The CHURCH of Coptic in Egypt was collection of ancient mythology, Hellenism especially plato"s philosophy, Ethic of stoicism, eastern dualism, theology of monotheism and religions of Moses and Jesus. These thoughts were active from tims of ptolemaic dynasty B. C until seven century A.D. Their center was Alexanderia. New - platonism overcame in there and sect of Monophysit too. It was against Bezantium CHURCH When Egypt Conquered by Muslims in 640 A.D, Islamic civilization and Mysticism were influenced from its theoretical elements.

Acomparative study on Western and Armenian CHURCH architecture, will give us precious information about the CHURCH early architecture. Armenian CHURCH is a sample of Christian architecture on Eastern context. This study will show that the two architectural cultures do not have the same origins, did not go through the same development process and are not common in dominant structures. Each of these two emanates from its historical and cultural context. Regarding this, the architecture of Western CHURCH mostly follows the Greco-Roman architecture and the Armenian one goes back to its own origins, beginning from Urartian period and even before. When talking about early architecture of CHURCH, one should notice that, despite of presenting both the linear and the central structures, Western CHURCH mostly obeyed the linear one. This geometrical structure was also dominant in pre-Christian period and was named the Christian Basilica afterwards. In contrast, Armenian CHURCH payed more attention to central structures, coming out of local Urartian and pre-Christian temples and going back to elder local housing prototypes. Central structures, limited to Roman and Byzantine round mausoleums and similar CHURCHes in West, are noticeably in focus of attention when studying Eastern architecture. However, the linear CHURCH types were wide spread in Armenia only at the beginning of CHURCH architecture (4th to 7th centuries) in two general types. The single nave or hall CHURCH goes back to Urartian and pre-Christian local temples and resembles them in dimensions as well as the other characteristics, and the three-nave hall or basilica, having some occasional features in common with the Syrian one, generally goes back to Urartian gathering halls. Thus, even the so-called basilica in Armenian CHURCH architecture has not the same origins with the Western one and should be conceived as an original CHURCH type, specially noticing its priority in time, for almost 25 years. Coming to central structures in Armenian architecture which are also the most developed and widespread types, one can see that being built from the beginning of forth century this genotype has merely local priors, both in shape of Urartian Square Temple and a central semi domed space in local houses. The latter prototype existed at least from the 5th millennium BC and was very typical of Urartian period. The central structures in Armenian CHURCH architecture can also be associated with the Eastern, mostly Iranian, fire temples. Besides the linear and the central structures in early CHURCH architecture there are some mixed and crucial types which belong to Byzantine period according to the most world architecture history sources. Studying the architecture of the same period in Armenia shows that the prior sample of the most famous types, as are the central domed CHURCH, the domed basilica, and the cross-in-square CHURCH with five domes, was created in Armenia in Tekor Cathedral (478 AD), Ejmiadzin Cathedral (301 AD) and the Avan Cathedral (6th century) in turn. Thus, the named CHURCH types, including the last as genotype of Eastern Orthodox CHURCH from Greece to Russia, should be recognized originally Armenian.

During its history, Christianity, including Protestants, has encountered different challenges. One of these challenges is the emergence of liberal theology. What reaction did the religious reformation movement, which came to existence in the sixteenth century with the aim of reviewing Christian beliefs, have against the mentioned challenge? That a movement wants to reconsider religious believes with new perspectives implies that it will ignore or reject some principles; while, the Protestant CHURCH shows, through its adherence to the primary beliefs of the CHURCH such as the Trinity, Incarnation and Sacrifice, that it has resisted the above-mentioned challenges, and therefore has not undergone many changes.

The relationship between CHURCH and state in all religious traditions is an important issue. This is of particularly importance in Protestantism and Martin Luther's thoughts. Luther's doctrine of "two kingdoms" gave religious legitimacy to the government and political power which implied a kind of primacy of the secular power and had some unpleasant practical consequences for Luther himself as much as finally forced him to limit the principle of religious legitimacy of state to secular realm and prevent it from encroaching into the realm of religious authority. However his early teachings were so much appealing to the governments that his subsequent amendment was neglected by them. For example one can claim that the Nazi's trespassing on German CHURCH was a consequence of Luther's early teachings.

There are specific forms of mural paintings in some Iranian CHURCHes that are different from other usual wall paintings in materials, methods as well as implementation techniques. Unfortunately, these mural paintings are not studied until now. The aim of this paper is the identification of history of development, and used materials and techniques in these historic paintings by field and literature investigations. Regarding limited literature in this field (especially in Persian language), the first stage of this study has focused on European textile Marouflage and in the second stage, textile Marouflage of Vank Cathedral, Madonna CHURCH in Isfahan and Madonna CHURCH in Tabriz are investigated. At the Renaissance period, some technical changes were occurred in operation process of large wall paintings and ceiling paintings that finally led to a new and different type that is noticed as Marouflage in this paper. These paintings are executed on the layer of cloth (canvas) and then installed on the wall that is known as a part of the architecture arrays. In this paper, the process of formation of this type of wall painting in Europe was studied and present examples of this method in Iranian CHURCHes are introduced and explained.

Axis is the basic factor in physical organization of temples which with regard to the method of thought of each school, has had a symbolic role in worship spaces. Axis in the space of prayers rooms is the factor for giving direction and can inspire a defined quality and meaning in the prayers room. This article in an attempt to display the factors and meanings effective on axis making of Islamic and Christian worship places. The necessity of study and review of axis is in the importance of the hidden and effective role in the spiritual and physical direction of prayer room space. This has been made in comparative-reasoning method. The study of the primary foundations of axis displays the causes and the method of formation of praying spaces and leads to have an informed view towards the design of mosque and CHURCH. In the beginning, the intellectual bases and differences related to axis orientation in mosque and CHURCH have been put forth. Finally, having a comparative study of mosques and CHURCHes, the semantic analysis of axis role has been made. On this basis, the horizontal axis in the Christian prayers’ rooms has a firm position and conveys the historical, secret and performance roles. Axis in the CHURCH causes physical-driven attitudes and link of CHURCH with the factors and symbols of this world. Axis in mosques has been formed based on performance and functional obligations. What can be observed inn the mosques is a gap like space and far from a dominant tendency towards a specific direction. Axis making in the mosque leads to the silence of mind and the unit definition of the space. It is such that mosque is known as the manifestation of a united and public prayer’s place, in harmony with the individuality of individuals towards a single deity. Finally, the common feature in axis oriented attitude in the CHURCH and mosque is the vertical axis. What makes the real meaning in mosque and CHURCH is the axis of ascension which defines the route of salvation.