CHURCH OF THE HOLY APOSTLES

The Church of the Holy Apostles (Црква светих Апостола/Crkva svetih Apostola, Kisha e Apostujve të Shenjtë) is the oldest and largest of the monastic complex in Peć. It was commissioned by St. Sava himself, shortly before his departure for the Holy Land in 1234, and was erected under the direction of Arsene I, his successor (1233-1263). The Catholicon (main church) of the monastery is located between the Mother of God-Hodegetria Church (to the south) and the Church of St. Demetrios (to the north). Due to architectural changes, earthquakes and interventions of different painters until the 19th century, many original frescoes have disappeared. The church "of St. Sava" remains nevertheless one of the most venerated places of worship of Serbian Orthodoxy.

FurnitureSarcophagi

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The church was designed to become the mausoleum of Serbian archbishops and patriarchs. It preserves three sarcophagi, all located along the south wall. The first one on the right, rudimentary, is that of Joannice II, the first Serbian prelate to bear the title of patriarch (1346-1354). The second is the most luxurious. Made of red marble and decorated with crosses and plant motifs, it was designed in 1236 for St. Sava, but served his nephew Sava II, the second archbishop of Peć (1263-1271). The third, located near the dome, is empty today. It housed the remains of Arsene I, the first archbishop of Peć after Saint Sava.

Iconostasis.

It dates from 1722 and houses a small number of icons. The partition itself is uninteresting, but the icons, neatly done, were made by two Greek artists from Thessaloniki. They wrote the inscriptions in Greek and not in Old Slavonic. The royal doors illustrate the evangelists. The two large icons are those of the Mother of God Eleousa ("of tenderness") and of Christ. The second register contains fourteen small icons of the feasts of the Orthodox liturgy (Nativity of Mary, Exaltation of the Holy Cross...).

Patriarchal throne.

It is located in the south transept. Made of red marble, but without great luxury, it was installed during the episcopate of Patriarch Joannice II (14th century). It is used by the Serbian patriarch during his enthronement. It is also in this part of the church that the nuns attend the liturgy every day at 5am and 5pm.

Frescoes of the naosWalls

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Almost all the frescoes on the north wall have disappeared. Those on the west wall framing the door date mostly from the 17th century and are of poor workmanship. But two painted parts remain, commissioned by King Milutin around 1300. One, at the top left, is part of a cycle on the Passion of Christ: Simon of Cyrene, a simple passer-by requisitioned by Roman soldiers to carry the cross of Jesus; the other above the door: the Serbian rulers Uroš I (1112-1145) and Stefan Nemanja (1166-1199) presented as austere monks. Their portraits also appear on the south wall, above the first sarcophagus, among a series of eight members of the Nemanjić dynasty. But only the portraits of these two date from the fourteenth century. Again, both rulers appear with emaciated faces and in monastic garb, as all became monks at the end of their lives.

Main vault.

Here the cycle of the Passion of Christ (c. 1300), which began on the west wall, continues. The upper part preserves three beautiful scenes: the washing of the feet, the betrayal of Judas and the arrest of Jesus. Note the anachronistic, but beautiful outfits of the Roman soldiers. In the upper part of the northern half, the preserved frescoes from the 1260s detail the trial of Jesus (in the Temple of Jerusalem), the three episodes of Peter's denial, and then Jesus judged by Pontius Pilate. The Roman prefect is shown in rich medieval garb washing his hands.

Frescoes of the domeSuperb

, they date from the years 1260-1263 and inspired the religious art of the central Balkans for over a century. They were thought in the context of the creation of the Serbian Orthodox Church (1219) with a host of symbols and messages. Note that they bear the signs of regular hammering, in order to better adhere a new layer of plaster. Indeed, in the 18th century, the entire area of the dome was covered with new frescoes, finally removed in the 1930s.

Calotte.

The top of the dome is occupied by the scene of the Ascension, i.e., the elevation to heaven of Jesus, his last physical appearance, forty days after his resurrection. Christ is painted dressed in a golden tunic in a disc of white light carried by four angels. In the Byzantine tradition, white and yellow are associated with the feasts of Christ and represent the sun, purity and light. For Christians, the Ascension announces, among other things, the creation of the Church. In the context of the thirteenth century, this is an evocation of the recognition of the autocephaly (independence) of the Serbian Church.

Drum and pendants.

Between the windows are the Mother of God alone, the apostles associated in pairs, except Peter who is painted with the archangel Gabriel, and Paul in the company of the archangel Michael. This illustrates the last meeting of Jesus with his disciples: from then on, the apostles went out to preach throughout the world. For the contemporaries of the thirteenth century, the symbol is clear: the archbishops of Peć are the "apostles" responsible for spreading the message of the new Serbian Church. Another message: on the pendants are painted the four evangelists Luke, Mark, Matthew and John writing the Gospels in Old Slavonic.

Choir and Sanctuary FrescoesIn

the dome area, the walls and bays are filled with frescoes from the years 1260-1263 where portraits of saints and scenes from the New Testament are mixed. On the surface, these paintings are unrelated. However, they are all related to episodes in the life of St. Sava and his journey to the Holy Land in 1234.

Under the dome.

Here are depicted episodes from the New Testament that took place on Mount Zion, one of the hills of Jerusalem. This is the place that St. Sava visited on his journey. South wall: the disbelief of St. Thomas (who doubts the resurrection of Jesus) and the resurrection of Lazarus. North wall: the descent of the Holy Spirit, the judgment of the nations (announcement of the return of Christ) and the Last Supper. West wall: the mission of the apostles (the propagation of the Christian faith).

South and north aisles.

Around the patriarchal throne, an army of twelve warrior saints covers the walls, including an "intruder": Saint Sava. He appears on the left (east wall) in the garb of the primate alongside two saints in battle dress, George and Demetrios. In fact, this representation is not accidental: Saint Sava was renowned for his use of warlike allegories in his advice to monks on asceticism. So much so that he is sometimes considered the "first Serbian warrior". On the vault, a beautiful scene of the Nativity. In the northern bay, almost half of the frescoes have disappeared. The vault retains two scenes: the transfiguration (revelation of the divine nature of Christ) and, very damaged, the entry of Jesus in Jerusalem. On the right (east) wall, portraits of three saints including Stefan/Simeon Nemanja, father of St. Sava.

Sanctuary. Located behind the iconostasis, it is reserved for the celebrating clergy. It is decorated with well-preserved frescoes from the years 1260-1263. One can see the vault of the apse with a beautiful deisis ("prayer" in Greek), a typically Byzantine theme depicting Christ, the Mother of God and St. John the Baptist praying for the salvation of Christians. Underneath are eight Church Fathers (early Christian theologians) with always the same "intruder" among them: St. Sava appears (first figure on the left) next to St. Cyril of Alexandria, patriarch of the^fifth century. Once again, this is a political act: to present the new Serbian Church as equal to the old patriarchates.