Further developments of the khachkar led to a point when, at the beginning of the 11th century, the upper part of the khachkar began to be separated, first through carving and then architecturally. The cornice received a domelike volume and was crowned by a protruding fronton. Study shows that in the process of the appearance of the cornice, besides its technical role, the widespread popularization of the perception of the cross as a common mediator also took on an important role. The lower part of a cross with rosette, various characters (including also the carvings of mortals) appeared in the role of the bottom ring and the cornice - in the role of the celestial sphere. In 12-14th centuries the cornice emerges with vegetative-garden iconography, representing what is anticipated by the mediation of the cross. The second variant of the iconography consists of themes and characters connected to salvation: The Annunciation, The Nativity, The Crucifixion, the advent of the cross and Christ, Last Judgment, Deisus, angels and various saints, funeral liturgy, etc. Beginning in the 15th century, mortals asking "in person" for salvation of their souls from Jesus Christ, are included in the themes of the cornice.