Armenian church in Botoșani, dedicated to the “Assumption of the Virgin”

Built in 1350, Virgin Mary Armenian church in Botoșani, dedicated to the Assumption of the
Virgin Mary, is the oldest Armenian place of worship in Romania but also in Europe.
Virgin Mary church was rebuilt on the foundations of an old Armenian church built by the
community even before 1350. In time, it suffered many changes: in 1526 it was restored (according to
the inscription placed at the entry), in 1551 it was rebuilt after a partial demolition by prince Ștefăniță
Rareș, in 1775 the porch was added, which subsequently became the narthex of the church, in 1776 the
bell tower was added, in 1783 an exonarthex was added, and in 1836 a complete restoration was made.
The Catholicos Aristakes (1454 – 1460) also makes a nominal mention of the city of Botoșani
and implicitly of the Virgin Mary church in his encyclical, addressed to those from Lvov. Another
record on this church appears in a Gospel from the 14th or 15th century, kept by the Mekhitarists in
Vienna, bought in 1666 and offered to Virgin Mary church in Botoșani. Several years later, in 1669,
Luigi Maria Pidou reminds of a church in Botoșani. Inside the church no old inscriptions were
preserved. The oldest ones are from 1826, if we do not take into consideration the bell dated 1797.
During the renovation, the following inscription was placed on the frontispiece of the south door:
“Virgin Mary church, which was built approximately 300 years ago is now renewed with the power of
God, keeping (however) the old walls (and adding) with a tower and a bell tower, at the expense of the
parishioners in Botoșani, with the diligence of sir Stefan Goilav, on June 22nd, 1836”. Another
inscription from the same date, placed at the left entry in the church mentions: “Virgin Mary church
was repaired with great care of the Armenians from Botoșani, of reeves Hovhannes, Garabet Bolfos,
Stepan Bolfosian and Anton Bolfosian. The sculpture was realized by Mr. Buiclian and Mr.
Ghevorkian Harutiun. 1836.”
Near the church a confessional school was established, mentioned in a latter report, on June
28 , 1865 by Simeon Popovici. Within Virgin Mary church “scribes” or manuscript copyists carried
th

out their activity, realizing beautifully coloured miniatures. The church sheltered beautiful altar
curtains, crafted by Armenian masters from Tokat and Constantinople in 12th – 18th centuries by a wax
printing technique. At Virgin Mary church, a charitable and cultural institution named “Brastava” also
activated, within which the youth was leading all the activities. In accordance with the customs of
those times, in the surroundings of the church the first cemetery existed, which contained marble
tombstones, artistically crafted with inscriptions that were special by their content.
Until the beginning of the 90’s, the place of worship was in an advanced stage of degradation.
For the rehabilitation of this historical monument a period of almost 20 years was needed. Until now,
the consolidation, restoration and rehabilitation works were totally completed. The archaeological
research works, the interior and exterior finishes still have to be done.
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 This place of worship has had from the beginning its own books of prayers. “The Gospel in
Armenian language”, copied at Caffa in 1354, remains the first book preserved until nowadays. Until
1950, this book was kept in the altar of the church, being the first book known and kept in Botoșani. In
1928 the historian Nicolae Iorga studied it. Almost 600 years after it was copied by the calligraphist
Grigore Suchisian, the historian H. Dj. Siruni wrote the following about this Gospel in 1941:
“Fortunately, the country that sheltered this literary monument was Moldavia, in the Armenian church
in Botoșani”. The Armenian parish in Botoșani still has scores of old books from the 18th-19th century,
all of them in Armenian, and important religious objects from the 18th century, brought from
Constantinople, Jerusalem, Crimea, Poland, Italy, China or from other places where Armenian
merchants had commercial relations: two century-old oil on canvas icons; objects made of silver, gold
and precious stones; unique clothes and covers with silver and gold thread – such as the painted flag
from Botoșani, dated in the 18th century.

Armenian church in Botoșani, dedicated to the “Annunciation of Mary”

The Annunciation Armenian church in Botoșani was built in 1884 at “Eternitatea” Armenian
cemetery, initially having the destination of chapel. It was built by Ana Toros to the memory of her
husband, Avedik von Pruncul.
Today it has the destination of church, where religious services are held periodically. The
church is a building included in the national heritage and it comprises the graves of the founders
Avedik and Maria von Pruncul and special icons and cult objects.

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 Armenian church in Botoșani, dedicated to “Holy Trinity”

The Holy Trinity Armenian church was consecrated in 1797, being built on the foundations of
another Armenian wooden church dated 1560, dedicated to “St. Auxentius”, which initially functioned
as a monastery. Grigore Goilav has found a record of the latter in a document from 1710, therefore
deducing that the Holy Trinity church was built in its place. We also find the name “St. Oxend” in
1647 in a book about the ordination by Bishop Anton Serebkoient, when he ordained Lusik, son of Ter
Hovhannes, as cleric and, at the same time, he spoke about Easter at “« St. Oxend » church”.
The Holy Trinity church is located only several tens of meters from the Saint Mary Armenian
church, which proves the size and importance of the Armenian local colony.
On the frontispiece of the left door of the church the following inscription is written: “The
holy cruciform church was established in the city of Botosani being dedicated to the « Holy Trinity »,
by Oxend, son of Anton Kheulian, in the times of S.S. Ghaucas, Catholicos of all Armenians, with the
efforts and under the surveillance of Ter Melkon Dresu from Roman, the holy church being dedicated
to the memory of the seven ancestors. September 1st, 1795.”
At the restoration of 1832 the exonarthex was extended and a sacristy was added. The
historian Nicolae Iorga described the two Armenian places of worship in Botoșani, St. Mary church
and Holy Trinity church, as “two great monuments, beautiful and powerful stone buildings”. The entry
is through a porch with arch, with pillars, where a spiral staircase also exists that provides access to the
steeple. The entry into the narthex is made through a semicircle arch. One the both sides of the nave
there are two small altars. The entry into them is made through doors with arches in the wall. The
church bell tower build by A. Taft in 1816 was the highest observation tower of the city of Botoșani.
This is also an architectural monument of national heritage.
In the yard there is a cemetery with many funerary monuments of great historical and artistic
value, with inscriptions in Armenian language, many of them brought from Constantinople.
Nowadays, the Holy Trinity church is in conservation because of the collapse of the dome in
1991.

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 Armenian church in Iași, dedicated to “Virgin Mary”

One of the most powerful Armenian communities in the country has emerged in Iași.
Historical evidence shows an Armenian religious activity in Moldavia only in the second part of the
14th century. “St. Virgin Mary” Armenian church was built in 1395, on the place of “St. Sava” church
about which the historian N. Bogdan said that „firstly it was an Armenian temple and afterwards,
when the people from Iași noticed that the Armenian merchants stood out too much on the main street
of the city, which in the 15th century was The Old Bridge (nowadays Costache Negri street), because
they has overtaken almost the entire central trade of Iasi, they took their church and gave them a place
behind it to build another church if they wanted so”. It is said that in compensation the orthodox gave
to the Armenians a land behind the church where they could build another place of worship. This
“exchange” with financial compensations is also confirmed by prince Nicolae Șuțu in Notions
statistiques. Armenian archimandrite Zareh Baronian supposed that this could have happened during
the short rule of prince Ștefan Rareș (1551-1552), when there was a persecution of Armenians.
However, the documents certify that “St. Sava” church was built in 1583 by Greek monks who came
from “St. Sava” Monastery from Jerusalem, on the land offered by prince Petru Șchiopul (1574-1577,
1578-1579, 1583-1591). The donation deed specifies that on that land no older church (orthodox or
Armenian) existed, but several houses built by the prince. Nowadays, in a niche in the transept of the
church there is a stone panel with the following inscription in Armenian: “By the grace of God the
foundation of Holy Mother of God church was laid with the efforts of father Iacob, Hagi Marcar and
Grigor. 1395.” This panel is mobile, being kept in an alcove inside the church but it seems that it has
been fixedly placed in the church’s wall. It is said that the stone panel was removed from the church’s
wall during the repair from 1803 when a panel with a new inscription was placed above the south side
entrance. Despite the existing controversies regarding the date of this edifice the historians do not
exclude the possibility that this church was built in 1395, because there are strong arguments that
support it.
According to the inscriptions in this church, its founders are the reeve Hacik, the priest Hagop
(Iacob) from Sis (nowadays the city of Kozan in south-west of Turkey), Hagi Markar from Djugha
(nowadays the city of Djulfa from the Nahicevan region in Azerbaijan) and Hagi Krikor (Grigorie).
Over the years the church was repaired several times following the earthquakes or the
destructions caused by Tartars, perhaps even rebuilt in certain periods. Because of frequent
reconstructions, the edifice has lost its own specific Armenian style. Its existence is documented by
various travel notes of foreign travellers in the Romanian Principalities. A foreign catholic priest
which travelled in Moldavia around 1583-1586 visited an Armenian church in Iasi dedicated to St.

4
Mary. The church suffered some repairs in 1782, as shown on a stone with an Armenian inscription in
the western side porch.
It is supposed that the “St. Mary” church remained abandoned for a while after the
construction of the second Armenian church, reaching a pretty bad condition at the end of the 18th
century which required radical repairs in 1803. Therefore, it was rebuilt from ground in 1803 with the
diligence and at the expense of the entire community. On this occasion an inscription in Armenian
language was placed in the wall, above the door of the south side entrance. At the request of Bishop
Melchisedec Ștefănescu, Professor Sămărcaș translated this inscription as it follows: “By the grace
and mercy of God, the Holy Mother of God church in Iași was founded by the reeve Haceico and the
father Iacob from Sis, Hagi Macarie from Ciuha and Hagi Grigorie. Armenian year 844 and
Saviour’s year 1395. And now it was repaired by notable pious persons with the diligence and at the
expense of the entire people in 1252 and Saviour’s year 1803”. On another panel incorporated in the
wall of the western side porch is the following inscription: “This holy church was repaired with great
effort by [...] Hagi (Mahtesi) Hovhannes. In 1803.”
“St. Mary” church remained the only Armenian place of worship in Iași after the burning of
“St. Gregory the Illuminator” church in the fire of July 19th, 1827 and its rebuilding could never again
be made.
In August 1929 the church was consolidated and completely renovated by the diligence of
reeves Mihai G. Manea, Ion Sava, captain Cristea Manea and administrator Arsag Măgărdician. The
bombings during the Second World War damaged the church. Some repair works were made in 1946.
The earthquake of March 4th, 1977 severely deteriorated this edifice, especially its two towers with the
risk that they could collapse. To save the church from collapse a temporary solution was adopted,
connecting the two towers by a system that lasted for more than 25 years. Over time, the degradation
of the church accentuated. “St. Mary” church was reconditioned in 2008 by the efforts of reeve Zareh
Nazaryan. At first the title deed of the land was obtained and an extensive work of inventorying the
church’s heritage was carried out, subsequently the church was restored.
The main entrance on the south side is monumental, being framed by four columns with
carved capitals and the two thin stone towers give elegance and slenderness to the whole edifice. At
the interior one can remark the amplitude of the domes, propped on oblique arches which consolidate
the impression of monumentality of the edifice, the balcony (cafas) sustained by four columns, the
iconostasis with two royal doors and two lateral altars crafted in wood with floral inlays and motifs.
Just like the other Armenian churches, the altar of the Armenian church in Iași is also located at a
height of three quarters of a meter from the rest of the nave, the access being made by going up three
steps. It is separated from the nave by a simple curtain hanging from a transversal beam. The
iconostasis does not separate the altar from the nave as it does in orthodox churches, instead it is
placed above the chancel table. At the bottom of the main altar there is a beautiful floral motif carved
in white marble dating from 1817.
For a long while the patrimony of the church included a Gospel written on paper in 1351 at
Caffa (Crimea) by the priest Garabet, the person who received being the deacon Gregory and the last
persons who received being Agopsha and Ariudz. At the beginning of the 20th century, besides this
Gospel the Armenian church in Iași had also other old books such as: Lives of the Saints (Aismavurc),
printed at Constantinople in 1606; an Armenian Gospel from 1841; a comment on the lives of the
saints in manuscript.
Like other churches from Iași a parochial cemetery existed around the Armenian church until
the ‘70s of the 19th century.

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 Armenian church in Suceava, dedicated to the “Holy Cross”

The Holy Cross Armenian church in Suceava was built in 1521, during the rule of Ștefăniță
Vodă (1517-1527) by Cristea Hanco (Hancic Hăncoian). On the place on which the church was
constructed an older wooden Armenian church existed before, which is specified in the book Carte a
prînzatei, written in 1504 – 1506 in Suceava. Although the date of foundation of the first Armenian
place of worship in Suceava it is not known, an epitaph on a funeral stone from the Holy Cross church,
dating from April 14th, 1428 (the oldest of this type in Romania) proves the existence of another
church from where this slab should have originated. The gravestone has the following inscription:
“This is the tomb of Edilbei, son of Soghomon who died in 877, the 14 of April”.
Inside the church, on the south wall of the nave a stone that was incorporated in the wall much
later, having an inscription written with Armenian letters where one can distinguish the year 1521. The
bell tower was added afterwards, in 1619. In 1776 a chapel dedicated to “St. John the Baptist” was
added, being donated by Mariam and Hovhannes Capri.
The Holy Cross church was reconditioned several times (a restoration being made in 1878).
This gives it the appearance of a building from the 18th century. Although intended for the Armenian
cult, it has many architectural elements in common with the Moldavian churches.
In the courtyard of the church a building was built in 1824, where an Armenian primary school
functioned.
At the beginning of the 20th century an urban railway was passing at only several meters from
the Holy Cross church’s walls. In the summer of 1918 vibrations caused the collapse of the tower
above the nave. After the First World War, this urban railway was not used anymore being
decommissioned. Only in 1935 restoration works were made for the nave and altar of the church. The
nave dome was reconstructed. The tower above the nave could no longer be reconstructed. Inside,
under the newer layer of plaster, remains of the old painting were found on the north wall of the
church.
The church is built from stone to a level of 3 – 4 meters from the foundation and from bricks
after that height. The church’s nave is arched and extended towards west through a special arched
space and the narthex is divided into two. There are two entrances into the nave: one through the
narthex and the second one on the south side uncentered on the transversal side of the nave. On the
south side, towards east, a chapel dedicated to “St. John the Baptist” is annexed to the main body of
the church, a rectangular building with circular apsis at east and with tower. In front of the church a
bell tower is located, modest in height and sustained by two counterforts about which there is no
precise information regarding the construction date. It also suffered restoration works, a gravestone

6
being placed into one of the walls on this occasion. The interior of the church is not painted, having
Armenian icons on the walls.
At the beginning of the 20th century, in church’s loft an old broken bell existed, brought by
Armenians during their immigration from Armenia in Moldavia. Inside the church, the gravestone
belonging to Deacon Asvadur, son of Cailcea dating from 1552 (year 971 of the Armenian era) is
preserved. He has been buried at church’s foundation where two other older tombs were found. His
gravestone was discovered together with two other funerary stones and three human skeletons during
the diggings made at the north side of the Romanian quarter Sf. Dumitru on June 11th, 1860.
Several funerary stones were moved in the churchyard in the 19th century from the former
cemetery of the Holy Trinity Armenian church. The funerary stones are old having written on them the
years 1577, 1612, 1618, 1626, 1641. In the same courtyard the buildings that once served as school,
club and asylum are found, nowadays being the vestry’s office and the museum.
In the new cemetery assigned by city hall after the interdiction of doing burials in the old one,
the baron Varteres von Pruncul built in 1902 a chapel in Armenian specific architectural style
dedicated to the Holy Resurrection and designated as the burial chamber of Pruncul family.

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 Armenian church in Suceava, dedicated to “Saint Simeon”

Saint Simeon Armenian church in Suceava, also known as the Red Tower because of the
colour of its bell tower was built in 1513 at the entry to the old cemetery by the flourishing Armenian
community. Its founder was the Armenian Donig (or Donik). In time, it suffered several
transformations. In 1551 the bell tower was built, the used material being the brick (hence the red leak
which, getting through the plaster, stained the walls’ surface and gave the name of the tower). The
tower has a 28 meter height being one of the highest medieval towers in Suceava (after the bell tower
of St. Demetrius church and of St. John the New monastery). The origin of the name of the tower can
also be attributed to a legend. It seems that at the end of the 17th century, the polish troops of the king
John III Sobieski (1674-1696) (quartered at Zamca Monastery) fought with the Turkish and
Moldavian troops united to cast out the invaders. The battles took place on the Armenian street (close
to Zamca Monastery), in front of the Armenian church. It is said that so much blood was spilt in that
battle that the bell tower’s walls turned red, hence the name of Red Tower was attributed since then.
The external stairs of the bell tower is realized by overlapping several gravestones. One can still
distinguish inscriptions written on them in old Armenian language which have not been studied yet.
In 1606 during the rule of prince Ieremia Movilă (1595-1600, 1600-1606), the church was
rebuilt by a certain Simion (Șima in Armenian), who gave the name of the church. The church is
dedicated to St. Simeon Dzerun (Simeon the Elder). At this church a gravestone dating from 1573 is
kept, which has an engraved inscription saying that “this is the grave of the priest Hovhannes, the
dean of the church, son of Donig, the founder of St. Simon church”.
Until the end on the 19th century an Armenian cemetery existed around the church, which was
subsequently moved towards Zamca Monastery.
The repairs made in 1925 partially changed the construction. Thus, initially the nave tower
was initially propped on oak pillars but the repairs did not take into account the old construction
system and the holes left after removing the pillars were build up. In 1926 a grave stone was put for
the Hadzis who rebuilt the church. St. Simeon church was used as cult church until 1969 when it was
closed because of serious fissures and the depletion of the Armenian community. The earthquakes
from 1977 and 1990 caused new damages and the walls and the altar cracked. As a result of the
additions made in time, the parts of the church were not a whole, the narthex was separated from the
nave and the altar from the nave and the tower was in danger to collapse inside as a result of the
weakening of the structural strength. For several years no measure of consolidation and restoration
was taken. Beginning with 2004, rehabilitation works are carried out in St. Simeon church, until now
the following works being executed: the consolidation of the foundation; the consolidation around the
8
church with an external strap; the demolition of the steeple and the fixation of two transversal tie rods
at its base so that it does not come loose and fall inside the church. The steeple was subsequently
rebuilt; an electrical installation and a lightning rod were installed.
St. Simeon church in Suceava has a rectangular shape, with the polygonal apsis of the altar
propped up to a certain height on a newer wall provided with small counterforts. The place of worship
has windows with accolade apertures with crossed baguette framing, decorated with dentils and a base
framed by a square with flower (characteristic decoration element for the 17th century).
The church’s interior is divided into narthex, nave and altar. The entry is made through two
doors (one on the west side of the narthex and the second one on the south side, usually unused). The
narthex has a semispherical dome and the nave has a Moldavian style arch above which the steeple
rises. At the exterior, the altar is polygonal. Archaeological research has shown that the church
initially consisted of a nave and altar and the narthex was added later on, in the 17th century. Inside,
the paving is made of old gravestones that the archaeologist Florin Hău dated “from the second half of
the 19th century”. In June 2010 the archaeological excavations made on the occasion of the
rehabilitation led to the discovery of a vaulted stash under the platform of the altar (considered unique
in an orthodox place of worship). The stash was propped on two stone arches. Inside the stash nothing
was found, being supposed that when it was closed the stash was emptied. Even if for a long period it
was supposed that the St. Simeon church has never been painted, fairly well preserved traces of mural
painting were discovered by scraping the plaster from the north walls of the nave.
In 1890, as the priest and historian Dimitrie Dan writes in “Die orientalischen Armenier in der
Bukowina” (Cernăuți, 1890) the church’s patrimony included several old objects, among which a
curtain with icons embroidered from the Holy Scripture which separated the altar from the rest of the
church and an icon of the three theologian saints painted in 1810 and having an inscription in
Romanian language.

9
 “Hagigadar” Monastery in Suceava

“Hagigadar” Monastery was built on the Hill of Bulai “on a round crest, as it was made by
human on a green mound” (as the historian Nicolae Iorga wrote), which is in the middle of a valley.
This monastery is dedicated to St. Mary and has an Armenian name: Hagigadar, meaning “wish
fulfilment”.
Hagigadar Monastery’s church was built in 1512 – 1513 during the rule of Bogdan the Blind
(1504 – 1517). There are several legends regarding the construction of this church, with slight
differences between them. According to the tradition, Drăgan Donavac once led a cattle herd to Beci
(Budapest) and made a stop on the same spot where the monastery is today. He fell asleep and in his
dream he could hear the angels singing and, believing that this was a divine sign, he vowed that at his
return he would build there a monastery, which he did. According to another source, Drăgan Donavac
promised to build the church if he completed the trade in profit. Another version of the legend says
that previously, on the height of the Bulai Hill, there was a small wooden chapel, abandoned by the
people. One night two Armenian brothers named Donavachian who were trading cattle made a stop
there. They went to the chapel and prayed a lot to be lucky in their trade. In the same night they heard
angels singing in their dreams and St. Mary appeared and told them: “I bless you to be successful in
your trade and that you families live in prosperity. If so, I require you to build a monastery dedicated
to the Assumption of Mary on this spot when you return”. The trade went very well for Donavachian
brothers and, returning from Budapest they knelt on the hill where the chapel was and thanked to the
Mother of God. A similar version of the legend is also told by other authors.
Hagigadar Monastery is an important pilgrimage place for the Armenians in Romania and
diaspora. The most important celebration is the day of the church (Assumption of Mary), always
celebrated in the Sunday before August 15th. The pilgrimage is led by the Armenian parson from
Suceava, leaders of the Armenians in Romania and sometimes even high hierarchs participating in this
event. Hagigadar monastery is known as the Monastery of Wishes. The oral tradition says that any
wish for which the believers pray that particular day will come true if they observe all the rituals.
At the beginning of the 18th century the church was damaged because of the frequent enemy
invasions. Displeased with the condition of the church and wishing it to be repaired, one of the
grandchildren of the founder Drăgan Donavac, the wealthy Armenian trader Dominic Bogdanovici
from Lviv bequeathed on March 10th, 1707 the amount of 300 polish forints. Rehabilitation works for
the church were carried out in 1863, on the occasion of the anniversary of 300 years from the
foundation of this endowment, and in 1896 by an Italian master.
Hagigadar Monastery church is built in the style of Moldavian art. In terms of architecture, it
has a rectangular shape, with the apsis of the altar oriented toward east as all the Armenian churches.
The steeple is octagonal and slender having four narrow windows disposed in the four cardinal points.
The church’s porch has a triangular cornice with two windows on each side of the door. The narthex

10
and the nave have arches made in Moldavian style. There is a narrow space between the narthex and
the nave, with a semicircular vault with double arches. The nave was extended to allow the placement
of three altars required in the Armenian religious service.
Former convent, Hagigadar Monastery was also the place of residence of Armenian bishops.
Hagigadar Monastery is surrounded by not very high enclosure walls. There are no less than six gates
for the exit from the enclosure. Inside, near the church there is a refectory, a covered well, a triptych
and a bell tower fitted between two tree trunks.
The church’s patrimony comprises many old icons, such as: the icon of St. Mary from the altar
– considered to be miraculous; an icon of the Holy Apostles Bartholomew and Jacob, with a Slavonic
inscription; icons of the four evangelists on the iconostasis; the icons of St. Archdeacon Stephen and
St. Deacon Lawrence – with Romanian inscriptions.

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 “Zamca” monastery in Suceava

Zamca monastery is a fortified medieval complex, considered the most important religious
edifice built by the Armenian community in Suceava. It was built in 1606 by the Armenians refugees
in Moldavia, settled here since the 14th century. Built on a plateau from the western side of the city, the
building has an excellent strategic positioning. The complex is enclosed by walls in irregular
quadrangle (trapezoidal) form, reinforced with internal and external counterforts without defense
towers. Archeological research, conducted here during 1954 – 1956, attested that the foundation
period of the church’s walls, western building, as well as the enclosure wall lies within the first half of
the 17th century.
In 1608, the Armenian traveler Simeon Lehatzí (‘from the country Leh’, i.e. Poland)
mentioned the complex of Zamca, which henceforth must have been completed at that time.
The spiritual center was placed under the protection of Saint Oxénd (Auxentius). During the
anti-Ottoman campaign of John III Sobieski from 1690 – 1691, the monastery was occupied by polish
and used as garrison. This misfortune changed its name once and for all (derived from ‘zamek’, with
the plural ‘zamki’, meaning stronghold).
For more than 130 years Zamca monastery remained under foreign rule. After the annexation
of Northern Moldavia by the Austrians (1775) it was taken over by Austrian state in 1809 and the
imperial government used St. Auxentius church as munition deposit. Only in 1827 the monastery was
regained by Armenians through processes.
After other archeological research in 1957 – 1965, part of the architectural ensemble was
rehabilitated, the ruined walls being rebuilt. Nowadays, the church was renovated; the belfry and the
chapel were reconditioned and covered in stone; enclosure walls were exalted and covered with sheet-
metal in order to prevent water infiltration. Religious services are held weekly, the monastery lacking
an active monastic life. Big pilgrimages are organized on St. Mary’s celebrations.
Regarding the construction of the complex, the Armenian legend mentions three brothers as its
founders (Hagop, Auxent and Grigor). They bought this land in 1606. First of all they built St. Jacob
chapel, placed on the western side, second the church dedicated to St. Auxentius and third the chapel
dedicated to St. Gregory the Illuminator from the bell tower. Therefore, the architectural ensemble
comprises three buildings (the main church, St. Auxentius; the 26 meters high bell tower, on the
eastern side; the chapel, situated at the first floor on the west side, where is the entrance to the
monastery).
St. Auxentius church was built in stone after a rectangular plan, being divided in narthex, nave
and altar. The edifice has no lateral apsides; instead it has two counterforts on both sides. At the
exterior, the church has a simple architectural style. A pair of octagonal counterforts supports the walls
of the nave on both sides. The decoration combines elements of gothic and classical tradition with new
motifs of oriental influence (rosettes). Exterior architecture, of great simplicity, is typical for the
period of transition from fully painted buildings to a new, yet undefined style. Enclosure wall form a
12
lengthened trapezoid with sides supported here and there by counterforts. Parallel sides reach the
height of 59 meters respectively 66 meters and the two other 70 meters and 74 meters. Wall thickness
is of one meter and the height reaches in some places 4 meters. The place of worship has two
entrances: one on the western side of the narthex (as it is also at orthodox churches) and the second
one on the northern side of the nave. The squared narthex is vaulted with a globe calotte supported on
four arches. Inside the narthex the partition wall has two windows on both sides of the door. The nave
vaulting is typically for Moldavian style. On the right wall of the nave there are still preserved traces
of the original painting. One can observe the presence of three altars, according to the topography of
the Armenian churches, with a central altar in the central apsis and two secondary altars disposed in
side niches equipped with stone slabs. The iconostasis was replaced with a simple curtain hanging
from a transversal beam. In the middle of the nave is the tombstone of Agopsha (from Hagóp – James)
Vartan on which is written the following inscription: „This is the funeral memorial of Agopsha, son of
Amir [the prince], he is the founder of this holy church, he died in 1051, according to the Armenian
era [1602 AD]”.
The bell tower is a building with square base side situated on the eastern side of the enclosure
wall. It is equipped with entrance gangway, displaying similar volumetrics with contemporary
counterparts (such as the belfry in Dragomirna monastery) but a much more lavish decoration. On the
keystone of the eastern arcade of the bell tower entrance is mentioned the construction year: 1606. The
tower has 26 meters height and initially had a vaulted entrance which was subsequently closed.
It seems that the building on the western side of the enclosure wall had been used as bishopric
residence for the Armenian Diocese of Suceava. The rectangular shape edifice has at the ground floor
a vaulted alleyway through were the access in the monastery is made, having two rooms (one both
sides of the entrance) which served as cells. At the first floor was the St. Mary chapel (on the north
side) and two cells. The second floor of the southern wing was added later, being proved by the fact
that the exterior decoration and especially the wire-drawn flange on the chapel frame continues on the
more recent building with another type of decoration.
St. Mary chapel includes a nave and an altar constructed in a Moldavian style. The entire
building, but particularly the chapel, was decorated with various ornamental elements having as
central motif a large groove interrupted by circular scratches, on their groundwork being placed small
embossed rosettes. Above the chapel is a small octagonal steeple with four windows with framings in
the arcades from the four cardinal points. Under the eaves the chapel is surrounded by a flange of
indented bricks.
Since 1994 consolidation work was made in order to strengthen the entire complex. In 2004,
the church has been consecrated anew, entering the cult as parish church; the pilgrimage which the
dedication day of Hadjgadar brings about each year equally reaches this landmark of the local
Armenian spirituality. Unfortunately, a residential complex erected nearby threatens the preservation
and appropriate valorization of such crucial component of the national cultural heritage.

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 Armenian church in Constanța, dedicated to “St. Mary”

Nowadays, the Armenian church in Constanța operates in a building constructed in 1880 that
has functioned as school for the Armenian community’s children. The old wooden construction was
destroyed by fire.
Initially, Armenians had a church in the old cemetery until 1760 when it was disbanded. In
1879 was laid the foundation of a new church dedicated to Saint Mary and consecrated in 1880 by
Nazaret Torosian but which burned down in 1940. Since then, the Armenians in Constanța use as
place of worship the former Armenian school building, arranged in a proper manner. The first floor is
set up as a prayer hall and at the ground floor are the offices and the parish hall. Due to the lack of
students the school was closed in 1948 and the church took over the entire building.
Given the fact that the Armenian church in Constanța was settled in a former school, its
architecture is different from the one of traditional places of worship. The typical Armenian belfry was
added to the rectangular basilica in 1990 according to the project of the architect Dan Rusovan. Inside
the church the walls are not painted, but covered with large icons. The place of worship was renovated
between 1990 – 1991 and 1998 – 2002, when improvements were made to the interior, roof and
exterior daub. Inside the church the architectonical changes led to the execution of large arcades and
an open altar lacking an iconostasis.

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 Armenian church in Brăila, dedicated to “St. Mary”

At the end of 1828, the first Armenian church was built of planks colored in green, like the
Armenian suburb. In 1843 the church burned down and after that it was demolished and the terrain
became barrens. On May 1st, 1868 the foundation of the new church was set, being finished three years
later, on July 4. It was built at the initiative of the Armenian Artin Ceangi and with the support of the
Armenian community, on a land donated by Maria and Hagi Ovanez Bosnechian, being situated in the
city center.
The church suffered many restorations; the most important was made on April 9th, 1934 by the
industrialist Grigore Bervizeanu from Galați, which renovated both the interior and the exterior of the
edifice. He also built a parochial house that still exists, on the place of the old half-timber building
from the churchyard.
Unfortunately, at the earthquake from 1940 the church partially collapsed and was never
entirely rebuilt. It is built out of brickwork on stone foundation and has a central type plan with dome,
after traditional Armenian religious architecture. At the exterior, the planimetrical structure is reflected
by facades composition which is sober and unitary in center having a large round arch through which
are marked the arms of the cross. Western façade, whose cornice inspired from baroque style, has an
attic in the axis with role of steeple. The shape of the belfry had an essential role in defining the
appearance of the church adding to the massive volume of the building an elegant touch.

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 Armenian church in Tulcea, dedicated to “St. Gregory the Illuminator”

Around the year 1830 the Armenians in town, but also those transiting Tulcea, clubbed
together and built their own place of worship on Concordia Street. First, they built a small chapel and
on April 12th, 1882 it was demolished so that a few days later, on April 20th, the foundation of a bigger
church to be set. The church was dedicated to “St. Gregory the Illuminator”. The terrain where the
church was built was donated by Garabetian family. The construction work lasted three years and was
started under the coordination of the Armenian community leaders Hampartum Garabetian, Simon
Meldovian and Mihran Caragcian. The church was consecrated during father Vartan Balian period.
Inside the church has ship shape and outside, cross shape.
The place of worship was pastored by Armenian priests until 1937. As time went on the
Armenian community in Tulcea became smaller and smaller so that around 1910 there were few
Armenians left who could upkeep the church properly. Therefore, it was abandoned and shabby until
1977 when, after a big earthquake, the church passed under the authority of the Archdiocese of Tomis
and Lower Danube Galați.
Not only time left its mark over this church, but also two wars, being bombed during World
War II so it was almost ruined and its archive destroyed or lost. After it came under Romanian
authority the church was rebuilt and painted, the exterior architecture suffered some changes, so the
only things that today remind us of the old Armenian parishioners are the name of the church (the
name of Armenian church was kept) and the plaques from the churchyard, written in old Armenian
language. The wall painting was executed by painter Adrian Botea.
In the churchyard there are five graves which are assumed to be of some Armenian priests.
The tombstones have ancient Armenian inscriptions on marble plaque, undeciphered yet. On the
plaques are written the years 1848, 1858, 1860, 1862. On the socle of the sixth tomb are mentioned the
years 1850 and 1876. On the plaque of the seventh tomb seems to be written the year 1866.

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 Armenian church in Pitești, dedicated to “St. John the Baptist”

Built in 1852, the church is dedicated to Saint Garabet (St. John the Baptist) and in 1954 was
declared architectural monument. It was built in the Armenian architectural style by the Armenian
community, once much larger than today. The donators are listed on a marble plaque, placed at the
entry: Pavel Chihaia, Garabet Aslan, Iordache Chihaia, Gheorghe Garabet, Ovanez Dânda.
Church history shows that in 1852, Alexandru Ghica, prince of Wallachia, ordered to be
placed the first foundation stone in his name: “In that day, even the non-Armenian inhabitants from
Pitești joined this great Armenian celebration. The church proves the antiquity of the Armenian
element in this region, the civilization degree, the big number of Armenian population, the Christian
spiritual level and also the traditional hospitality expression towards the cohabitant nationality of the
Romanian people”.
A hidden treasure of this church is the icon of the Head of St. John the Baptist, from 1836, a
true work of art.

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 Armenian church in Focșani, dedicated to “Virgin Mary”

“Virgin Mary” church was built in the Moldavian side of the city, but the precise date of its
firs construction remains unknown. The only inscription that was preserved in the church says the
following: “This church was built for the glory of God, on the expenses of the pious and God-loving
Armenian people in Focșani, dedicated to the «Assumption of the Holy Mother of God», to which we,
pious people, swear to worship, with our hearts full of godliness and unanimous love. In 1780.
This funeral monument is in the memory of Hadji Abraham Ferhadian in 1859”.
This place of prayer was built by local founders who wanted to remain anonymous. Armenian
landowners cared for the church, hence the name “Ovidenia”.
Probably in 1780 was made one of its reconstructions, because in the churchyard exists a
tombstone dated 1778. A famous curtain, now preserved in Erevan Museum, was given to the church
in 1757, as an inscription says: “The door from «St. Mary» church, from 1757, is in the memory of
Hadji Iliaș, son of Aburel Asatur”.
In the churchyard are old tombstones and funeral monuments with epigraphs referring to
reputed Armenian families. Cemetery chapel, dedicated to the Resurrection, was built in 1891 by the
sons-in-law of Herutiun and Garabet Popovici brothers, who ordered it by will.

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 Armenian church in Focșani, dedicated to “Saint George”

“Saint George” church was built of stone and brick, in the former side of Wallachia and it is,
probably, prior to “Saint Mary” church. It is not known the precise date when it was built. According
to the local legend, it must have been founded in the 18th century (1710 – 1715), by a Hadji named
Ghevorg, originary from Turkey, which came through Bulgaria and settled in Focșani. In the charter
issued by prince Mihai Racoviță of Wallachia (February 16th, 1743), allowing the construction of an
Armenian church in Bucharest, it is precisely mentioned that, before that date, Focșani already had its
Armenian church, probably in the Wallachian region.
Since 1789 the church was built on the expenses of Gheorghe Hagiu, whose descendants
moved in Bucovina.
After decades in ruin and abandon, “Saint George” church was rehabilitated. The reception of
the church was made in 2009 when consolidation and restauration work was completed. Through a
protocol signed with the local Archdiocese, the Armenian Church was entrusted to the Orthodox
Church, on condition that the Armenians could officiate Armenian religious service whenever they
would like.

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 Armenian church in Târgu-Ocna, dedicated to “Assumption of Mary”

The Armenian church in Târgu-Ocna is dedicated to the “Assumption of Mary” and was built
for the first time in 1683 (according to other sources in 1662) and subsequently rebuilt and enlarged in
1860, as it arises from the inscription in Greek language placed above the entry door into the narthex:
“This church, former «Virgin Mary» monastery, built by the landowner Gheorghe Ursache in 1683
and dedicated by will to the holy monastery of «Iviron» from Mount Athos, being damaged and ready
to collapse, was rebuilt and enlarged with the help of God and on the expenses and under the
surveillance of the venerable archimandrite and abbot Damaschin Iviritul, in 1860 (for 202 years it
was a monastery).” In 1808, the Armenian clergyman Minas Băjăşkian mentioned a wooden
Armenian church. A statistics of the Armenians in Târgu-Ocna, from 1809, recorded one wooden
church, where a priest and a parish clerk were serving.
In 1885 the church became a parish with priests. In 1928 – 1929 the church was painted in oil
and in 1968 in fresco by the painter Dimitrie Hornung. In 1987 – 1989, through the diligence of the
Parochial Council members, parishioners and other believers, the painting was reconditioned and
repainted.
The present-day church was rebuilt in 1859 – 1860 in bricks and ashlar. It was rehabilitated in
1914, 1934, 1968 and 1982. Inside, the church is built in shape of clubs and outside in shape of Greek
cross, with arches and consoles that support the main steeple. It has a very well-proportioned
architecture and an imposing iconostasis painted by D. Petrescu. The design is similar to that of other
Armenian churches in Moldavia, but has some annexes (baptizes rooms, the porch) much smaller in
size. The steeple of the nave is octagonal, made out of planks, with tall and narrow windows and the
belfry is situated on the west porch. Unlike the churches in Roman and Iași, the belfry is smaller, with
straight edges and semicircular windows bays at the top. On the south side of the church are two
lateral entrances, one providing access into the nave through an open porch – modest in size but very
beautiful, in neoclassical style – and the other one into the narthex, crossing the western porch.
Above the porch is the belfry with four bells, one of them has an inscription in Greek. Being
the church of a community of wealthy merchants it also had a beautiful parochial house, demolished in
1985. In the same year was demolished a very beautiful wrought iron fence which enclosed the church
and the parochial house. This fence was moved at the Armenian Church in Roman.
Today, this beautiful church is in conservation because the number of Armenians in town is
very small. The cemetery has been significantly diminished as a result of the construction of a railway
at the end of the 19th century. In this cemetery one can find interesting tombstones.

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 Armenian church in Roman, dedicated to “Virgin Mary”

About the Armenian Church in Roman an old tradition says that the first wooden church was
bought from Transylvanian Saxons in 1335. But, because this one was either ruined or no longer met
the requirements of a growing population, the construction of a new spacious stone church was
needed. Therefore, the present church was built in 1558 – 1609, on the same place of the wooden
church, by the Armenian nobleman Agópsha, in the memory of his whole family. The original votive
inscription was preserved, being translated by bishop Melchisedec Ștefănescu: “Through God’s grace,
commiseration and will and by the divine choice and for the glory of His Only Begotten, in this
difficult times, God chose a fair man called Agopșa, to build this church in the name of the Mother of
God, in the memory of his name and of his wife Mughala and of his parents Mr. Vastan and Mrs.
Dolvath and of his sons Vastan, Saco… and Donig and of his daughters Melusha and Dolvath, in the
Armenian year 1058 (1609), September. Father Khaciadur.”
In 1642, with the occasion of a journey in Moldavia, Petru Bogdan Bacsev, the first catholic
bishop in Sophia, also visited Roman and stated that: “The Armenians have 80 houses and 450
inhabitants. They have not an ugly stone church which is painted and a priest from their Armenian
race…”
In the 19th century, near the church were added the bell tower, some annexes and decorations.
The construction, on a cross-shaped plan, with rectangular lateral apsides and semicircular altar apsis
has 19 windows and two steeples with stone carved borders. All this elements give elegance and
slenderness to the entire edifice.
In 1830 – 1831 the church was renewed. This fact is also mentioned on the church iconostasis.
Another inscription on the northern wall informs us that the present edifice is the result of more recent
works, executed between 1863 and 1868 under the guidance of the Bavarian architect Johan Brandel
de Daggendorf. In that period the church was expanded and renewed based on a neoclassical project,
at the initiative of two richer parishioners (Donica Simionovici, owner of Simionești – Cordun –
domain and Teodor Solomon which had a domain at Butnăreşti-Roman). During this works the church
was heightened, the porch and the bell tower were built – a horologe made in Austria was installed –
giving the church a similar appearance with the Armenian church in Iași.
Probably in the same period was also realised, with the Pantocrator and The four Evangelists
from the base of the main steeple, the painting of the iconostasis and the painting of the icons from the
nave and narthex walls, which reflect the influence of Armenian art. The oldest icon of the church,
whose origins are known, dates from 1797, but it also exist undated icons that can be much older. The
wall painting from the nave was sponsored by baron Christe Kapri in 1905.
The way it looks today, the Armenian church in Roman is a monumental edifice that strikes
with its special aspect of the facades and dominates with authority the surrounding area. It has a
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cruciform design with rectangular lateral apsides and a semicircular apsis of the altar, massive base of
carved stone and the exterior surface with horizontal layers. Stone rosettes which decorate the lateral
apsides, the framework of the 19 windows and the molded cornice with elongated dentils give beauty
to the construction. The two steeples (above the nave and porch) with their stone carved borders give
an elegant and slender appearance to the entire edifice.
The interior is also decorated with profiles and stone sculptures which suggest the oriental art
through their motifs of Armenian, Persian or Arabian inspiration and the sensation of monumentality
is entrenched by the amplitude of the domes supported on the same oblique arches which characterize
Moldavian churches.
During the communist period the church was closed and was falling into ruin as an outcome of
the drastic diminishing of the local Armenian colony and henceforth, in March 1981, was entrusted to
the Orthodox bishopric of Roman… for temporary use, on an indefinite period of time. Based on this
agreement, extensive restoration, consolidation and development work was made. The iconostasis was
brought forward to ensure necessary space for the altar and to comply with the requirements of the
orthodox service.

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 Armenian church in Galați, dedicated to “Virgin Mary”

The first evidence of an Armenian church in Galați was made by the catholic missioner Maria
Luigi Bidu in 1669, but he gives no details about it, saying only that an Armenian church in Galați was
headed by an Armenian bishop named Sahag.
In 1821 a group of Greek revolutionaries, chased by Turkish soldiers, took refuge inside the
Armenian church. To force them to come out, the Turks set fire to the building. After this episode, the
church was rebuilt using wood as building material. Later on, on May 15 th, 1858, on the same place,
the construction of the present-day church began, the foundation stone being set with the entire
ceremonial by bishop Sarchis of Adrianople, assisted by vicar Der Minas.
For the construction of the church was chosen the offer of the German architect Herman
Masche, as being the most convenient. The iconostasis was made on the expenses of Bogos Navasart
family. The painting, representing the apostles Peter and Paul, Holy Mother of God and John the
Baptist belongs to Paul Aburel.
The two altars in front of the main altar were built by Garabet and Ovanez Saulic, they have in
the middle the icon of Saint Minas and the one of Saint Jacob.
In 1942, with the contribution of the businessman Krikor Hangian, the present porch was
added. Periodically, the church building was subjected to several maintenance processes. During the
communist period was made the proposal to demolish the church in order to build a residential quarter.
Pursuant to the courageous intervention of H.G. Dirayr Mardichian, the building was saved from
demolition and permitted to the Armenian parishioners to participate in services officiated in this holy
place of worship. The last consolidation, redevelopment and restoration works of the entire building
were made during the period April 2007 – March 2008.
Among the treasures saved from the old church that burnt down is also a silver cross inlaid
with a small piece from the relics of Saint John the Baptist.

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 The cathedral of the Armenian Apostolic Archbishopric
in Bucharest

The first armenian places of worship in Bucharest were built around the period 1581 – 1629
and then in 1743 and 1781, with the material support of the descendants of the first founder Harutin
Amira Hovviant. The first Armenian church in Bucharest, named Bărăția, was built in 1581 – 1629,
serving both for the orthodox and catholic parishioners. In 1638, when it was transferred into the
possession of the Catholic Church, the orthodox Armenians built another church, in wood.
In 1911, in the same place, was set the foundation of the present church, the cathedral of the
Armenian Apostolic Archbishopric in Bucharest, dedicated to the Archangels Michael and Gabriel.
Architectural plans were signed by the architect Dimitrie Maimarolu, after the model of the cathedral
from Vagharšapat – Echmiadzin in Armenia. A widespread legend claims that in this project another
architect, Grigore Cerkez, of Armenian origin, would have been equally involved; unfortunately this is
based on name coincidence of the architect with the engineer who supervised the works.
The construction was finished on September 6th, 1915. On July 31st, 1931, the Romanian
government recognized the Armenian diocese, confirming its statute several months later. After this
recognition the Armenian Apostolic Church has expanded its activity all over Romania.
The religious and socio-cultural complex of the Armenian community is composed of an
imposing church, bishop’s residence, the Armenian library and an eparchial museum, the Armenian
Culture House, a kindergarten and the offices of the Union of Armenians in Romania. In this complex
also functioned an Armenian school.
The construction, quite faithful to the volumetric model of the Holy Echmiadzin (30 meters
width and 15 meters height), displays a profusion of traditional decorative elements which mark the
main horizontal accents, generously expanding on the frontons of the transept’s two arms. A
conspicuous majestic but nonetheless slender feature is the belfry resting on top of the porch which
opens on four large arches sustained by massive piers. The belfry, with its graceful columns, seems a
kiosk suspended above these compact volumes, as a delicate, elegant counterpart for the imposing
dodecagonal central dome. Inside, the painter Bassano made independent large dimension paintings on
the lateral walls of the nave, also on the spherical semi-calotte covering the open altar. In 1971, the
painter Eugen Profeta renewed the wall painting.
A felicitous complement to this large structure consists of the Culture House, a Modernist
prism embellished with few decorative interventions of Caucasian inspiration, in the laconic, but
nonetheless sensitive, spirit promoted by George Matei Cantacuzino.
Unfortunately, the reception of the ensemble has been irreversibly damaged by the addition of
an office building which, through its totally alien expression, dramatically imposes a new scale for the
general scenery. The many stories of this block definitively breaks the view towards the cathedral
from Carol I boulevard, the east-west axis of Bucharest, and henceforth the Armenian church in
Bucharest, in spite of its monumental vocation, plays a minor role in the definition of the urban
landscape from the area.
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