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The Cycle of Saint George in the Territory of the Pe Patriarchate

he illustrations of the life of St. George were based on the texts describing the saint's life and posthumous miracles.1 These texts fall into two groups.2 The original text was written in the fifth century when it was condemned as heretical. A revised version was then made, incorporating the necessary changes into the original.3 In addition to these two basic types, there is a third, so called1 The basis for the illustrations of the lives of saints was mainly the texts from the Menologions, the Synaksarions and collections of various texts. However we occasionally see a direct illustration of a text. The reason for this might be of a practical nature. There was also a tendency to illustrate the posthumous miracles of the saint, as is the case in Georgia (E. Privalova, Pavnisi, Tbilisi 1977), Nagoriino, Deani (B. M. Popovi, Program ivopisa u kapeli Pepala, in Zidno slikarstvo manastira Deana, Beograd 1995, 453468). There was also an ambition to illustrate the life with a larger number of scenes, which was not always possible using only one text. However, even in cases where we find only scenes of tortures or miracles which occurred during the life of the saint, it appears that painter has not confined himself to one text. It is not always possible to deduce the origin of the literary inspiration. In the greatest number of examples, the cycles are only partly preserved, or are too simple. There are of course other examples, such as the hagiographical icon from Kiev (A. Bank, Byzantine Art in Collections of Soviet Museums, Leningrad 1985, 264266, T. 1), Kastoria (M. Chatzidakis, Byzantine Museum in Athens, Athens 1986, 2, 17, T. 11) Novgorod, (V. Lagurina, V. Pouchkariov, Les icones de Novgorod, XIII et XIV siecles, Leningrad 1980, 25, 287, fig. 3336), known also as the Pogodin icon, after its collector. Authors discussing these cycles are J. Myslivec and T. Mark-Weiner in a thorough and detailed manner, cf. infra n. 6. The earliest example of the direct influence of the text on the inscription of a scene can be seen in the St. George cycle from Belisirama, Cappadocia, cf. T. Mark-Weiner, Narrative Cycles of the Life of St. George in Byzantine World, New York University 1977, 254, 256 (unpublished doctoral dissertation. The book has been printed on the basis of this study, but is beyond our reach). In this particular case, the inscription comes from the revised version of the life of St. George written by Andrew of Crete, cf. infra n. 3. Detailed inscriptions and closely corresponding scenes are found in Staro Nagoriino, cf. B. Todi, Staro Nagoriino, Beograd 1992, 119122. 2 The texts on the cult of St. George were studied in the works of: A. Kirpinikov, Sveti Georgi i Egori Hrabri, Isledovanie literaturnoi istori hristiansko legend, S. Petersburg 1879; H. Delehaye, Les legendes grecques des saints militaires, Paris 1909 (variorum reprints, New York 1975); K. Krumbacher, Der Heilige Georg in der griechischen Uberlieferung, Abhandlungen der Koniglich Bayerichen Akademie der Wissenschaften, Philosophisch-philologische und historische classe XXV, 3 (Munchen 1911). 3 A. Kirpinikov, o. c., 19 (investigates the original and revised texts, particularly the peculiarities of the original texts); K. Krumbacher, o, c., 118, 3040 (original texts), 4151, 196 199, 207210, 227228 (revised texts). T. Mark-Weiner chooses four texts as a probable basis for

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mixed" type.4 There is also in existence a version of the original text with slightly different content, in which the birth and parents of St. George are described. This text was very important for the Serbian art of the late middle ages.5 The basic scenes of the cult of St. George are The Torture on the Wheel and The Miracle of the Victory over the Dragon.6 Throughout the Middle Byzantine period the illustration of the saint's life varied in different areas of the Byzantine world, because the content is based on different texts of the life and miracles.7 In the Late Byzantine period, a red line connects almost all the cyclesthe illustration of the cycles, op. cit., 2126. The basic revised text was written by Andrew of Crete based on a text by an unknown author, from which all unsuitable passages had been eliminated, cf. K. Krumbacher, o. c. 207210; . Trifunovi, Azbunik srpskih srednjovekovnih knjievnih pojmova, Beograd 1990, 274275. Through the centures two other texts were incorporated in the Menologion composed by Simeon Metafrast. The first text was by Nikita David and later another text appeared, cf. K. Krumbacher, op. cit., 181, 185, 191, 194195; J. Popovi, itija svetih za april, Beograd 1973, 347374. Judging from our research the short text from Constantinopoliten Synaxarion was too short to influence the artists. Cycles inspired by the text of Andrew of Crete can not easily be found, cf. J. Popovi, o. c., 453456, supra n. 1. 4 A. Kirpinikov, o. c., 48. We can find one scene from the original text on the life of St George, the story of the magician Atanasios, in the text of Nikita David. However this is one of the revised versions of the life of the saint, cf. n. 3. The same scene is found in Hermeneia of Dionysius of Fourna, cf. infra n. 26. There is also a Serbian text of this type, printed in Venice by Boidar Vukovi, cf. S. Novakovi, Praznini minej Boidara Vukovia, Starine, XII (Beograd 1867), 143148. 5 A. Kirpinikov, o. c., 2538; K. Krumbacher, o. c., 1819; A. Veselovski, Raziskanija v oblasti russkih duhovnih stihov, Priloenie k XXVII-mu tomu Zapisok I. A. N. n. 3, S. Petersburg 1880, 163172; N. Tihonravov, Pamjatniki otreennoi Russkoi Literaturi, II, U. T., Moskva 1863, 100111. Older than all these manuscripts is a bronze cross in the National Museum of Ni, probably made in 9th10th century. In the corners of the cross are represented: top Christ (IS CS), center St. George (GEORGHOS), right Theodoros (UEODOROS), left Gerontios (GERONT HOS), down Polichronia (POLYXRONHA), cf. R. Nikoli, Jedan ranosrednjovekovni bronzani krst, Saoptenja, IV (Beograd 1961), 220222. The saint's father and mother, whose names appear only in the original texts of the legend, are celebrated in fresco-painted calendars, B. Todi, o. c; 78, 115, 119122; The saint's father is shown on the front of the western arch in the chapel of St. Nicolas in Deani, (cf. V. R. Petkovi, Deani, I, 1941, 27, T. CLXIV) in the first zone in the chapel of St. George in Sopoani, cf. V. J. uri, Sopoani, Beograd 1991, 171. 6 Essential scenes of the cycle were the Beheading, Torture on the wheel and Miracle of Victory over the dragon. Torture on the Wheel appears alone in the Hludov psalteur, in IX century, and from that time on is an obligatory scene of the cycle, cf. Ch. Walter, The Cycle of Saint George in the Monastery of Deani, in Deani i vizantijska umetnost sredinom XIV veka, Beograd 1989, 351353. The same importance of the wheel scene can be found in the post-Byzantine period. This scene is presented in short calendar cycles". In the church of the monastery of St. Nicolas Philantropion on the island of the Joannina lake, in the northern outer nartex, from 1560 we can find three scenes: Interrogation, Flagellation, Torture on the Wheel, cf. M. Acheimastou-Potamianou, Le monastere de Saint Nicolas des Philantropion, in Monasteries de l'ile de Joannina, Joannina 1993, 178, T. 297. The similar example can be found on Mount Athos, in the outer narthex of Dohiar monastery, from 1568: Releasing from the Lime, Torture on the wheel, Beheading, cf. G. Millet, Monuments de l'Athos, Paris 1927, 239/2. The scene of the Miraculous Victory over the Dragon is younger then the previous one. The first example is saved in Cappadocia, in the chapel n. 6 in Goreme, probably from the second quarter of the Xth century, cf. G. de Jerphanion, Les eglises ruprestes de Cappadoce, I1, Paris 1925, 97; M. Restle, Die Byzantinische Wandmalerei in Kleineasien, Recklinghausen 1967, sh. VIII (date). 7 The basic studies on the cult of St. George are: J. Myslivec, Svaty Jiri ve vychodokrestanskem umeni, Byzantinoslavica, V (Praha 19331934), 304375; T. Mark-Weiner, o. c. A number of major cycles do not appear in the first of these because they came to light after the study was completed. The second author undertook only a survey of the cycles. Literature on the Serbian cycles can be found in B. Popovi, o. c. (urevi Stubovi, 12821283; Chilandar, XIII century; Bogorodi-

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of the life, wherever they are seen. It appears that a prototype of the cycle existed, extended with additional scenes in order to expand the cycle.8 Medieval Serbian cycles made in the same period show similarities. The most important are those from Staro Nagoriino and Deani. Both exibit a creative approach to illustration. The textual subject was not the only component of the painting. Later St. George cycles, such as those from Sopoani, Reani and the Struga icon reflect the taste of their patrons. These illustrate the widely popular original version of the text of the saint's life.9 The cults of the saint were stronger in the Post-Byzantine period than they had been previously. This is evident from the dedications of churches and monasteries. However the illustration of the saint's life was not accorded a more distinguished place in the church then had been the case in the earlier period. In St. George in Staro Nagoriino the cycle was painted in the second zone of the naos, in the area of overlap between the earthly and heavenly, although there existed the possibility of painting the cycle elsewhere. This is the only example from the Late Byzantine period and it does not appear in the Post-Byzantine period.10 On the territory of the Pe Patriarchate, from its restoration in 1557 until the exodus of 1690, there were ten cycles of the life of St. George. This investigation also includes the cycles from the St. George Monastery in Temska and in the St. George Chapel in the tower of St. George in Hilandar. Seven cycles were executed in wall painting, three on icons. The cycles were presented in the Monastery of St. Nicholas, Nikoljac, Bijelo Polje, on the hagiographical icon from ajnie, in the church of St. George in Ribnica, Podgorica, in the St. George Monastery in Lomnica, in the St. George Monastery in Dobrilovina, in the church of St. Nicholas in the Monastery in Gradite, in the church of Christ the Saviour in Kuevite, on the hagiographical icon from Pe, on the hagiographical icon from Moraa and in the parekklesion in the St. George tower of the Hilandar monastery.11ca Ljevika, 13101313; Staro Nagoriino, 13161318; Deani, 13461347; Vagane perhaps, 1355; Reani, 13601370; Sopoani, second quarter of the XIVth century; Struga icon, last quarter of the XIVth century). The author was unaware that the cycle may have been presented in the church of St. George in Gornji Kozjak, cf. I. M. orevi, Zidno slikarstvo srpske vlastele u doba Nemanjia, Beograd 1994, 139 (the fragments of the two scenes from the eastern wall of the narthex). It is important to note the cycle from 1492, painted in Ajdanovac, near Prokuplje, cf. S. Petkovi, Srpska umetnost XVI i XVII veka, Beograd 1995, 15, 25, 28. For the cult of the saints in the XIIth century in Macedonia and Peloponnesia, see S. Tomekovi, Les repercussions du choix du saint patron sur le programme iconographique des eglises de 12e siecle dans le Macedoine et dans le Peloponnese, Zograf, 12 (Beograd 1981), 2543. 8 Cf. B. Popovi, o. c., cf. supra n. 1. 9 Cf. V. J. uri, Ikone iz Jugoslavije, Beograd 1961, 2829, T. 29 (icon from Struga); Idem, Sopoani, supra n. 5 (Sopoani); I. M. orevi, o. c., 179180, cf. supra n. 6 (Reani). 10 V. N. Lazarev, Istorija vizantijskoi ivopisi, Moskva 1986, 6264. 11 S. Petkovi, Slikarstvo na podruju Peke Patrijarije 15571614, Novi Sad 1965, 68. The author lists the cycles of St. George in monumental painting in the period from 15571690. He states that the best cycle is saved in Nikoljac. T. Mark Weiner made a list of all cycles of St. George. Quoting his research, in the period of 15571690. the cycles were executed in the monumental pain-

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The first cycle after this period appeared in the years following 1692, in iii, Boka Kotorska, Montenegro. The style of that painting, made by Daskal Demetrios, shows a naive approach to a Byzantine tradition.12 The first cycle appears in the church of St. Nicholas in the Nikoljac Monastery, painted in the 1570s. It appears on the north vault and north wall of the central bay of the north aisle, above the northern entrance. It consisted of nine scenes, three in each row. The last three of these have not been preserved: 1. Interrogation: s(ve)t gewrge stav pr(d) c(a)re hr(i)st(ianina) sebe ispovelou (St. George before the emperor, confessing his Christianity) 2. Spearing and Torture with Claws: s(ve)t gewrge pree na drvo poveen noktimi s btann tae i kop em probadae v outpobou (St. George hung on a tree, scratched with nails and pierced in the stomach with a spear) 3. Torture with Stone and Shackles in the Dungeon: s(ve)t gewrge vodtim v tamnicou i vzloen kamen velik na hrbat ego (St. George in a dungeon, with a large stone placed on his back) 4. Torture on the Wheel: [s(ve)t ge]wrge na kole(s)w stavlaet se na mnoge estic drazlaem oumreti (St. George dismembered on the wheel) 5. The saint appears before the emperor, after the service for the idols s(ve)t gewrge avlaet se c(a)rou i magnento ete vpii sloubou svrayotiting in: 1. Greece, Andros, Moni Aghias (Moni Zoodoxou Pigis), XVIth century (?); 2. Mt. Athos, Monastery of Dochiariou, 1568; 3. Roumania, Roman, Church of St Paraskevi, late XVIth century; 4. Greese, Moni Vitouma, Church of the Koimesis of the Virgin, 1600; 5. Roumania, Sucevita, Monastery of the Resurrection of Christ, 16021604; 6. Mt. Athos, Monastery of Dionysiou, chapel of St. George, 1609; 7. Greece, Kastoria, Church of the Virgin Koumbelidiki, XVIIth century; 8. Greece, Phylla, Monastery of St. George ARMA, 1637.; 9. Greece, Aroania, Church of St. George, middle of the XVIIth century; 10. Greece, Kastoria, (Traianou) church of St. Nicolas, 1663. Icons: 1. Russia, Moskow, Tretjakov Gallery, no. 14462, XVIth century; 2. Greece, Corfou, Metropolitan Church of the Virgin; 3. Greece, Phylla Monastery of St. George ARMA, XVIIth century (?); 4. Greece, Chrysapha, church of St. Demetrios, XVIIth century (?); 5. Greece, Athens, Byzantine Museum, no. 221; 6. Bulgaria, Sofia, National Archeological Museum, no. 1470. 1684; 7. Greece, Nea Helvetia, (Athens) church of St. Demetrios, 1686.; 8. Greece, Paros, Tsipidho (Marpissa), church of St. George, end of XVIIth century. Minor art objects: 1. Greece, silver reliquary of the Holy Cross, XVIIth century, Mt. Athos, Monastery of Dionysiou; 2. Romania, Silver repousse book cover, Bucharest, National Museum; 3. Greece, Silver-gilt hexapterygion, Athens, Benaki Museum, no. 168, XVIIIth century (?). The broad distribution of the material makes it more difficult to collect every cycle presented. In the survey some Serbian cycles are missing. The autor fails to list the cycles from Bogorodica Ljevika, Vagane (?), Gornji Kozjak (?), Ajdanovac, Gradite, Kuevite, iii, Poloko, Moraa's icon, Poloko's icon, as well as many others made after 1690. 12 Cf. P. Mijovi, Bokokotorska slikarska kola XVIIXIX vijeka, I, 1722; S. Petkovi, o. c., 189, cf. infra n. 14.

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(St. George addressing the emperor and Magnetius after the service) 6. Beating and casting into the dungeon b yt s(ve)tagou gewrgovo i nem(i)lostivo vlekout vt mnicou (St. George beaten and ruthlessly thrown into the dungeon)13 The scene of the victory over the dragon is shown on the south side of the west facade in the first zone.14 The Nikoljac cycle is unique in content. Each scene is illustrated according to the inscription. Some themes are shown together in the same scene, as is the case of the scene of torture with a spear and three-pronged hooks. The cycle is painted without vertical frames, which allows the artist a more narrative approach. In a number of scenes, the preparations for the next event are shown. For instance, the rope shown in the scene of the investigation is also used in the scene of the torture on the wheel. The painter is highly skilled and correctly interprets the classical structure of Byzantine painting. Some figures are highlighted, as part of the major figure of the scene. Richly painted architecture accentuates the figures and the movement. Pathos is mostly attained in the figure and face of the saint and in the details of the tortures. The adherence to the artistic ideal is evident even in the detail of the pointed draping on the figure in the scene of the torture with a spear. We nevertheless note the influence of the Italo-Cretan style. The saint's face is concealed in two scenes, the torture with stone and shackles and the torture on the wheel. In the first scene the saint puts his hands over his face, in the second his face is laid on the wheel. Moreover, in some scenes, the figure and face of the saint are lyrical, his torso twisted. The limits of this painting are seen only in one scene, the torture with the spear and clogs. Because of the intention of combining two themes into the same scene, the figures of the torturers are not in the same scale. The central panel of the hagiographical icon from ajnie, from 1574, shows the saint holding his head.15 In addition to this there are twelve scenes: 1,13 The inscriptions from Nikoljac and Ribnica have not been published previously, so they are presented in this study. 14 Cf. S. Petkovi, o. c., 92, 142, 180, 182, 210, supra n. 10. The author states that the cycle is detailed and notes three scenes: The Interrogation, The Torture with the Spear, and The Torture on the Wheel. The frescoes were cleaned and there then appeared The Torture with the Stone and Shackles in the Dungeon, The Saint Before the Emperor after the Service to the Idols and the inscription of the scene of the Leading to the Dungeon. The scene of the Victory over the Dragon is painted in Nikoljac, Lomnica, Temska and Hilandar, together with the scene of The Victory of St. Demetrios over Kalojan (except in Lomnica and Hilandar). These two scenes are painted on the facade of the Moraa Monastery in 1616, as well as in the village churches in: Trnava (15791580); urakovac (1592); Mlean (16011602); Kijevo (16021603); Vrh (1619); Donji Orahovac (first half of the XVIIth century), cf. ibidem, 67. At Ajdanovac a boy is shown behind the saint in the scene, so this is a mixture of two scenes: The Victory over the Dragon and Releasing the Enslaved Youth, cf. S. Petkovi, Srpska umetnost u XVI i XVII veku, Beograd 1995, 226. The earliest example from Serbian art is the Struga icon, cf. supra n. 10. 15 . Mazali, Nekoliko starih ikona, Nae starine, II (Sarajevo 1954), 5758; S. Ovinnkova, Ikona Sv. Georgiis otseenno golovoi" v sobrani moskovskogo istoriersko muzeja, Vizantija junie-

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The Interrogation; 2, The Torture with the Stone in the Dungeon; 3, The Scraping; 4, The Torture on the Wheel; 5, The Nailing of the Shoes; 6, The Torture in the Furnace (combined with the Torture in the Cauldron and the Release from the Lime); 7, The Torture with Poison; 8, The Resurrection of the Man; 9, The Conversion of the Empress; 10, Christ Appears to the Saint in the Dungeon; 11, The Beheading: 12, The Saint Punishes the Emperor (in the inscription, the saint destroys the idols).16 The central panel of the ajnie icon is in the Italo-Cretan style. The saint and the torturers have young faces. Almost all the scenes tend towards decorativeness. An ornament resembling a wave is shown even on the torture instruments. This painting's principal value is its colour. There is a problem with the subject of the last scene, as we are shown the punishment of the emperor while the inscription states that the saint is destroying the idols. The key to understanding this scene is the object held in the saint's hand. It may or may not be a mace.17 In the church of St. George in Ribnica, Podgorica, in the end of the XVIth century, the cycle is presented in the second zone of the naos, starting from the eastern wall. The interrogation and the beheading, possibly the first and last scenes of the cycle, may also have been preserved. However the west sides of the east pilasters are today concealed by the iconostasis. Southern wall: 2. The Piercing with Spears at least to judge by what remains of the inscription, as the scene has not been preserved: [s(ve)ta]go gewrg a povese na dr (George hanging on the ) 3. The Beating: S(ve)tago georg a bi e veloumi lami (St. George beaten by ox tendons) 4. On the east side of the northwest pilaster, perhaps The Torture with the Stone, judging by the preserved sections of the inscription: ve k(a)men (stone) Northern wall:slavjane drevnaja Rus' zapadnaja Evropa, Zbornik u ast V. N. Lazareva (Moskva 1973), 168170, T. 171. 16 The punishment of the emperor Diocletian is also presented on an Italo-cretan icon from Cetinje museum, cf. A. ilikov, Ikone iz fondova Cetinjskih muzeja, Glasnik Cetinjskih muzeja (Cetinje 1997) 105108, 123. 17 . Mazali, o. c., 6569. The author believes that a local painter from ajnie or Gorade, created this work.; Lj. Koji, O ikoni sv. ora sa itijem iz ajnia, ZLU MS, 7 (Novi Sad 1971), 237243.

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5. The Torture on the Wheel: [s(ve)tago ge]wrgi a povese na vrtee (St. George put on the wheel) 7. The Resurrection of the Ox from the Prison: s(ve)t gewrge sedene na tamnicou glkeriy vola wvi (St. George, sitting in a prison, resurrects Glicerios's ox) 8. The Release from the Lime: s(ve)tago george faevio goni e ou varncou fi (St. Georgein Lime)18 The figures of the Ribnica painter have large hands and heads and short bodies. They are presented against painted architecture or landscapes, the latter appearing as haystacks with vertical bars. However green vegetation grows from the haystacks, so they can be read as mountains. In the scene of the torture on the wheel, the torturers are not holding the ropes so we are unable to see which way the wheel is turning. The inscription from the scene of the resurrection of Glicerios' ox is literally illustrated, with the saint shown sitting at the prison window. This is perhaps drawn from the text of Hermeneia of Dionysius of Fourna, where this scene is presented in the same form. In the Church of St. George in the Monastery of Lomnica, from 1608 1609, the cycle is presented in the second zone of the narthex, beginning on the east wall: 1, The Interrogation; 2, The Angel Advising St George; 3, St George Advising the Empress; 4, The Beating. On the west wall: 6, The Piercing with Spears; 7, The Torture with the Stone and the Torture in the Lime Pit; 8, The Torture with Pincers; 9, The Destruction of the Idols; 10, The Resurrection of the Ox. On the north wall: The Beheading.19 The Saint on the Throne is shown on the tympanon of the door on the east wall of the narthex.20 On the tympanon on the facade appears the Victory over the Dragon. The unschooled painter of Lomnica puts great effort into presenting the life of the saint. The luxury of the throne, the bed and the costume, as well as the complexity of the painted architecture are in contrast to the ignorance of the presentation of the theme. The emperor's loros is softly draped around his body, the saint is laying on a luxurious bed during the torture with the stone; the com18 Cf. V. R. Petkovi, Pregled crkvenih spomenika kroz povesnicu srpskog naroda, Beograd 1950, 111; S. Petkovi, Tragom jedne slikarske radionice iz druge polovine XVI stolea, Zbornik Filozofskog fakulteta, VIII (Beograd 1964), 541554; A. Skovran, Freske crkve Sv. ora pod Goricom u Titogradu, Starine Crne Gore, IIIIV (Cetinje 19651966). 19 M. Filipovi. Mazali, Crkva manastira Lomnice u Bosni, Spomenik SAN, CI (Beograd 1951), 143144; S. Petkovi, o. c. 7980, 92, 118, 179182; M. Baum, Prilog prouavanju slikarstva Lomnice, Tuzla 1957, 191207. 20 The saint sitting on the throne and unsheathing his sword is presented for the first time in a relief made in the late twelth century in Constantinople. Today it is on the west facade of St. Marco, Venice, cf. O. Demus, San Marco in Venice, History, Architecture, Sculpture, Washington 1960, 128131, T. 4041.

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plexity of the painted architecture is accomplished by a great number of windows and doors, sometimes presented in the foreground; landscape is also sometimes presented in the foreground, with standing figures, instead of the usual landscape in the background. Expressiveness is achieved by the malicious looks of the torturers and a narrative quality is accomplished by the unification of some scenes, but the painter fails in these attempts. In the church of St. George in the Dobrilovina Monastery, in 1609, the cycle is painted in the second zone of the narthex, beginning on the east wall: 1, The Interrogation (the beheading of the saint is shown on the northern part of the east wall, before this scene); 2, The Piercing with Spears; 3, The Saint in the Prison21; 4, The Torture scene, fragments preserved, only the figure of the torturer on the left side is visible. South wall: 5 and 6 are not preserved apart from the lower part of the torturer's body in the fifth scene. West wall: 7, The Destruction of the Idols; 8, The Beating; 9, The Release from the Lime; 10, The Torture with Heated Shoes or the Nailing of the Shoes; 11, The Leading of the Saint. North wall: 12, The Beating; 13, The Resurrection of the Ox. East wall, north section: 14, The Beheading. The inscriptions have not been preserved.22 The painter of Dobrilovina puts the scene of the beheading at the beginning of the cycle, above the standing figure of St. George. In this way, the scene of the beheading is given the importance of first place. All the paintings in the church appear to be by the same painter. Almost all the faces are similar, long and narrow. From some scenes it appears that the painter was familiar with the textual bases of the legend. That is particularly so in the scenes of the interrogation, the destruction of the idols and the release from the lime. Unfortunately the painter lacked either the courage or the skill to execute the original idea. Usually he paints the scenes without painted architecture, with a blue-green background and with a small number of figures. The axes of the figures are within strict vertical and horizontal lines. Drapery is modelled with a small number of straight, mostly vertical lines. In the interrogation scene, among the many figures, we are able to recognise only the saint and the emperor. The painting is even poorer than one of the weakest paintings of medieval Serbia", painted in the Chapel of St. George in Sopoani. In the church of St. Nicholas in the Gradite Monastery (16191620), the priest Strahinja from Budimlje painted the cycle along the north side of the vault, from east to west: 1, The Interrogation; 2, The Beating; 3, The Torture on the Wheel; 4, The Release from the Lime.2321 S. Petkovi, o. c., 92, 146, 209. The author is of the opinion that the subject of the third scene is probably The Torture in the Cauldron, because the saint is inside a red object. After the cleaning of the frescoes, bars painted on the prison window were visible, so we have concluded that the subject was The Saint in the Prison, perhaps being tortured with the stone. The painter uses red to depict the details of torture, as in the first beating scene where the block is painted red. 22 Cf. Ibidem, 92. The author includes only the scenes from the east and north walls. The content of the scenes on the west wall were revealed only after cleaning. 23 Cf. V. Petrovi, Freskoslikarstvo manastira Gradita u Patroviima, Istorijski zapisi, XVII, 2 (Titograd 1960), 269283. The frescoes were destroyed by an earthquake, but the fragments were

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There is an obvious difference in the painting of the St. George cycles in the church of St Nicholas, where the highly skilled painter creates a mature work. It appears that the painter lays great importance on the technical details of the picture. In the scene of the torture on the wheel, the instrument of torture is given the greatest importance. The wheel looks more like a machine. The rich background of the scene of the release from the lime has greater decorative then thematic value. In the hagiographical icon of Pe, from the second quarter of the sixteenth century, in addition to the central panel, which shows St. George on the throne, a cycle of seventeen scenes is painted: 1, The Interrogation; 2, The Torture with the Stone and Shackles in the Dungeon; 3, The Torture on the Wheel; 4, The Angel Healing the Saint; 5, The Release from the Lime; 6, The Torture with Heated Shoes; 7, The Flagellation; 8, The Beating on the Mouth and the Torture on a Pillar; 9, The Challenge of Atanasios; 10, The Resurrection of the Man; 11, The Destruction of the Idols; 12, Christ Appears in the Dungeon; 13, The Resurrection of the Ox; 14, The Conversion of the Empress; 15, The Beheading; 16, The Miracle of the Reconstruction of the Church; 17, The Miracle of the Deliverance of the Enslaved Youth.24 The dimensions of the Pe icon allow for a detailed presentation of the scenes. The background of the scenes painted architecture or landscape points up the figures. The painter uses strong colours, particularly red. The gesture of touching, signifying rudeness and lack of respect is frequently used. In the chuch of Christ the Saviour formally dedicated to the Introduction of the Virgin into the Temple, in the monastery of Kuevite, from the middle of the seventeenth century, the cycle was presented in the third zone of the outer nartex: (Southern wall?) 1, Fragmentary saved scene; 2, The Saint in Prison with the Angel Telling His Destiny; 3, The Torture on the Wheel. (Western wall?) 4, The Torture with Boots; 5, The Interrogation; 6, The Beating; 7, The Interrogation (Atanasios the magician present); 8, The Torture with Poison and the Saint's Prayer; 9, The Resurrection of the Dead; 10, The Beheading of the Magician and the Faithful; 11, The Saint Preaching in Prison. Northern wall: 12, Unidentified scene; 13, The Miracle of the Reconstruction of the Church; 14, The Miracle of the Deliverance of the Enslaved Youth; 15, The Saint Enthroned.25 The outer narthex of the temple was destroyed by fire in the past decade. The only surviving scenes, the three last from the Northern wall are now barely recognisable. The colour of these remaining scenes has changed, so only non-original nuances of red can be seen. The study of the Kuevite's paintings is possireassembled so that at least one more scene became visible, The Release from the Lime. The intention to give a detailed description of the torture instruments can be seen in Sueava, Romania, in the scene of Torture with Stone, cf. Myslivec, o. c., T. XI, 1. 24 V. J. uri, Umetnost u senci prolosti, 298, n. 9, T. 193, u: V. J. uri, S. irkovi, V. Kora, Peka patrijarija, Beograd 1990. 25 I am taking the opportunity to express my gratitude to Professor Ivan M. orevi. His photographs published in this study are the only evidence of the cycle of St. George from Kuevite.

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ble only through the photographs which had fortunately been made by Ivan M. orevi. The beginning scenes of the cycle had not been preserved before the fire. The fragment of the first is along the same lines as the illustration of the eighth strophe of the Acathistos, presented in the upper zone. The format of the scenes allowed the artist to enlarge the cycle. The scenes are as wide as the wall surface left for the figures presented in the first zone. They are therefore narrow, but three times as tall. Although the format of the scenes is small, they are full of figures. All of them have a background of richly painted architecture or landscape. The figures are presented in picturesque clothing. The principal figures are clad traditionally, according to the personality of the characters. The painter respects the textual description of the setting of the events. He therefore presents landscape in the background where the subject concerns the story of Atanasios the magician. This is the only cycle in monumental painting which includes the saint's posthumous miracles. In the final part of the cycle, the miracle of the reconstruction of the church and the miracle of the deliverance of the enslaved youth are presented. The same two scenes appear on the Pe icon. The first scene is presented in a similar manner, but the second differs. This is because the painter of the Kuevite cycle presents the saint returning the boy to a beardless figure, who resembles the enslaved youth, in oriental clothing. The painter appears to be confused about the subject of this scene. In the background of both scenes, the church of St. George is presented. The saint is shown in the lunette of a church with two domes and a tower, or a dome and two towers, which resembles the Kuevite temple in that period. In the Church of St. George in the Temska Monastery (1654), the cycle is presented in the third zone of the outer narthex, beginning on the south wall: 1, Giving Wealth to the Poor; 2, The Interrogation; 3, Preserved fragments of a scene from the emperor sitting on the throne at the left side we may suppose that this is the torture with the spear; 4, Scene not preserved. West wall: 5, The Torture on the Wheel; 6, The Beating; 7, The Interrogation; 8, The Leading to Prison (perhaps in Heated Shoes); 9, The Poisoning, Prayer, The Resurrection of the Dead, The Beheading of the Dead and the Magician; 10, The Resurrection of the Ox; 11, The Beheading.26 The scene of giving wealth to the poor is presented only in Temska. This scene does not admit the possibility of seeing the complete cycle illustrated on the basis of the text of Hermeneia of Dionysius of Fourna. The tenth scene of the cycle is unique. It is a literary illustration of Hermeneia's text. The principal themes of the scene, the poisoning and the resurrection of the dead are frequently seen in many cycles, but the unification of the two, together with other motifs, is seen only here. Looking at this scene one realises the difficulty of illustrating the26 V. Petkovi, o. c., 323; L. Pavlovi, Manastir Temska, Smederevo 1960, 71, 7982, figs. 7080, 8687, 92, T. 54, 57, 74. Two scenes from Hermeneia of Dionysius of Fourna, The Poisoning and The Resurrection of the Dead, correspond to the Temska scene, cf. Dionsioj to ek Corna, 'Ermhnea tj zwgracikj txnhj, Petropoli 1909, 183184.

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complete content of the text, as the complexity of this scene can be compared only with the menologian scenes. The hagiographical icon from Moraa (16701671) presents fourteen scenes, in addition to the central panel showing the saint holding the sword: 1, The Interrogation and Leading of the Saint; 2, The Piercing with Spears; 3, The Torture with the Stone; 4, The Torture on the Wheel; 5, The Torture in the Furnace, combined with the Release from the Lime; 6, The Nailing of the Shoes and the Taking to the Dungeon; 7, The Flagellation; 8, The Torture in the Cauldron; 9, The Resurrection of the Dead; 10, The Resurrection of the Ox; 11, The Scraping; 12, The Torture with Torches; 13, The Destruction of the Idols; 14, The Beheading.27 The background of the scenes is a flat wall, with two towers in the corners of the scene field. In some scenes a large group of people is presented in interaction. This is the only cycle containing all three scenes from the original text of the legend in which, according to the description, the saint was resurrected by Christ.28 In the St. George parekkesion in the St. George tower of the Hilandar Monastery (1686) the cycle is presented in the second zone, beginning from the south wall: 1, The Interrogation; 2, The Piercing with Spears; 3, The Torture with the Stone and Shackles in the Dungeon; 4, The Torture on the Wheel; 5, The Angel Healing the Saint; 6, The Conversion of Alexandra; 7, The Torture in the Cauldron or in the Furnace; 8, The Beheading. In the tympanon of the west wall, on the faade, the scene of the victory over the dragon is shown.29 The Hilandar cycle is rich in detail. In the first scene the painter introduces the most important personalities from the text of the legend. In addition to the saint there are Diocletian, Magnetius and Alexandra. The painted architecture sometimes has realistic shapes, as in the scene of the torture on the wheel. The temple of Apollo is painted in the background of this scene. According to the text of the legend, Diocletian and Magnetius offered a sacrifice there. The iconography of the Torture with Spears is taken from the cycle of St. Demetrius. The precursor of the post-Byzantine cycles is that from Staro Nagoriino. This is evident primarily from the content, as well as in the course of the cycle. In this study we found that the content of the Nagoriino cycle corresponds most closely to the text of the legend written by Nikita David, and to that by Herme27 R. Ljubinkovi, Stvaralatvo zografa Radula, Nae starine (Sarajevo 1953) 128130; S. Petkovi, Manastir Moraa, Beograd 1986, 34, T. 57. Ljubinkovi compares the hagiographical icons from Moraa, Pe and Poloko and finds them similar. The Poloko icon was made in 1630 and, since than, has been located in the narthex of Poloko, cf, V. Popovska-Korobar, Beleki za ikonostasot od crkvata Sveti Gorgi Poloki, Kulturen ivot (Skopje 1997), 53, n. 24. 28 Howewer, there are a great number of Serbian cycles with these scenes included in the contents, made after 1690, as those from Sarajevo, cf. . Mazali, Sv. ore na starim ikonama u Sarajevu, Glasnik Zemaljskog muzeja, 47 (Sarajevo 1935), 4972. 29 This investigation of the cycle was possible thanks to the collection of drawings in the Hilandar Department of the Serbian Academy of Science. The basic information for the cycle can be obtained from: S. Petkovi, Hilandar, Beograd 1989, 6264, fig. 62.

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neia of Dionysius of Fourna.30 Almost all the post-Byzantine cycles begin with the scene of interrogation, followed by the scene of the piercing with a spear. In the post-Byzantine period this scene is often combined with that of the scraping. Thus we have a unique scene inspired by both texts of the legend. We find a description of a saint hunging on a tree, stabbed and scratched, in the hagiography printed by Boidar Vukovi in Venice.31 The scene of the scraping was frequently shown before the post-Byzantine period, even in such cycles as the Nagoriino, where it is the only scene based on the original text of the life. The appearance of the scene of the torture on the wheel varies with respect to the instrument of torture. The wheel is sometimes called koleso, sometimes vrte32. The saint is led to the dungeon in heated shoes, or the torturers nail his shoes on. The scene of the poisoning is often painted before the scene of the resurrection of the dead. From the Nagoriino cycle on, there is a tendency to show two oxen instead of one in the scene of the resurrection of the ox.33 The conversion of the empress is a frequent scene in this period.34 In the late Byzantine, the most important scenes from the original text of the legend were frequently introduced into the content of the cycle. These were the scenes of torture: on the wheel, with the saw and the cauldron and with torches. Among the preserved Serbian cycles of this period, these three can be found only on the icon of Radul. The textual basis for the scene of the release from the lime is taken from the revised version of the legend. It was unclear for illustration, because the description of the scene came from the scene of the torture in the cauldron, from the original text of the legend. In the post-Byzantine period the mixing of the contents of these two sce30 The description of the first and third scenes of the life of St. George in the text of Hermeneia of Dionysius of Fourna is almost the same as the first six scenes of the Nagoriino cycle. The interrogation and the torture with the spear appear to be derived from the description of the first scene, while the torture on the wheel, the rescue by the angel, the new interrogation and the beheading of the faithful are similar to the description of the third scene. One of the details from the text, the description of the emperor sitting on a larger throne than Magnetius, appears for the first time in Nagoriino. Nevertheless, other scenes of the Nagoriino cycle are different and the cycle is extended to a greater number of events than the text from Hermeneia. One may suppose the influence of another text, such as the text of the saint's life written by Niceta David, in which is found the description of the events connected with the story of Atanasios the magician. The Nagoriino cycle rests on a rich base, full of details. Some of these are new, such as that mentioned above, or the appearance of the Empress Alexandra in the trial scene. The structure and the scenes which are included frequently vary after this. 31 Cf. infra n. 4. 32 The wheel shown in the scene in Ribnica cycle is named vrte as in the cycle in Kremikovci, cf. K. Paskaleva, Crkvata Sv. Georgi v Kremikovski manastir, 7295, fig. 48. 33 Two oxen are shown in Lomnica, at Pe's icon, in Temska and on Moraa's icon. 34 The conversion of empress to christianity is presented at ajnie's icon, in Lomnica, at Pe's icon, and in chapel of St. George in Hilandar. This scene is rarely presented in earlier periods. Apart from the eleventh century cycle from St. Sofia in Kiev, this scene is included in the post-Byzantine cycles in Kremikovci, and on an icon from the church of the Rogoskij Cementery, cf. T. Mark Weiner, o. c., 62, 82. The Kremicovci scene differs, because the saint is shown in a fortress-prison, cf. K. Paskaleva, o. c., cf. supra n. 31. The author asserts that the building presented in this scene is a palace, but by comparison with the building in the scene showing Christ adressing the saint in the prison, from the cycle of St. George executed in Roman, Roumania, one may deduce that the building from the Kremicovci cycle is a prison, cf. J. Myslivec, o. c., T. XIII.

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nes is obvious. The saint is usually presented in a barrel of lime; in front of this is a fire stoked by torturers. It is possible that the description of the lime pit, or burning pit, as well as the mention of the quicklime (Asbesto) influenced this scene. Most commonly, in the introductory scene, and sometimes in some others as well, Magnetius is shown along with the emperor, standing or sitting on a throne.35 The building of the dungeon is represented only by a black opening, the sign of darkness. Sometimes a barred window is painted, with the saint shown behind it. In this case it is a prison building, not a dungeon.36 The temples from which the idols fall is one of a central plan, with a larger and a smaller dome one above the other, resembling a lantern. Sometimes, instead of a temple, columns or exedra are painted.37 The empress is beheaded or she suffers a calm death.38 All painted St. George cycles were investigated, regardless of the medium of their presentation. Those painted on the hagiographical icons are in some way different from those painted on frescoes. They are closer to the description given in the text. It is very difficult to analyse style on the basis of cycles painted over more than a hundred years and without reference to other works of the same painter. Despite this it may be said that the cycles are slightly different from those in the previous period. The Nikoljac cycle is perhaps the best example of monumental painting, while the cycles from the hagiographical icons of Pe and Moraa are the best of the remaining examples. The Nikoljac cycle shows the influence of the Italo-Cretan style. The painter's knowledge rests on a solid Byzantine base, allowing him to paint some details, such as the draperies, in fourteenth century style. The exquisite style of Radul, the Moraa icon painter, can be seen in the fine organisation of figures in the group of people. The Pe icon cycle painter shows the deepest admiration of the mediaeval Byzantine work, and this is reflected in the construction of his scenes. He can be compared only with the painter of Kuevite's cycle, whose knowledge has deep roots in the Byzantine style. The Kuevite cycle wasn't completely preserved before the fire, but the photographs, which today are the only material by which to judge him, are sufficient to support the claim that this was the longest cycle in Serbian painting. The high value of the cycle, the picturesqueness, the narrative quality and the small format of the scenes reveal both a connection to the Byzantine tradition and a new approach. The ajnie icon cycle is technically good work, with strong co35 The figure of Magnetius is recognisable in the Hilandar cycle, where it is shown in the first scene sitting on a smaller throne than Diocletian, as in the second investigation scene of the Nagoriino cycle. This is in keeping with the description from Hermeneia. In the Dobrilovina cycle, the painter probably presented Magnetius as a soldier who tortures and executes the saint. At Moraa icon, Magnetius is sitting with emperor on a throne. He can be recognised as a figure standing next to the emperor in many cycles. 36 The prison with a window and bars is depicted in Dobrilovina, Kuevite and Temska. 37 Exedra are shown only on the ajnie icon, but the meaning of the scene is unclear, so we are reluctant to recognise it as a temple. 38 The calm death of Alexandra is depicted in the ajnie and Moraa icons, while the execution is shown in the Pe icon.

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lours. The Gradite cycle, painted by the priest Strahinja from Budimlje, is closer to the new period than to the previous one, and some scenes show a great resemblance to certain Romanian cycles. The content of the Kuevite, Hilandar and Temska cycles rest on a textual basis. The literary foundation is completed with accomplished painting. The cycles from Lomnica, Dobrilovina and Ribnica are examples of naive, ignorant painting, although they differ from one another. The Lomnica painter was inspired by a better painter, but he fails in an attempt at a logical composition. The Dobrilovina painter is the weakest, almost all his strength goes into a strictly horizontal and vertical construction of the paintings, as though he were afraid to attempt a more complex composition. The Ribnica painter is aware of the real structure of the scenes, but his poorly defined figures, as well as the background, reveal a naive approach. Inspiration drawn from the mediaeval tradition is a common feature of all post-Byzantine St. George cycles, often combined with new trends. As in the late Byzantine period, all the cycles are alike, regardless of their exact location within the Orthodox world.

Bojan Popovi CIKLUS SVETOG ORA NA PODRUJU PEKE PATRIJARIJE Rezime Na podruju Peke patrijarije sauvano je deset slikanih ciklusa iz ivota svetog ora. U periodu izmeu 1557. i 1690. godine sedam ciklusa je ivopisano dok su tri predstavqena na itijnim ikonama. U ovom istraivawu obuhvaeni su i ciklusi nastali u manastiru svetog ora u Temskoj i u paraklisu svetog ora u Hilandaru. Dok se u sredwem veku opaa vea zavisnost slike od odreenog tipa itija, ouvani ciklusi iz ivota svetog ora u srpskom slikarstvu ove epohe ujednaenijeg su sadraja. Budui da je ciklus predstavqen u manastiru svetog ora u Starom Nagoriinu najiscrpniji sauvani ciklus sredweg veka, wegov sadraj se moe sagledati kao osnov mnogih poznijih ciklusa. Brojni detaqi koji se zapaaju u poznovizantijskim ciklusima prvi put se opaaju u nagorikim scenama, zavisnim od teksta Erminije. Uopte uzev, ona je u veoj ili mawoj meri osnov za veinu poznovizantijskih ciklusa. Slikawe toka ivota svetog ora u ovom periodu gotovo uvek zapoiwe scenom Ispitivawa. Nekada se pored Dioklecijana predstavqa i Magnecije kako sedi na prestolu mawem od carevog. Potom se predstavqa probadawe kopqima, ponekad ujedno sa razdirawem, slino opisu iz tampanog Mineja Boidara Vukovia. Sledi odlazak u tamnicu koju oznaava crni otvor tmine uokviren slikanom arhitekturom. Muewe na toku, osnovna scena ciklusa, razliito se prikazuje u zavisnosti od instrumenta muewa. Verovatno usled praewa drugaije slikarske ili tekstualne tradicije, muewe u kreu se raznoliko predstavqa. Opisi muewa u kreu nalikuju muewu u kotlu, tako da je predstavqen plod ilustracije i jedne i

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druge scene. U ovom periodu, sve tri scene muka posle kojih je svetiteq bio vaskrsnut, slikane su jedino na ikoni iz Morae. U poznovizantijskom periodu teite ciklusa prelazi sa svetiteqevih muka na punu ilustraciju wegovog ivota. Nekada se u vie scena ilustruje iskuavawe otrovom, epizoda u kojoj svetiteq odoleva maiji. Uticaj Erminije ili woj zajednikog izvornika na slikanu tradiciju opaenu jo u H veku, bio je presudan za postojawe ove epizode. Preobraewe carice, takoe ranije retko predstavqana scena, esto se javqa u poznovizantijskim ciklusima kao i Aleksandrina mirna ili nasilna smrt. Posmrtna uda svetiteqa sreu se na ikoni iz Pei i u Kuevitu. U pitawu je predstava istih uda o obedu, dizawu hrama ili o vraawu zarobqenog mladia. Dvanaest ciklusa prikazanih u ovom radu deli veliki vremenski raspon zbog ega ih je teko porediti. Uz to, oni su delo raznih slikara. Ipak, na osnovu ovog uzorka moe se uopteno utvrditi pojedinani pristup, literarna podloga, uzori, kreativnost i kvalitet slikarstva. Osnovno stremqewe ogleda se u osloncu na tradiciju H veka kao i u razvijawu odreenih odlika stila koji su vodili umnoavawu scena, brojnosti figura, razuenosti slikane arhitekture ili pejzaa. Pored oslonca na vizantijsku tradiciju, sree se i uticaj italo-kritskog stila u ciklusima iz Nikoqca, Gradita i sa ikone iz ajnia. Nikoqaki ciklus je visokih slikarskih kvaliteta. Poznavawe tekstualne osnove iskazano je i u natpisima, a ikonografska i likovna obavetenost upotpuweni su vrsnim slikarskim postupkom. Zapaa se da slikar predstavqa odreene figure u izvijenom, mekom pokretu, kao i da su crte lica nekih figura meke i mladalake to je uticaj italo-kritskog stila. Na ajnikoj ikoni izdvaja se, verovatno po preuzetom crteu, vetije slikano centralno poqe. Jednostavnost kompozicija, u ovom sluaju plod osredwosti, obogaena je sloenim bojenim odnosima. Stil peke ikone snano je oslowen na sredwovekovno naslee. Kompozicije su jasne i u wima nema preplitawa dogaaja. Slikar se odluuje da esto predstavi dodir, oznaku grubosti i nepristojnosti. Pop Strahiwa iz Budimqa sasvim se izdvaja svojim stilom. Na sceni muewa na toku, osnovna pawa poklowena je instrumentu muewa, nainu na koji se toak kree. Ciklus svetog ora iz Kuevita bio je najopirniji ciklus u srpskom poznovizantijskom slikarstvu. Naalost, oteen je pre no to je snimqen u poaru tokom prethodne dekade. Sudei po foto materijalu, moe se konstatovati da su scene malog formata bile sve do bordura ispuwene brojnim figurama u ivopisnoj odei. Poto slikar prikazuje scene sloenih kompozicionih reewa, ini se da se na dve scene s kraja ciklusa predstavqa i kueviki hram. Epizoda s Atanasijem ispripovedana je u etiri scene. Ona se pojavquje i u ciklusu iz Temske, ali ilustrovana samo u jednoj sceni. iwenica to je u Erminiji ona opisana u dve scene omoguava da se sagleda nain na koji su se slikari prilagoavali opisu. Od uticaja je mogla da bude i vea povrina prostora kojom je raspolagao kueviki slikar. Ciklus iz Temske odlian je primer deliminog preuzimawa odreenog izvornika. Iako se dobar deo ciklusa da tumaiti tekstom Erminije, uvodna scena, darovawe imovine, nije pomenuta u tekstu i sree se samo u ovom ciklusu. U hilandarskom ciklusu na detaqan nain je ispripovedano itije svetog ora. Uvodna scena ciklusa, Ispitivawe, ilustracija je teksta Erminije, no dopuwena izvesnim detaqima. Kroz celokupni tok ciklusa slikar je unosio ikonografske pojedinosti koje ponekad nisu posledica ilustrovawa teksta, nego preuzimawa ikonografije iz drugih

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svetiteqskih ciklusa, kao to je sluaj sa scenom muewa kopqima, izvedenom iz istoimene scene iz ciklusa muewa svetog Dimitrija. Opadawe slikarskih moi i znawa opaa se u ciklusima iz Ribnice, Lomnice i Dobrilovine. Poznovizantijski ciklusi svetog ora u srpskom slikarstvu pokazuju sadrinsku objediwenost u daleko veoj meri no to je to bio sluaj ranije. U tome oni i jesu slini s ostalim poznovizantijskim ciklusima koji su, sem izvesnih topografskih izuzetaka, slini ma gde su nastali.

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The Church of St. Nicolas, Nikoljac Monastery, 15701580. The Interrogation (drawing by B. Kievac)

The Church of St. Nicolas, Nikoljac Monastery, 15701580. The Spearing and Torture with Claws (drawing by B. Kievac)

The Church of St. George, Ribnica, Podgorica, end of the XVI century. The Torture on the Wheel (drawing by B. Kievac)

The Church of St. George, Ribnica, Podgorica, end of the XVI century. The Resurrection of the Ox from the prison (drawing by B. Kievac)

The Church of St. George, Ribnica, Podgorica, end of the XVI century. The Release from the Lime (drawing by B. Kievac)

The Church of St. George, Dobrilovina Monastery, 1609. The Interrogation (drawing by B. Kievac)

The Church of St. George, Dobrilovina Monastery, 1609. The Beating (drawing by B. Kievac)

The Church of St. Nicolas, Gradite monastery, 16191620. The Torture on the Wheel; The release from the Lime (drawing by B. Kievac)

The Church of Christ the Saviour, Kuevite, formally edicated to the Introduction of the Virgin into the Temple, middle of the XVII century. The Miracle of the Reconstruction of the Church; The Miracle of the Deliverance of the Enslaved Youth (drawing by B. Kievac)

The Church of St. George, Temska Monastery, 1654. The Poisoning, The Prayer, The Resurrection of the Dead, The Beheading of the Dead and the Magician (drawing by B. Kievac)