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UDC 75.052.046.3(497.7 Ohrid)12

DOI 10.2298/ZOG1236109G

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The author examines the figures and scenes painted on the
northern wall of the narthex of the Church of the Virgin Peribleptos in Ohrid. He describes and interprets Nebuchadnezzars dream, the figures of the archangels Michael and
Gabriel as guardians of the entrance to the church, and the
choir of the saint anargyres (Panteleimon, Cosmas and Damian). He then proceeds to discuss the empty field above the
northern door of the narthex, the arcosolium and the tomb
of Ostoja Rajakovi. Finally, he refers to the penetration of
a new passage on the eastern wall of the narthex, which
resulted to the destruction of some figures from the earliest
layer of frescoes in the church.
Key words: Virgin Peribleptos in Ohrid, Nebuchadnezzars
dream, saint anargyres, Byzantine painting, Ostoja Rajakovi

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1
G. Millet, Recherches sur liconographie de lvangile aux XIVe,
XVe et XVIe sicles, daprs les monuments de Mistra, de la Macdoine
et du Mont-Athos, Paris 1916, 164165 (. 1960);
1908. (cf. ibid., 165, n. 3).
2
. . , , in:
, 1929, 318319 (
,
, v. . CXXII); idem, L peinture serbe du moyen ge II, Beograd
1934; idem, , 1950, 234.
3
. -, XIV
, 6 (1931) 133.
4
. , - XIII XIV , , , 34 (1957) 214215.
5
R. Gruji, Ikonografski motiv slian induskom Trimurtiu u staroj
srpskoj likovnoj umetnosti, in: Tkaliev zbornik I, Zagreb 1955, 99107.

109

 36 (2012) [109114]

. 1. .
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Fig. 1. Dream of the Emperor Nebuchadnezzar. Church of Virgin
Peribleptos in Ohrid, north wall of narthex, 1294/1295

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Greek Daniel. A literary comparison, Sheffield 1995).
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Ch. Stephan, Ein byzantinisches Bildensemble. Die Mosaiken und
Fresken der Apostelkirche zu Thessaloniki, Worms 1986, 76, 76a.
8
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, in: idem, XIIIXIV , 1988, 3034.
9
. , , in: . , ed. . . ,
1995, 215216.
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, -, 214, 216.
11
. . , M . IX , 1977, . 64.
12
Cf. . . , , in: , op. cit., 823.
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1941, 50 (. . ); . , . -, , 2005, 356357.
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2011, 7585, 87, . ( ) ;
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Fig. 2. Dream of the Emperor Nebuchadnezzar. Church of Virgin Peribleptos in Ohrid, north wall of narthex, 1294/1295, drawing

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111

 36 (2012) [109114]

. 3. .
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Fig. 3. Dream of the Emperor Nebuchadnezzar.
Church of Virgin Peribleptos in Ohrid, north wall of narthex,
1294/1295, detail

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Fig. 4. Dream of the Emperor Nebuchadnezzar.
Church of Virgin Peribleptos in Ohrid, north wall of narthex,
1294/1295, detail

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R. Hamann-MacLean, H. Hallensleben, Die Monumentalmalerei
in Serbien und Makedonien vom 11. bis zum frhen 14. Jahrhundert, Giessen 1963, Plan 20, Narthex, zone II, 85; -, , 51.
25
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, in: , 1969, 47.
26
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, 1964, 3645.
27
. . , , 1974,
221 n. 121.
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IX XVIII , 1983, 3844, 5861.
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Ibid. . ,
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The painting of the northern wall of the narthex

of the Church of the Virgin Peribleptos (St. Kliment) in Ohrid
Cvetan Grozdanov

The first part of the article deals with an analysis of

the composition The dream of the Emperor Nebuchadnezzar
(Daniel, 1:27). The author comments on the two figures of
the emperor Nebuchadnezzar and on the representation of
the Holy Trinity. He then indicates a statue that is falling
apart and the painted parts of its deformed head. The author
mentions a text (Daniel, 2:33), which is well-preserved on
the wall, while the second part of the text, which is severely
damaged, is beside the statue, is examined according to the
book of the Prophet Daniel.
Scholars believe that the representation of Nebuchadnezzars dream from the Church of the Virgin Peribleptos in
Ohrid is the oldest preserved illustration of this subject in
medieval wall painting. However, the origins of this composition can be seen on the miniatures of the Hludov Psalter
from the ninth century.
In the second part of the paper, the author comments
on the fresco painting next to the door that leads into the
northern part of the church. It depicts the archangel Gabriel
(well-preserved) and the archangel Michael (significantly

114

damaged), with clearly visible parts of his figure. In keeping

with the programme tradition, they represent, the guardians of the entrance.
The pictures of St. Panteleemon and the holy anargyres St. Kosmas and St. Damian have a long tradition in
art. However, in this church, they are also connected with the
local tradition, because an important Ohrid church, built by
St. Kliment at the end of the ninth century, was dedicated to
St. Panteleemon. In the Church of St. Sofia of Ohrid, a gallery of the holy anargyres is painted on the southern wall of
the nave, as is the case in other fourteenth century churches
in Ohrid.
In the north-western corner of the narthex there is an
arcosolium that marks the tomb of Ostoja Rajakovi (1379).
As it has not been sufficiently explored, the author proposes
the archaeological excavation of the grave and the opening
of test holes with the purpose of discovering the remains of
layers from the end of the thirteenth to the end of the fourteenth century.