were moved from Tarnovo into the new complex in 1469. The complex acted as a depository of Bulgarian language and culture in the ages of foreign rule. During the time of the Bulgarian National Revival (18th-19th century), it was destroyed by fire in 1833 and then reconstructed between 1834 and 1862 with the help of wealthy Bulgarians from the whole country, under the famous architect Alexi Rilets. The erection of the residential buildings began in 1816, while a belfry was added to the Tower of Hrelyu in 1844. Neofit Rilski founded a school in the monastery during the period. The monastery is known as being one of the hideouts of Bulgarian revolutionaries such as Vassil Levski, Gotse Delchev, Peyo Yavorov, etc. The monastery complex, regarded as one of the foremost masterpieces of Bulgarian National Revival architecture, was declared a national historical monument in 1976 and became a UNESCO World Heritage Site in 1983. Since 1991 it has been entirely subordinate to the Holy Synod of the Bulgarian Orthodox Church. On 25 May 2002, Pope John Paul II visited Rila monastery during his pilgrimage to Bulgaria. He was greeted by the Monastery's igumen, Bishop Ioan, who had been an observer at the Second Vatican Council. Architecture The whole complex occupies an area of 8,800 m² and is rectangular in form, centred on the inner yard (3,200 m²), where the tower and the main church are situated. Main church The main church of the monastery was erected in the middle of the 19th century. Its architect is Pavel Ioanov, who worked on it from 1834 to 1837. The church has five domes, three altars and two side chapels, while one of the most precious items inside is the gold-plated iconostasis, famous for its wood-carving, the creation of which took five years to four handicraftsmen: Atanas Teladur, Petar and Georgi Dashini and Dimitar Stanishev. The participation of Petre Filipovich- Garkata is questionable. The frescoes, finished in 1846, are the work of many masters from Bansko, Samokov and Razlog, including the famous brothers Zahari Zograf and Dimitar Zograf. The church is also home to many valuable icons, dating from the 14th to the 19th century. Porticos in the courtyard have Mamluk influence with the striped painting and the domes, which became more popular in the Ottoman Empire after the conquest of Egypt. Residential part The four-storey (not counting the basement) residential part of the