king of the land of Byaynili, ruler of the city of Toushpa".

    At the same time the inscription revealed that Erebouny had been founded in 728 B.C. In 1968 when the 2750th anniversary of the city was celebrated, the citadel-an interesting piece of architecture, was partly fortified and partly restored and made into an open-air museum. Today thousands of visitors have the opportunity of taking a look at the museum.

    A small two-storey building has been erected on the western slope of the elevation where objects dug out during the excavation of the citadel and scientific auxiliary items are exhibited which give the visitor a comprehensive idea of the history of Erebouny—the citadel of Urartu.


    "We pride ourselves on the fact that you, the glorious sons of our people, are fighting in the ranks of the advancing Soviet Army... In the name of the Soviet fatherland, of our Armenia do not spare your life, smash the sworn enemy to the last drop of his blood".

    (A passage from the letter-message addressed to the Armenian soldiers at the battle front).

    The sons of the Armenian people fought bravely shoulder to shoulder with the other peoples of our country against the fascist aggressors in the years of the Great Patriotic War. The exploits of the Armenian soldiers were highly appreciated by the Soviet Government and the Communist Party: about seventy thousand soldiers were awarded orders and medals, 106 warriors were granted the high title of Hero of the Soviet Union, and distinguished military titles were conferred on another 56 men.

    In token of the 25th anniversary of the victory of the Soviet people over fascism the government of Armenia decreed in 1970 the foundation of the museum "Soviet Armenia in the years of the Great Patriotic War of 1941—1945".

    The spacious halls of the Victory monument in the park bearing the same name accommodate the museum which opened on May 1972.

    The central hall of the ground floor, which is viewed through an oval opening above, is the hall of mourning. Here every visitor bows to the memory of the fallen.

    Among the specimens of the next halls are photographs, paintings and statuary that illustrate graphically the exploits of the glorified heroes, generals and marshals. On show is the marble bust of H. KH. Baghramian, marshal of the Soviet Union, I, S. Issakov admiral of the fleet of the USSR, air marshal A. Khudyakov (Khanferianis), A. Babajanian, chief marshal of armoured' troops. Upwards of fifty generals, among others S. Galajev, P. Parseghov, S. Martirossian, G. Toumanian, N. Safarian, won distinction at the battle fronts.

    The displays of the halls of the second floor illustrate the exploits of the Armenian warriors and the war opej»,tions of the Armenian division. They demonstrate the feats performed by Nelson Stepanian, twice Hero of the Soviet Union, Sergey Burnazian, Hunan Avetissian, Heroes of the Soviet Union. Separate showcases feature personal effects, nominal weapons, honors diplomas, letters and other objects.

    A special showing is arranged of the documents relating to the activities of the Armenian partisan detachments and the velour of particular partisans in the Resistance and international anti-fascist movement.

    Profuse are the data bearing upon the activities of the CC of the Communist (bolshevik) Party of Armenia and the government of the republic in an effort to mobilize all the forces to wipe out the enemy, upon the selfless labour of the men of the rear and their assistance to the front.

    The rotunda of the third floor is devoted to the Victory. A majestic pane! Portrays the storming of the Reichstag; another one pictures the parade of the troops in Moscow while a third panel depicts the fireworks on Lenin Square in Yerevan.

    The building of the museum is in itself a grand memorial; it forms the pedestal on which the sculpture "Mother Armenia" is erected. The visitors can climb the stairs to the sight landing from where the panorama of Yerevan unfolds before the viewer.

    The joint greeting of the CC of the all-Union Communist Party (of bolsheviks), the Presidium of the Supreme Soviet of the USSR and the Council of Ministers of the USSR reads in part: "In the years of the Great Patriotic War the Armenian people discharged with credit its duty to the Fatherland. The Armenian warriors, together with other peoples of the Soviet Union, stood up selflessly for the freedom and independence of our Fatherland. The working people, collective farmers and intellectuals of Armenia continued their fight for victory over the enemy".


    The Komsomol History Museum of Armenia was established •in 1970 in the village of Ghoukassian, the district of Massis, where Ghoukas Ghoukassian, founder of the Lenin Young Communist League of Armenia, was born.

    On the eve of the celebrations of the 60th anniversary of the Lenin YCL of Armenia, i.e. in October 1981 the museum was transferred to the Youth Palace of the capital.

    Importantly, this museum is the first in its kind in our country.

    The exposition of the museum demonstrates in historic-chronological order documents, personal effects, models, paintings and carvings highlighting the past and the present of the YCL.

    Under the general heading "They were the first" the specimens of the first hall treat of the rise of the Leagues, the first Komsomol union "Spartak" and the first congress of the Leninist YCL of Armenia.

    Next comes the division titled "Years of struggle and achievements" featuring interesting facts on the activities of young communist organizations, the self-sacrificing labour of courageous YCL members, their part in establishing the first industrial enterprises in the republic, the organization of collective farms and so on.

    A rich and diverse display is mounted in the division titled 'My native land is my love". The documents and data tell the visitors of those Armenian YCL members who stood up for every inch of the soil of the beloved Fatherland, toiled day and night in the rear for victory. Exhibited are the photographs of YCL heroes of the battle front, their YCL cards, faded letters from the front, uniforms, etc.

    The next division of the museum is captioned "To the beloved homeland". The Ren showing deals with the patriotic deeds of the YCL members in the post-war years including our own days. Prominence is given to the exposition of pictures and documents about the activities of the Komsomol in time of restoring the national economy, about the share of the Armenian YCL members in the renovation of virgin and fallow lands, in the construction of the underground water-main Arpa-Sevan.

    A special subdivision sheds light on the congresses of the alt-Union and the Armenian Leninist Young Communist Leagues. The documents and the photographs tell of the order-decorated YCL members of the republic who have scored notable pains in industry, agriculture, culture and science.

    The concluding exposition shows the activities of YCL building units at all-Union major construction sites. Again, featuring are honors diplomas and mementoes, given for their self-sacrificing labor.

    Every now and then the museum sponsors different public undertakings: traveling exhibitions, get-togethers with the spokesmen of three generations, Komsomol and pioneer meetings, solemn ceremonies of handing YCL cards, etc.


    "In Armenia proper the traveler can experience in one day from Polar frost to tropical heat and thereby cover nearly one-fourth of the Earth's circumference."


    The National Museum of Armenia's Nature is a major centre for the scientific and ideological training of the public at large. In the 30s the museum was called anti-religious. In the years of the Great Patriotic War it was the mainstay of anti-fascist propaganda. From August 1952 to November i960 it was known as the republic's museum of ecology. In I960, it was renamed the National Museum of Armenia's Nature, timed to coincide with the 40th anniversary of Soviet power in Armenia.

    The exposition of the museum acquaints the visitors with the general geographical features of Armenia, her climate and the changes occurring in its animal and plant kingdoms.

    Relief and geological maps of the plant kingdom, tourist maps, diagrams and photographs convey an all-round impression of the climatic specifics, natural belts, the resources of the Earth's interior, the advances of Armenian scientists in studying and learning the transformations of nature and the achievements of the republic in national economy.

    The specimens exhibiting the results of the republic's research establishments are held in the limelight; they show the analyses of an entire range of chemical substances, their application to industry, the breeding of new stocks of farm animals, the renovation of saline soils, the construction of reservoirs, hydro-engineering projects, the watermain Arpa-Sevan, etc.

    A number of documents reveal the first decrees and decisions of the Soviet government on conserving Armenia's flora and fauna, on founding sanctuaries and enriching the plant kingdom.

    Of particular interest are the exhibits respecting the natural belts of the republic: semi-deserts, forests, mountain steppes and zones.

    Armenia is 29 thousand 740 sq. kms. in area, with its northwestern to south-eastern bisected portion attaining 360 kms. Ninety per cent of the territory lies at an altitude exceeding one thousand meters above the sea.

    About 3200 plant species grow in Armenia; out of this number 600 are trees and bushes, some of which come under state protection: plane trees, Turkish filbert, wild pear-and apple trees, dogwood, juniper and yew.

    There are 74 species of mammals, 311 species of birds, 47 types of reptiles, 6 varieties of amphibians, 28 species of fish and numbers of invertebrates in Armenia.

    Dioramas, biogroups, particular stuffed animals, pictures of scenic nooks of Armenia offer a graphic presentation of the republic's rich nature.

    The evolutionary department of the museum displays data concerning the rise and growth of life on the Earth and the origin of man. Among the samples of this hall those meriting special attention are the elbow bone and a piece of the tusk of pre-historic elephant that lived in the Quaternary period, i.e. some 250— 500 thousand years ago, big specimens of limestone with visible traces of plants, the model of the rupestral way of life of primordial man (the Stone Age).

    The objects testifying to the existence of the Paleolithic period in Armenia are grouped in a special case. The same section demonstrates the skull of a man who had lived in the 18th c, B.C. and was discovered during the spade work in Lechashen (near Lake Sevan),


    "Blessed be the hour when the Russians set foot on the soil of Armenia and drove away the cursed kyzykbash (Persians) from our land".


    The private residence of the eminent son of the Armenian people, Khachatour Abovian, founder of modern Armenian literature, in Kanaker has for long been a favorite venue; however, the people's wish to transform it into la memorial-house came true in 1939.

    In 1953 a new exposition highlighting the life and activities of K. Abovian opened in the renovated two-storey building adjoining the memorial house. Words characterizing the life of the great educationalist are carved out on black tuff stone at the entrance to the demonstration hall:

    "To live and to die for the fatherland is the highest goal which I have set my mind on since the days of my youth" and "give away your soul, your life but never your fatherland..."

    The specimens of the first hall deal with the childhood and youth of KH. Abovian. A number of documents -* throw light on KH. Abovian's student years at the University of Derpet. On view are his university case and documents highlighting his educational career in Tiflis and Erivan. The exhibits of the second hall treat of the literary legacy of KH. Abovian. The stands illustrate   his verses and prose writings, manuals, journalistic articles, science papers, the copies of books published in our days in addition   to data perpetuating his memory. The historical novel "The Wounds of Armenia" is the acme of his career; the writing illustrates the liberation struggle of the Armenian people against foreign invaders at the onset of the 19th century. Abovian was a propagandist of the advanced views of his time, waging a persistent campaign against the reactionary forces. He played an immense part in fostering new culture, in disseminating educationalist and democratic ideas.

    During the days of Armenian and Estonian literature and art organized in Yerevan in 1964, the KH. Abovian memorial-house became a symbol of the friendship of the two fraternal peoples.

    The talented sculptor Ter-Marukhian carved a majestic statue to K. Abovian which towers up on the vast ground before the memorial-house.

    Khachatour Abovian's private residence is now made into a memorial house. The rooms are furnished in the old Armenian style. A big carpet hangs from the wall of the drawing-room while a felt rug covers the floor. The members of Abovian's large family and his friends used to gather under the dim light of the lamp at the vaulted hearth of this room.

    Hanging in the cellar is a churn; while the walls are lined with big jars storing butter, cheese and other products, accessories for baking bread and various kitchen utensils.

    The house, where KH. Abovian was born is the site of a special architectural ensemble. The upper floor is now made up of spacious show hails. Currently a large team of artists is busy designing the exposition of the memorial-house.


    "...whatever his magic pen touched,a true miracle of art unfolded."

    Av. Issahakian

    The museum of the illustrious Armenian poet Hovhannes Toumanian was festively inaugurated in April 1953 on the 30th anniversary of the poet's death. It is housed in a beautiful two-storey building on the street named for him in Yerevan. The second floor is a replica of the house in Tiflis where the poet lived. In 1969 a new extension with show halls was added to the memorial house, geared to the birth centenary of Hovhannes Toumanian, while the second floor of the main building has been transformed into a memorial section.

    The exposition of the museum begins with a diorama of the "Gorge of Loree". Under the soft tunes of the prelude of the opera ANOOSH the visitor drinks in the fabulous beauty of the land of Loree, a source of inspiration for the undying works of the eminent poet.

    The exhibits of the first floor tell in chronological order of the life and literary career of the poet. The visitor can take a glimpse at the childhood and adolescence of Toumanian, his first endeavors in letters and his initial verses. A number of documents illustrate the poet's contacts with the literary circles of Tiflis, his creative milieu. Featuring are specimens relating to the activities of the literacy group "Vernatoon", organized in his flat and the members of the group: G. Aghayan, Av. Issahakian, L. Shant, D. Demirchian. Photographs, handwritings and documents tell the story of how the poetical gems "Anoosh", "Sako of Loree", "Parvana", "The Capture of Temkaberd" and others were produced.

    The displays of the light and spacious halls of the second floor reveal the prodigious public and patriotic pursuits of H. Toumanian, an advocate of the friendship of peoples; they also testify to his services in promoting the children's literature. Attractive designs based on Toumanian's productions are also demonstrated.

    Hovhannes Tournanian has been a singer of the friendship among the peoples of Transcaucasia; he was in close touch with the intellectuals of Georgia and Azerbaijan.

    As an ardent patriot he hailed with all his heart the institution of Soviet power in Transcaucasia. The articles explain the poet's fruitful work in the initial years of Soviet power, his future schemes.

    The last department of the exposition shows documents referring to the centenary celebrations of the poet, the memorabilia received from Union republics and from overseas. The large hall displays the poet's private library counting eight thousand books •in Armenian and other languages, the holding including unique editions.

    In the concluding part of the exposition the viewer gets familiar with the memorial department of the museum. The poet's •study where his matchless poems and tales were produced together with his unexcelled translations of the Classics make an delible impression. Here he met and talked to prominent men of arts and letters. The adjoining spacious drawing-room is furnished with a piano and a book-case. Here is also the dining-room of the Toumanians where every member had his stable seat around the big table. The case shows the poet's clothes, while the balcony displays different objects and household goods.

    17 Mashtots Street, Yerevan +53-55-94

    The outstanding Soviet Armenian poet Yegishe Charents (1897-1937) lived a little further up the avenue, in No. 17 on the second floor. His flat has been made into a museum, which is visited by thousands of the poet’s admirers and visitors to the city.


    "I am profoundly convinced that Spendiarov and Komitas are the patriarchs of Armenian classical music; they have charted the principal trends in the evolution of Armenian musical art for many decades to come". A. I. Khachaturian

    The illustrious composer lived and worked in the apartment on the second floor of a three-store) house at the crossroad of the streets Toumanian and Nalbandian in Yerevan.

    It was in this apartment that the Spendiarian memorial-house opened on November 25, 1967. Under the magic strains of the composer's "Yerevan Etudes", the museum played host to its first visitors.

    Inscribed at the entrance are A. Issahakian's words about Al. Spendiarian: "What he gave us is immortal". There is also Spendiarian's famous portrait painted by Martiros Sarian, a large-format photograph of the academic theatre of opera and ballet named for the great composer, together with the bills and editions of Al.Spendiarian's works.

    The exhibits relate to the composer's connections with Armenian men of arts and letters. The display cases show the handwriting of his romance "Ay, vard!" (Oh, Rose!"), documents in profusion illustrating Spendiarian's friendship with the eminent Russian writer M. Gorky and with the outstanding composers Rimsky-KorsakMj Glazunov, Lyadov, Arensky, the artist H. Ayvazovsky and the poet Al. Tsatourian.

    On display is the symphonic poem which Spendiarian composed to M. Yu. Lermontov's poem "Three Palms", data telling of the composer's rendez-vous with H. Toumanian and the opera "Almast" written under the latter's influence. In addition, photographs and documents refer to the organization of the symphony orchestra of Armenia by the composer.

    The museum takes good care of his violin, conductor's baton and his personal effects. His workroom has been restored; now it exhibits his piano, bed, sofa, and desk. There is an inkstand on the desk and an unfinished score...

    The museum develops large-scale cultural activities with the urban and rural public at large. Regular traveling exhibitions, musical readings and get-togethers with the working people are laid on.


    The geological museum of the Institute of Geology of the Armenian academy of sciences, set up in 1937, is based on the private collection of Prof. 0. Karapetian, a geologist of renown. Ever since the museum keeps enlarging its stock thanks to the efforts of those engaged in the geological service of Armenia. Following the death of O. T. Karapetan the government of the republic decided in 1943 to name the museum for the late professor.

    The specimens stocked in the museum give a comprehensive idea of the geological structure of and the resources in the bowels of Armenia.

    The exposition covers all the divisions &'f geology with a rich display of paleontology and stratigraphy, the organic fossils of which date back to millions of years. One of the youngest (about 300 thousand years) and most interesting samples is the restored skeleton of a primordial elephant whose graveyard was unearthed in the sand-pits of Leninakan during 1927 —1928.

    Armenia has been an attractive venue to travellers and natural scientists as a land where deep magmatic and surface volcanic processes and the products of their activities are evident.

    The exhibits engaging the viewer's attention include metallic and non-metallic minerals, the former comprising iron, copper, manganese, cuprous-molybdenum, cuprous pyrites, poly metallic and other formations. Notable among the non-metallic minerals are building materials, multicolor tuff stone, granite, basalt, and diverse marbles including onyx-typed marble, the supplies of which fully meet the demands of the republic and are, in addition, consigned to other parts.

    There is a display of ornamental stones: agates, obsidians, etc. The interior of the earth of Armenia is also rich in mineral springs, most of which are of ail-Union importance: Jermook, Arzni, Hankavan, Dilijan, Lichk, Bezhni, Sevan and others.

    The museum is in possession of valuable exhibits characterizing the geology and the minerals of different regions of the USSR and a number of foreign countries.


    The folk art museum of Armenia was instituted in 1937 and ever since it has been collecting the most diverse objects on old-time mode of living, popularizing the rich traditions of national applied arts, their conservation and introduction into Armenia's contemporary folk art.

    By 1981 the holding could already boast a rich show of unique pieces which enabled the museum to arrange a permanent exposition. In 1978 this exhibition of folk art was renamed into Armenia's national museum of folk art. The museum stages periodically topical and one-man shows of the works of self-taught artists, engravers, sculptors, etc.

    The hoard of the museum counts 3200 exhibits including gifts from the Armenian Diaspora.

    The museum houses articles of craftsmen skilled in wood, stone and metal carving, different types of carpets and rugs, exquisite silver filigree, ceramic ware, the delicate work proficient needle-women and lace-makers and the canvases of artists.

    The exposition conveys a complete idea of the multiple forms of folk art, the basic stages of its development from old times to our own days.

    The topics in the art of our popular craftsmen reflect in the main the cardinal issues of our epoch, the heroic deeds and life of Soviet men.

    The keen interest in the museum is well illustrated by the number of visitors—more than thirty thousand every year.

    The museum conducts research and methodical work with the craftsmen and maintains cultural connections with its opposite numbers in many countries. The exhibits of the museum have been displayed in the USA, Denmark, Sweden, Holland, Czechoslovakia, Poland and other countries.

    Abiding loyal to the traditions of Armenian art Hakop Azat-ian, Vahan Hatsagortsian, Artsroun Berberian, Sahak Sahakian and many other craftsmen are busy devising modern works of art, adding in this way to the evolution of the national forms of art. The museum has branches in Dilijan, Aparan, Ashtarak and Hrazdan. There is also another museum of woodwork in Yerevan. The museum has put out catalogues and booklets.


    Aram Abrahamian is an eminent scientist and pedagogue, a brilliant urologist-surgeon and clinician, one of the founders of the Soviet school of urology, renowned in our country and abroad.

    Prof. A. Abrahamian's prolific activities mirrored in his research and practical endeavors, have been highly appreciated by the Soviet government: he is the recipient of two orders of Lenin, one order of Labor Red Banner, being also awarded four medals and the title of Hero of Socialist Labor. He is a state prize laureate who has been granted the honorary title of Emeritus scientist.

    A. Abrahamian, who has consecrated over half a century of his life to serving science, is a subtle expert and profound connoisseur of literature, music, painting and the applied arts. He has collected for many years the canvases of the Russian artists from the end of the 19th and the outset of the 20th centuries, the holding including the works of the founders of Soviet painting.

    He has made a donation of two hundred paintings, statuary, a library and objects of the applied arts to Armenia: glass, porcelain, furniture, all of which laid the foundation of a new centre of culture in Yerevan.

    The "Coilecton" is housed in a beautiful, bright building. An album-catalogue of the museum exhibits has appeared. Interestingly, the hoard reflects the whole complexity and diversity of the evolution of Russian art of the pre-revolutionary and revolutionary periods. The collection is split into several groups.

    On display are the hangings of Muscovite artists of the end of the 19th century. Here the viewer will come across the paintings of M. V. Nesterov, Vrubel, A. E. Arkhipov, K. A. Korovin, V. A. Serov, N. A. Tarkhov, I E. Grabar, A. N. Benois, E. E. Lanceret, K. Yuen, B. M. Kustodiev, Z. E. Serebryakov, N. K. Rerikh, M. V. Dobruzhinsky, A. P. Ostroumova-Lebedeva, P. V. Kuznetsov, M.S. Sarian, K. S. Petrov-Vodkin, R. R. Falk, A. G. Tyshler, I. I. Mash-kov, A.' V. Lentulov, N. A. Udaltsov, D. P. Shternberg, N. I. Altman, A. N. Volkov and many other masters of the bhush.

    Most of those artists stood at the fountainhead of Soviet painting for the succeeding generations to draw upon their work..

    This singular museum is highly instructive and together with the national art gallery of Armenia rates Yerevan among the cities where Russian fine art is represented by noteworthy pieces of its artists.


    The zoological garden of Yerevan was established in 1940 in compliance with a decision of the Presidium of the Supreme Soviet of the Armenian SSR. The garden nestles in a picturesque gorge and takes up an area of about thirty-five hectares.

    At present the garden counts about 1500 different animals and 260 species.

    The breeding of aquarium fish was started in 1971 and currently the aquariums contain 800 fish of 40 different species.

    The reptiles of the zoological garden of Yerevan comprise the tortoise, the crocodile, the lizard and the snake. The feathered world is quite rich in the garden: African ostriches, cassowaries, emus, nandus, loons, pink pelicans, white storks, flamingoes, swans, owls, birds of prey, parrots and many more.

    The mammals in the zoo are of a wide variety: lions, tigers, and white, brown and Himalayan bears, jaguars, leopards, black panthers, pumas, cheetahs, hyenas, trots.

    The visitors evince keen interest in such animals as the tapir, the kangaroo, the zebra, the pony, the hippopotamus, the elephant, the llama, the reindeer, the zebu, the bison and the yak.

    The little visitors enjoy the monkeys for hours.

    The zoo garden also displays the specimens of the Armenian flora: the Transcaticasian wolves, the fox, the bear, the wild boar, the hyena, the marten, the poisonous snakes, and the birds of prey.

    The zoological garden of Yerevan is, in addition, an educational-research centre. Fervent activities are developed here aimed at popularizing biological data and at raising and preserving rare species of animals; again, thematic exhibitions are set out and excursions are arranged.

    The zoo is a favorite haunt of the inhabitants of the capital. In addition to the official state-run museums there is a large number of departmental museums and shows, such as the zoological museum of the Armenian academy of sciences, the museum of minerals of the geological board under the Council of Ministers of the republic, the exhibition of achievements in the national economy of Armenia, the exposition of the artists' house, to mention but a few.

    The following archaeological hoards figure now as peculiar museums: Karmir Blour (Teyshebaini), Arin-berd (Erebouny). The guests of the capital also visit the house where Stepan Shahumian was born in 1906, the Statue of Victory, the obelisk in token of the semi-centennial of Sovet Armenia, the Tomb of the Unknown Soldier, etc.

    Yerevan excels also in its majestic buildings, broad avenues, bridges, new residential quarters, green belts and water complexes.

    To crown it all, there are large numbers of interesting ar-chaeologioal and architectural monuments within the city limits.


    Memorial Museum of the History of Armenia Lenin Square. Open daily from 10 : 30 a.m. to 4 : 00 p.m. except Sunday Subway: Station "Lenin Square" Trolleybuses: 3, 8 Buses: 1, 4, 6, 14 Telephones: 58-28-73, 58-27-61, 52-06-91, 58-27-62

    Matenadaran (Mesrop Mashtots Research Institute of Old Manuscripts) 11,

    Lenin Avenue

    Open daily from 10 :00 a.m. to 5 : 00 p.m. except Sunday and Monday Trams: 2, 3, 4, 10 56-26-01

    Armenian State Museum of Revolution Lenin Square Open daily from 10 : 30 a.m. to 4 : 30 p. m. except Monday Subway: Station "Lenin Square" Trolleybuses: 3, S Buses: 1, 4, 6, 14 Telephones: 56-06-61, 52-14-57, 56-08-70

    Yeghishe Charenfs State Museum of Literature and Arts 1,

    Spandarian  Sfc Open daily from 10 : 30 a.m. to 4 : 30 p.m. except Monday Telephones: 58-16-63,    56-57-21

    The same opening hours hold for the branch of the museum: Dercnik Demirchian Memorial-House 29, Abovian St., apt. 4 Subway: Station "Yeritassardakan" Trolleybuses: 3, 8 Buses: 1, 4, 6, 14 Telephone: 52-77 -74

    National Art Gallery of Armenia (Museum of fine arts) 2, Abovian St. Open daily from 10 : 30 a.m. to 4 : 00 p.m. except Monday Subway: Station "Lenin Square" Trolleybuses: 3, 8 Buses: 1,4, 6, 14 Telephones' 56.18-12, 58-19-63, 58-27-03

    The same opening hours hold for the branch of the gallery: Hakop Kojoyan and Ara Sarkissian Memorial-House 62/7, Pushkin St. Trolleybuses: 1, 4, 8, 9, 13 Telephone: 56-41-22

    History Museum of Yerevan 12, Lenin Avenue Open daily from 10 : 00 a.m. to 5 : 00 p.m. except Tuesday Trolleybuses: 1, 4, 5, 6, 7, 9, 13 Buses: 4, 17, 24, 25, 32; 46, 51, 52 Telephones: 53-66-52, 52-57-61

    Museum of Modern Art (branch of the History Museum of Yerevan) 7, Lenin Avenue Open daily from 10 : 30 a.m. to 5 : 00 p.m. except Monday Trolleybuses: 1, 4, 5, 6, 7, 9, 13 Buses: 4, 17, 24, 25, 32, 46, 51, 52 ' Telephones: 53-30-23, 53-30-83

    Erebouny"—The Museum of the Foundation of Yerevan 38, Erebouny St. Open daily from 10 : 00 a.m. to 4 : 00 p.m. except Monday-Trams: 7, 8 Trolleybuses: 2, 4, Buses: 15, 42, 54 Telephones: 45-97-11, 45-97-12

    Museum "Soviet Armenia in the Years of the Great Patriotic War of 1941—1945" 2, Azatoutian Avenue Open daily from 10 : 00 a.m. to 5 : 00 p.m. except Monday Buses: 2, 4, 6, 14 Telephones: 24-58-11, 24-55-62

    Komsomol History Museum of Armenia

    1, Komeritakan St. Open daily from 10 : 00 a.m. to 4 : 00 p.m. 

    except Monday Buses: 6, 17, 29, 4, 24 Telephone: 53-00-21

    National Museum of Armenia's Nature 12, Lenin Avenue Open daily from 10 : 00 a.m. to 5 : 00 p.m. except Tuesday Trolleybuses: 1,4, 5, 6, 7, 9, 13 Buses: 4, 17, 24, 25, 32, 46, 51, 52 Telephones: 53-61-21, 53-26-72

    Khachatour Abovian Memorial-House Kanaker, 8, Myasnikian St. Open daily from 10 : 00 a.m. to 4 : 30 p.m. except Monday Buses: 2, 114 Telephone: 23-05-62

    Hovhannes Toumanian Memorial-House 40, Moskovian St. Open daily from 10 : 30 a.m. to 5 : 00 p.m. except Monday Trolleybuses: 1, 4, 5, S, 9, 13 Telephone: 58-12-71

    Avetik Issahakian Memorial-House 20, Plekhanov St. Open daily from 10 : 00 a.m. to 5 : 00 p.m. except Monday Trolleybuses: 8, 9, 13 Buses: I, 17, 24, 45, 46, 52, 58 Telephone: 26- 24-24

    Yeghishe Charents Memorial-House 17, Lenin Avenue, apt. 12 Open daily from 10 : 30 a.m. to 5 : 00 p.m. except Monday Trolleybuses: 1, 4, 6, 7, 9, 13 Buses: 1, 17, 24, 25, 46, 52 Telephones: 53-55-94, 53-14-12

    Alexander Spendiarian Memorial-House 21, Nalbandian St. Open daily from iO : 00 a.m. to 5 : 00 p.m. except Monday Trolleybuses: 3, 5, 8 * Buses: 4, 6, 14 Telephone: 58-07-83

    Martiros Sarian Memorial-House 3, M. Sarian St. Open daily from 10 : 30 a.m. to 4 : 30 p.m. except Thursday Trolleybuses: 4, 8, 9, 13 Telephone: 58-17-62

    Prof, O. T. Karapetian Geological Museum 12, Pushkin Si, (10, Abovian St.) Open daily from 10 : 00 a.m. to 4 : 30 p.m. except Saturday and Sunday Subway Station: "Lenin Square" Trolleybuses: 3, 8 Buses: 4, 6, 14 Telephones: 58-06-63, 58-40-63

    National Museum of Armenia's Folk Art 64, Abovian St. Open daily from 10 : OOa.rn. to 4 : 00 p.m. except Monday Trolleybuses: 1, 4, 11, 12 Buses: 2, 4, 6, 14, 24 Telephones: 58-05-02, 56-17-72

    Children's Art Gallery 13, Abovian St. Open daily from 10 : 30 a.m. to 5 : 00 p.m. except "Monday Trolleybuses: 3, 8 Buses: 4, 6, Telephones: 52-78-93, 52-09-03, 52-09-52

    Museum of "Collection of .the Paintings of Professor Aram Abrahamian 37, Issahakian St. Open daily from 10 : 30 a.m. to 5 : 00 p.m. except Monday Trolleybuses: 8, 3, 7 Trams: 2, 3, 4, 10 Telephones: 56-52-56, 56-07-52

    Zoological Garden 20, Myasnikian Avenue Open daily from May 1 to November15 8 : 00 p'm' Trolleybuses: 11, 12, 17 Buses: 10, 26, 49, 51, 59 Telephones: 56-23-62, 56-01-92


    Introduction 3 National Museum of the History of Armenia 4 Matenadaran 7 Armenian State Museum of Revolution 9 Yeghishe Charents State Museum of Literature and Art 11 Derenik Demirchian Memorial-House (branch of the Yeghislii Chnrents Staie Museum of Literature and Art) 13 National Art Gallery of Armenia 15 Hakop Kojoyan and Ara- Sarkissian Memorial-House (branch of the National Art Gallery of Armenia) 17 History Museum of Yerevan 19 Museum of Modern Art 22 "Erebouny"— the Museum of the Foundation of Yerevan 23 Museum "Soviet Armenia in the Years of the Great Patriotic War of 1941 — 1945 24 Komsomol History Museum of Armenia 26 National Museum of Armenia's Nature 27 Khachatour Abovian Memorial-House 28 Hovhannes Toumanian Memorial-House 30 Avetik Issahakian Memorial-House 31 Yeghishe Charenis Memorial-House 33 Alexander Spendiarian Memorial-House 34 Martiros Sarian Memorial-House 35 Prof. 0, T. Karapelian Geological Museum 37 National Museum of Armenia's Folk Art 37 Children's Art Gallery 38 Museum of "Collection of the Paintings of Professor Aram Abrahamian” 39 Zoological Garden 40 Information 42