Gallery of Frescoes

The Gallery of Frescoes is similar to documentation and visitor centers, and in addition to the works itself, it also provides didactic material and instructive legends to guide the visitor to the answers provided by the framework theme – our medieval frescoes. Although it was proposed before the First World War to establish an institution where replicas of artworks would be kept and exhibited, the right opportunity to express such a need again, in a more decisive spirit, was the Second Byzantinological Congress held  in 1927 in Belgrade. 

The Gallery of Frescoes was opened in 1953 on the land plot where one half was donated by the Jewish community. The most beautiful Belgrade synagogue, Beth Israel, which used to be located on that place – was destroyed in the bombing in 1941, while in 1944, during the withdrawal of the Nazis, it was mined and damaged to such an extent that the reconstruction of the building was not possible. The Gallery of Frescoes was designed as a gallery space by Bogdan Ignjatović.

At the very moment of its creation, it was not thought that the Gallery would become one of the valuable music events’ hosting places of the capital. Over the decades, concerts have become, like exhibitions, a trademark of the Gallery. Special attention, following the concept, was paid to early music. Until recently, the Gallery hosted the festival named "Choirs Among the Frescoes".

The young Virgin is sitting on a throne, slightly turned towards the ray of heavenly light falling from the upper left corner. A medallion with a dove is presented in the light ray, a symbol of the Holy Spirit. Virgin Mary is dressed in an intense blue omophorion, shown as spinning threads on spindle, at the moment of the Archangel Gabriel's address. In addition to the presentation of daily work, the red thread stands out as it is intended for the future fabric of the Jerusalem temple curtain, which will get torn at the moment of Christ's death.

The first preserved representation of Saint Sava is located in the Mileševa Monastery, where he is presented with his father, near his brother and his brother's sons. Saint Sava is wearing a bishop's robe, his hair is shaped in a way typical of the Serbian autocephalous church, with a bare crown - tonsure. At the same time, this is the most prominent and best portrait of St. Sava. Made during the saint's lifetime by an excellent painter who was able to emphasize an ascetic figure through a narrow face, deep, spirited eyes, as well as specific features of the Nemanjić family line such as a long nose and an elongated face.

Archangel Michael is shown in full armor that follows the anatomy of the torso. A lion masqueron is presented on the belt that goes below the chest. The dress, which is light green in color, has short sleeves, up to half a thigh long. Red boots are depicted on the feet that reach to the calves, the tops of the patterns end with three circular decorative protrusions, similar to the shoes of King Solomon from the same monument. There is a sword in the right hand, while in the left hand the Archangel holds a scabbard.

Portraits of the Nemanjić family in front of St. Peter and Paul

The central motif on the icon given to the Vatican is the first apostles. Below them are represented, on the right Milutin, on the left Dragutin, and in the center, in a special arched field resembling a kivorion, their mother Jelena receiving a blessing from the pope. At the top of the icon, the Lord blesses with both hands the Serbian rulers who raise their hands and receive the blessing. Jelena wears a red cloak, her head is covered with a dark green maphorion. Rulers wear clothes of the same insignia significance. Red shoes are adorned with pearls.

The angel is represented dressed in a large monk’s robe. He shows it to Pachomius with his right hand and thus fulfills his prayer. Namely, Pachomius wondered what ascetic clothes, worthy of a monk should look like, because it did not exist until then. An angel appears to him in a large monk’s robe as a sign that he should wear such clothes.

Dušan is big-eyed, with visible scleras on the lower part. It was a picture of a righteous ruler on earth, a vicegerent of Christ, powerful enough to bear the image of God in his image. This was one of about thirty preserved portraits of King and Emperor Dušan. Dušan's figure is taller than natural – 2.95 cm. The copied detail of Emperor Dušan shows his bust in the imperial clothes, with hands holding acacia and a scepter.