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Gornji Matejevac, Latin Church
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The Church in situated in Gornji Matejevac, near the city of Niš.
It is a single-nave building in the shape of a concise elongated inscribed cross (divided into three bays) with a dome. The dome is octagonal on the outside, with four windows. The later added narthex leans against its Western side, and occupies a slightly smaller area than the nave. To the East is a semicircular altar apse, vaulted with a semi-calotte.
The Church got its name 'Latin' in the 16th century when the Catholics (people from Dubrovnik, the Latins) were using it.
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Novi Pazar (Ras), Church of St. Peter
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The Church of St. Peter in Ras was built by order of the Serbian Prince Mutimir (reigned 851-891) around 870-890 on a hill of Stari Ras ("Old Ras"), in today’s city of Novi Pazar. (VĐ ŽSN., 18 i 19 - se v'toroje kr'Štenije prijeti ... u V'seslavnyju ... Petra i Pavla). However, the latest research refutes the previous beliefs that the church was built by Prince Mutimir in 870, but much earlier, probably around 820, by Prince Radoslav. It seems that Prince Mutimir restored the building approximately six decades later, making it an episcopal seat (the church was most likely destroyed in one of the two Bulgarian campaigns against Serbia). It was decorated with fresco paintings at the beginning of the 10th century with the merit of the Serbian Prince Petar Gojniković (reigned 892-918).
The building, made from sandstone and travertine, is a rotunda encircling an irregular tetraconch (with the fact that the conch on the Eastern side, intended for the altar space, had a different shape and a larger area than the other three conchs) with vaults in the form of semicircles. Above the central area is a dome which is octagonal on the outside. The Eastern conch served as an altar, while on its Northern, Western and Southern sides the rotunda is embraced by a horseshoe-like ambulatory above which are galleries looking onto the nave, which served as a catechumenate or matroneum. The rotunda constructed on the described foundation was surrounded on all sides, except in the east, by a nave, which was divided by radial walls into five "rooms", interconnected by passages. The outer wall of the nave was adjacent to the circular wall of the rotunda. On the exterior, the edifice resembles pre-Romanesque style, with shallow arched niches placed on the upper part of the drum and the lateral wall of the rotunda, along the apse. Niches can be seen in the interior as well.
The baptismal piscina, hollowed out in front of the southeast pilaster of the rotunda, points to the conclusion that St. Peter's church was partly intended for baptisms. The church simultaneously functioned as a court chapel.
The only preserved sculptural decorations inside and around blind niches in the interior of the church are floral and geometrical motifs along with crosses engraved into fresh plaster.
The fresco paintings have mostly faded. Today some of the decoration can be seen in the drum with five scenes associated with Christ’s nativity and childhood (Annunciation, Visitation, Nativity, Adoration of the Magi and Presentation at the Temple). In the squinches, one can see parts of scenes of the Baptism and Betrayal of Christ, and on the Western wall, below the drum, parts of the Crucifixion. All compositions were framed with wide bands, rimmed with red. On elongated figures, red-violet and yellow-golden tones prevail. The background is mostly golden, while grey is seen once it progresses towards the top. Art historians believe that Byzantine masters were hired to decorate the church (they also find similarities with the Church of St. Stephen in Kastoria and the Church of Transfiguration near Koropi, Attica).
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Ribnica, Church of St. George
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The Church of St. George is situated in Ribnica (today's Podgorica, Montenegro) where, according to legend, the Serbian Grand Župan Stefan Nemanja (reigned 1166/68-1196) was baptised. It is a single-nave edifice with an apse, a dome and a bell tower on its Western side. The church was rebuilt and extended several times. Along the Eastern side of the building researchers revealed the remains of an older building. Its walls were used as the foundation walls of the apse, which was extended further to the Northern and Southern side as well as to the interior of the building, indicating the continuity of the sacred place and ancient settlement. Furthermore, the remains of the older building were used as construction material for the new one. There are numerous written accounts on the church. The Church of St. George is similar to the Church of St. Peter in Omiš.
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Trepča, Saxon Church
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The Saxon Church is situated in Stari Trg, near Trepča (near Kosovska Mitrovica). The earliest written historical source mentioning the existence of the Catholic Church in Trepča is a letter from Pope Benedict IX to Archbishop Marin of Bar, written in 1303. Therefore, we know that the Church was built before 1303 and was initially dedicated to the Holy Virgin. It is recorded that the body of King Milutin was transferred to this Church from his mausoleum (the Church of St. Stephen in Banjska) when the Turks invaded, and later moved to Bulgaria (Sofia).
As name suggests the Saxon Church was erected thanks to German miners, referred to as the Saxons in Serbian sources. In Trepča lived a strong colony from Dubrovnik, and in ecclesiastical terms Trepča was under the jurisdiction of the Diocese of Kotor.
Its a three-aisle, domed, basilica with three semicircular apses, modelled after the cathedrals of Kotor (Church of St. Tryphon) and Dubrovnik (Romanesque cathedral). Today is in ruins, with only an Eastern wall with three apses remaining (with still visible gothic windows). The Church was fresco painted in Byzantine iconography and style.
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Veles, the Church of Saint Demetrius
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In the immediate vicinity of the town of Veles, that is, at the southern exit from the town along the road to Gradsko, on the right side of the leveled plateau, there is a monastery complex with a church dedicated to St. Saint Dimitri. The entire complex is surrounded by massive walls, which contain the remains of older monastery walls. The lodgings and other buildings in the monastery are from recent times. At the southern end of the monastery is the Catholicon dedicated to Saint Demetrius.
Written sources:
Only information about the history of the church is coming from the period of its reconstruction in 1855. In the inscription on the south side of the nave it states that the church was renovated and colorfully painted that year.
Description of the church:
The church consists of an altar area, a nave and a narthex. The orientation is from east to west. The central, largest part is occupied by the nave. The altar of the church keeps the same width as the nave. On the east side there is a wide semicircular apse. To the north of the apse there is a small semicircular niche of the prosthesis. The border between the nave and the narthex at the church of St. Demetrius is clearly defined by a wall, and communication between them is only through a narrow opening. The narthex of the church is made in the form of a square with small deviations in the dimensions of its four sides. It also has an upper floor. The church originally had three entrances, two on the north side and one on the west side. The entrance on the western side of the narthex was later closed, so today only the entrances on the north wall are functional, one leading to the narthex and the other directly to the nave of the church. All entrance openings are formed in an identical manner; the facade is made of brick, which in the upper part forms the arch of the opening in a radial arrangement. There are only three windows on the church. There are two windows on the north wall. The form of the third window placed in the apse of the church was radically changed and today there is a rectangular wooden window here, placed during the 19th century reconstruction. According to the width of the niche on the eastern facade, but also according to the arched segments on the inner side of the niche, the original window used to be in a shape of an arched monofora. Above the nave and the altar area is a barrel vault. The narthex has an independent structural system from the one in the nave. Its main feature is that it is built on two floors. The lower part (ground floor) is covered with a barrel vault in the east-west direction, and it is lower than the vault in the nave. Today, the upper structure above the narthex upper floor is wooden, but there are indications that it was originally different. Namely, in the four corners of the floor in the upper part, at the height of the beginning of the arches of the opening, there are the remains of the vault construction. They have a pyramidal shape (with the top turned downwards), which clearly shows that there was a cross vault here before. Later, when the cruciform vault collapsed, some of these pyramidal remains were partially added to provide horizontally leveled corner plinths for the start of a new wooden structure.
Dating architecture:
14th century (belongs to the stylistic group from the end of the XIII century)
Facade decoration:
The facades of the Church of St. Demetrius in Veles, as well as many other churches stylistically related to early Paleologan architecture, are composed of horizontal zones. The most characteristic example of this style at Saint Dimitri is the north facade. The two entrances placed on this facade have been moved to the west. The entrance to the narthex is obviously settled in vertical coordination with the other elements placed on the parts of the narthex, i.e. bell tower. The lower zone of the northern facade is coated with white lime paint, but the paint layer is thin and the structure of the wall is easy to recognize. In the lowest part, there is a plinth of roughly broken stone with occasional pieces of brick inserted. Upwards, to the end of this lower zone, masonry follows with the cloisonné technique. It is executed quite properly with two horizontal rows of bricks and two vertically placed bricks alternating with stone. The boundary between the lower and upper zones of the northern facade is marked by a horizontal toothed frieze. At the foot of the upper zone there is a series of three niches. They are formed with two rows of stepped bricks. The western one was made as a blind niche, while in the other two there are single windows. In the space between the niches there is a wide decorative frieze in opus reticulatum technique. Today, its western end is partially damaged, but it is clear that it originally extended along the entire length of the northern facade. Directly above it, on the eastern half of the facade, there is a meander frieze. The next two rows of the upper zone of the northern facade were made using the cloisonné technique. The end of the facade is decorated with a double dogtooth strip that continues to the parts of the narthex, which also marks the end of the second zone of the facade. Upwards, a third zone will be formed only on the part of the narthex.
Parallels:
The origin of the tower over the western entrance should perhaps be sought in the churches of Epirus. Facade decorations and decoration similar to the Church of the Holy Mother of God Peribleptos in Ohrid or the Church Panagia Parigoritissa in Arta.
Painting:
Recently it was discovered traces of painting in the narthex of the church. There are two scenes preserved, one is the portrait of a founder with a model of the church in his left hand, and the other scenes is part of the Last Judgment composition. The Last Judgment scenes include a man-eating fish and several sea animals.
The donor portrait is depicted on the east wall, and the Last judgment is on the north?
Dating of the painting:
The painting most likely dates from the end of the 13th century.
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Zaton, Church of St. John the Baptist
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The Church of St. John the Baptist in Zaton on the River Lim near Bijelo Polje is a trefoil church built in the 9th or the 10th century, was destroyed in the 14th century and again in the 20th century. Finally, it was rebuilt in the 21st century. The similarity with the Church of St. Panteleimon in Ohrid indicates that it was probably erected during the reign of Tsar Samuel. The ground plan indicates a single nave church with square base and three conchae on its Eastern, Northern and Southern sides. Fragments of fresco decoration and a stone slab floor were found. Researchers believe that the church was fresco decorated in the time of the Serbian Prince Miroslav (reigned 1162-1190).
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