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A fragmentary marble inscription, preserved in the Museum of Srem in Sremska Mitrovica, seems to mention the basilica of St. Anastasia: [In dom]o beati[ssimae dominae nost]re Anast[asiae. This monument provides epigraphic evidence on the cult place of the martyr in Sirmium, already recorded by written sources. According to the Passion of St. Demetrius, the church of St. Anastasia had already existed in Sirmium when Leontius, praetorian prefect of Illyricum, started the construction of the basilica of St. Demetrius. Although the find spot of the plate is not known, the finds of Ostrogothic coins next to the northern city wall imply that the basilica of St. Anastasia was located in that zone of the city, as the Ostrogoths highly respected the Martyr. It is possible that it should be identified with a martyrium leaning against the northern city wall that had been unearthed and then destroyed at the end of the 19th century.

The paper is devoted to selected images of the saint hierarchs in the Church of the Virgin in Studenica Monastery. The attention is first of all focused on the figures of four bishops who were partially covered by the high iconostasis from the XIX century. These are standing figures of St. Achillius and an unidentified saint, and busts of St. Parthenius and St. Charalambos. In adittion to mentioned, some other figures are also analyzed - three saints named Gregory in the prothesis, St. Cyril of Alexandria in the apse, a bust of St. Clement of Rome on the west wall of the nave, as well as the bust of eponymous saint - probably Clement, bishop of Sardis - on the eastern arch below the dome. [Projekat Ministarstva nauke Republike Srbije, br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]

In the katholikon of the monastery of Praskvica there are remains of two layers of post-Byzantine wall-painting: the earlier, from the third quarter of the sixteenth century, and later, from the first half of the seventeenth century, which is the conclusion based on stylistic analysis and technical features. The portions of frescoes belonging to one or the other layer can be clearly distinguished from one another and the content of the surviving representations read more thoroughly than before. It seems that the remains of wall-painting on what originally was the west facade of the church also belong to the earlier layer. It is possible that the church was not frescoed in the lifetime of its ktetor, Balsa III Balsic. [Projekat Ministarstva nauke Republike Srbije, br. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst i br. 177032: Tradicija, inovacija i identitet u vizantijskom svetu]

The fairly well-preserved fresco paintings in the dome of the Church of St. George at the Dobrilovina Monastery feature some rather unusual programmatic and iconographical solutions. The depiction of the Presanctified Liturgy and the figures of some Old Testament characters represented in the drum of the dome have no known parallels in the dome programs of Post-Byzantine monuments in the area of the Patriarchate of Peć. A troparion dedicated to the patron saint of the church was inscribed in the ring of the dome, which also bears evidence to the learnedness of the creator of this fresco ensemble, an important source for the research of Serbian wall paintings from the period after the restoration of the Patriarchate of Peć. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177036: Srpska srednjovekovna umetnost i njen evropski kontekst]

On the fa?ade of the church of the Presentation of the Virgin, in Lipljan, the damaged depictions of two rulers were discovered under a more recent layer of fresco mortar. The depictions can be identified as portraits of the Serbian king and the emperor Stefan Dusan (1331-1355) and his wife Jelena. That provides the basis for the more reliable dating of the original wall painting in the interior of the church. For their part, the stylistic characteristics of that expressionistic painting suggest that the original Lipljan frescoes came into being around the mid-fourteenth century. Probably, they were executed by the same workshop that did the frescoes in the Church of St. Peter near Unjemir in Metohia, not very far from Lipljan.

The Church of the Holy Mother of God Hodegetria in Peć is decorated with wall paintings that date from the beginning of the 14th century. In terms of style they correspond to Byzantine wall paintings from the epoch of Paleologos. The painting technique and pigment pallete has been examined on micro fragments in thin cross-sections by means of optical microscopy (OM), scanning electron microscopy-energy dispersive X-ray spectroscopy (SEM-EDS) and micro- Raman spectroscopy. Use of the fresco technique and two supporting plaster layers was noted on the majority of samples, while in large blue painted areas, a combination of fresco and secco techniques was used. The SEM-EDS results showed the presence of Ca as the main component of plaster besides the traces of Si and Mg. In some samples egg white as a binder was identified. The paint film is often multilayered. Twelve pigments were identified, mainly natural earth pigments such as red ochre, yellow ochre and green earth. A mixture of pigments was used for attaining desirable optical and aesthetical impressions. As decay product only weddelite was detected in many preparatory and painted samples.