The study of typological features of the Armenian-Italian monuments (including the small architectural forms) is conditioned by the monuments located in both countries and having certain significance for the two peoples’ history. Along with marking the important events and memories, they are the evidence of centuries-long Armenian-Italian friendship.

The typology of the memorial monuments placed in two countries is quite multiform: for example the ones in Venice including the memorial plaque attached to the wall of the cathedral of the Torcello, the Armenian baldachin inside the San Marco Basilica, four horses on the fronton of San Marco Basilica (the principal is in the museum of San Marco basilica), the sepulcher and gravestone of Catherine Cornaro in the Church of San Salvador, the memorial plaque attached to the wall of the parish house of San Martino, for the residential house of Mekhitarian fathers in Venice, etc.

Besides Venice, there are many other monuments found throughout Italy mainly in the form of memorial stones, plaques, khachkars, wall inscriptions, gravestones, fountain-memorials, statues, chapels, and other compositions. Among them are: a church and khachkar in Milan, the San Gregory Armeno Street and a church (with relics of Gregory the Illuminator) in Naples, the grave of the Armenian soldier near the Cathedral of Ravenna, the memorial stone of the church in Torcello (about the Armenian builder), the Armenian Alley and District in Venice, churches dedicated to the Patron of the city of Nardò St. Gregory the Illuminator (by the way, since 2013 the Italian city of Nardò and Armenian Gyumri have become sister cities), the memorial khachkar dedicated to the Armenian-Italian friendship in Bari (architect A. Grigoryan), etc.

There are a number of Italian memorial monuments in Armenia as well. Among them are: the fountain-memorial of friendship of two countries placed in the circular park of Yerevan (architect R. Israelyan) and the principal of the same memorial in Carrara of Italy, The Hands of Friendship in the circular park of Yerevan (arch. Jilma Madera, redesigned by Ara Harutyunyan in Yerevan), Leonardo da Vinci’s bust portrait in the yard of the Yerevan National University of Architecture and Construction, Italian Street in Yerevan, Piazza Grande Business Complex in Yerevan, etc.

It should be mentioned that the memorial structures in both countries are distinguished by their architectural and artistic peculiarities proving the high professional quality of their creators

However, the above-mentioned examples confirm the necessity of special investigation of traces of the Armenian-Italian friendship considering the memorial monuments existing in both countries.