*

, **
,

UDC 75.051(497.16 Piva)15/16

726.591
75.046.3:271.2-31
DOI 10.2298/ZOG1438203V

,

,
.
, , 1586. 1604.
(1606)

1573/1534. . (1610/1611) .
1638/1639.
. .
: , , ,
, XVI XVII , ,

The paper is devoted to the chronology of the genesis of the
iconostasis and the choros of the monastery of Piva and to the
attribution of some of their icons. It presents the hitherto unpublished Deesis row which formed part of the original altar
screen and was painted sometime between 1586 and 1604.
The Deeisis and the somewhat younger Crucifix (1606) were
mounted on the old iconostasis above the despotic icons painted by Longin in 1573/1574. At least one of the two-sided icons
from the subsequently made choros (1610/1611) is not his
work. For the new carved wooden iconostasis (1638/1639) the
Serbian painter Jovan painted the despotic icons and the icon
of the Descent of the Holy Spirit in the upper tier. A disciple of
his painted the other eleven icons of the Great Feasts.
Keywords: Piva monastery, Deesis row, iconostasis, choros,
sixteenth- and seventeenth-century Serbian art, painter
Longin, painter Jovan

,
. * . 177036
. 177032 ,

.
** dvojvodi@f.bg.ac.rs; milos.zivkovic@vi.sanu.ac.rs

.1 ,
,
. , , .
(. 28).
1969. .2 ,
231,
, . ,
. ,
,
. , ,
, .
.
(. 2)
,

( 535 cm).
1638/1639. .

1

1991. . ,
, in: , ed. . .
, 1991, 207230.

.
2 . . ,
1969. , 39/4 (1986)
134 (= idem, , 1992, 329).

203

 38 (2014) [203220]

. 1. ,
( . )
Fig. 1. Piva monastery, iconostasis of the Church
of the Dormition of the Virgin (photo: R. ivkovi)

.
, .
, .3

. , ( 150 cm)

.4
,5
.

204

3

.
4 ,
, .
5 .

, , ,
, ,
.
, .
,
.

.
,
.
[Is= / hs=], ,
, (. 4) [mi=r/
Tu=] [Iw=].

. , . [pe=], [iw=],
[ar=d], [ma=r], [i<ako>] [To=],
[pa=] (. 5), [ma=],
[si=] (. 3, 9), [l=U] (. 3), [va=] (. 7)
[fi=] (. 6). ,
, , ,
. , ,
. , ,
. .
,

XVI .6


, .
, ,
() .7
. , ,
, ,
6 . , ,

10 (1997) 8990, . 4; . ,
2003, 6061.
7 . , ,
1977, 278279, . 149151; . , . ,
, in:
, 1994, 13
15, 17, . 4; . , ,
11 (1975) 268269, . 1314; . ,
, in: ,
16062006, d. . , 2006, 139140, 143151, .
19, 29, 2326; . ,
15571690, 2014 (
), 173174.

 ., .:

. 2.
Fig. 2. Deesis row

. 3. ,
Fig. 3. Deesis row, apostles Simon and Luke

. .
,
,

, 1638/1639. .
, ,
, , .
1606. ,
,
(. 1, 10). , , . (. 4) (. 10)
.
(. 6).

. . ,

, .
.
, ,
.
(. 10)
(. 36).

. 4. ,
Fig. 4. Deesis row, Mother of God

,
, . -

205

 38 (2014) [203220]

. 5. ,
Fig. 5. Deesis row, St. Paul the Apostle

,
,
. ,

19. 1604. 1. 1606. . (. 7),
, (. 8).
.8 ,


.

,
.
.
sIe leto i
krstq sqvrq[i se.9

206

. 6. , a
Fig. 6. Deesis row, St. Philip the Apostle

.10

.11 ,
, ,
,
.12 ,

.
. , ,
1606.
, ,
.

8 cf., , . -

10 , , 350351.
11 --

, 1557
1615, 1965, 151152; E. N. Kyriakoudis, Les artistes Grecs
qui ont particip la peinture murale des rgions sous la juridiction du
Patriarcat de Pe pendant sa rnovation (15571690), Balkan Studies 24
(1983) 500501.
9 Cf. . ,
I, 1902, 267268 (. 949, 950),
, .
.

( ,
1965, 99),
.
( , 175, n. 752).
12 . ,
, in:
, ed. . , 1998, 152153, .
2, . 1.

 ., .:

. 7. ,
Fig. 7. Deeis row, St. Bartholomew the Apostle

,13

.
, ,14
.15
, ,
, , (1586) (1604). .
, XIV .16
.17
, 13 -, , 5960;

. , . , . , 24 (1995) 9697.
14 . Skovran, Longinove ikone i freske u manastiru Lomnici,
Nae starine 9 (1964) 40; -,
, 113; . , . ,
1988, 271, 273; . ,
(1619. ), 1998, 3942; . , ,
1999, 181, 187188, 197200; . ,
II, 2008, 2126, . 711, . 12.
15 Cf. . ,
, 36 (2012) 121.
16 Ibid., 121122; . ,
,
44 (2012) 170173.
17 . , , 19 (1983) 95114, . 29; .
, , in:
. , 2011, 309, . 13; .
, ,
2014, 3638, . 19.

. 8. ,
Fig. 8. Saint, fresco in the catholicon of the monastery

XVI .18 , ,
(15921614),19
.
.
,20 18 1580.
vrlo liep i velik krst od pozlaena drva [P. Matkovi,
Putovanja po Balkanskom poluotoku XVI. vieka. XIV. Dnevnici o putovanju mletakih poslanstva u Carigrad: Osobito Jakova Sorance od
g. 1575 i 1581., i Pavla Kontarina od g 1580, Rad Jugoslavenske akademije znanosti i umjetnosti 124 (1895) 65; R. Ljubinkovi, Majstori
starog srpskog slikarstva. Povodom knjige profesora Radojia, Nae starine 1 (1957) 196; -, ,
61; . , ,
2010, 30]. ,

.
(29. 26.
1592), (1593/1594) (1594).

(cf. , , 159160).

cf. ,
, 122, .
19 . (. ,
. . , . , , 1990, 270).

,
. Cf. -,
, 100 ( ); . , , 14 (1978) 237; . , ,
1984, 116; , , ,
, 272 (. . ).
20 , , 349351.

207

 38 (2014) [203220]

. 9. , , . 3
Fig. 9. Dessis row, St. Simon the Apostle, a detail of fig. 3

.21
,
,
1616/1617.
.
,
1606. 1607. .
***


.

1638/1639.
.

.
,
. ,

,
1573/1574. (. 1, 11, 13).
. vq lyt(o) | z*v
gre[nQi
21 . , , 20022, 5764;

208

. , ,
1996, 103104; Z. Gagovi, Crnogorski ikonostasi i njihovi tvorci, Cetinje 2007, 2631; , , 121.

. 10. ,
Fig. 10. Mother of God, detail of the cross of the iconostasis

lwggJnnq

: poCehq / m(e)s(e)ca noemrJa i
sqvrq[ihq / m(e)s(e)ca mai].22

1573. 1574. ,

.
1813.
.
,
, 1782. .23
.

22
,
, cf. . ,
, 1955, 74; . . , , 1961, 119 (. 72); Skovran, Longinove ikone i freske, 30; eadem,
, 1980, 4041
(. 45); , ,
123; . , XVI XVIII I, 2013,
315. O cf. . ,
, in: , 7789.
23 . ,
,
53 (1922) 109.
, cf. . . , ,
1937, 10; , , 74.

. .
,
. Cf.
, , 118126.

 ., .:

.24
1638/1639. (. 12)

.

XVII ,
je
.25 ,
, ,
.
a
.
, , ,
,
.26 ,

.
,
,
. .

, , .27
, 1573/1574. .
24 cf. , , 2223.
25 cf. infra. .
, ,
1782. (ibid.,
22). , ,

. ,
,
, a . f.
, , loc. cit.
26 , .

, , ,
. , , (cf. infra et . 11).

.
,
,
(cf. ,
, 118121, 125126). ,

(, 121, 125126)
,
. ,
,
. ,

.
27 , , loc. cit.

. 11. ,
( . )
Fig. 11. Dormition of the Virgin, painter Longin
(photo: R. ivkovi)

1572/1573. 28
, ,
.
. ,
,
, .29
28 cf. n. 9. Cf. ,

, 10; . , . XVIXVII , 1991, 202.

29 . , ,
2003, 120. .
. , ,
, , (cf. n. 9).

209

 38 (2014) [203220]

. 13. ,
, ( . )
Fig. 13. Icon of Christ with the apostles,
painter Longin, a detail (photo: R. ivkovi)

. 12. ,
( . )
Fig. 12. Dormition of the Virgin, painter Jovan
(photo: R. ivkovi)

,

, , ,
, .30

210

, .

1573/1574. . ,
:
?

.
, .

(1568. 1572. )
(cf. ,
, 911; ,
, loc. cit).
30 , , 23.

.31 ,

,
(1586),
. , ,
,
, . XVI
XVII .
.
,
.
,
, . , (. 11).

. ,


.


, . , .32
.
, , .
31
,
(16081612), cf. . , ,
34 (2002) 286287; idem, I, 312.
32 v. , n. 55.

 ., .:

,
,
, .33 ,
,
, , . ,
, .34 , ,
.35 ,
. To je, , , XVII . ,
, ,
, ,
, (. 15).36
, ,
- .37
, ,
. , ,

.38 ,
. (. 14),
, , XVI , ,
.39 , ,
33 1969. ,
, , ,
[, , 134 (. 233)].
, ,
. ,
, cf. n. 69 infra.
34 .

, .
35
1638/1639. [, ,
60, 128129 (. 86); . , ,
1 (1963) 58],
, , cf. ,
, 4750, 2329, . VVIII;
, , 7789; , I, 319.
36 , , 24.
37 . ,
, 7789.
38 Cf. . , , in: idem,
XVI XVII , 1995, 250. f.

( , , . 432, fol. 76v),
, cf. . ,
XVI XVII , 2012, 108, . 2 (
).
39 , , 49 (. 27).

. 14. ,
( . )
Fig. 14. Crucifixion, choros icon (photo: R. ivkovi)

.
-
. ,

, .

. ,
, 1610/1611.
(7119) , : + sJe horo sxgradi
se vx let(o) 0 z= 0 r T I= (. 16).40 40 1601.

, cf. . , , , 5 (20) / 12 (1961)

113; , , 53, n. 49; . ,
. XVIXVIII ,
1966, 69; , ,
30, 51 (. 33); , ,
125 (. 98). . (Crnogorski ikonostasi i njihovi tvor-

211

 38 (2014) [203220]

,

.
,
, ,44 , .

.
.45
1610/1611.

.46 ,

, , , 1573/1574. ,
1574, .47
***

. 15. ,
( . )
Fig. 15. Nativity of the Virgin, choros icon
(photo: R. ivkovi)

,41
. 1568. ,42
1596/1597.
.43
1610/1611. , -

212

ci, 34, n. 99) 1611,

.
41 cf. , , loc. cit.
42 Ibid.
43 . ,
12. 17. , 1980, 37 (. 60); ,
I, 312, 320. ,
.

1600. ,
, cf. ,
, 287.

1638/1639. ,
. , ,
. , ,
, , .
.
,
:
, ( ),
,
-. ,
, ,
, . ,
. ,48
:
44 , , 125

(. 98). cf. , , 6971; ,

, 51 (. 33).
45 ,
.
, cf. , , 71; ,
, 51 (. 33).
46 , ,
, , .

.
47
f. n. 35 supra.
48 M, , 10;
a, 222223; . , , in:
, 51; Gagovi, Crnogorski ikonostasi, 34.

 ., .:

izvolenJem(q) i/e vq troici sl(a)vnmago b(og)a 0 sxgradi

se tem%p&lo sJe vq lyto / 0 7 0 r 0 $ 0 7 0 pri patrJarhU kVrq
paVse} 0 i mitropolitU kVr(q) vxsilJ} 0 i po;(e) se pri igUmenU
kV(rq) vxsilJ} 0 a sxvrq[J se pri igUmenU k<Vrq> / Tew<d>(o)sJ} 0 i pri eklisJarhU kVrq gerasimU ivanq voivodik} 0 i semU
bQstq Titor(q) i nastoatelq / Jer'monah(q) Tewd(o)rq drob'n]kq 0
i Jermonah(q) misailq 0 b(og)q da ih(q) prostQ 0 i sq pom(o){J}
voevode nika 0 i kneza gavriJla / to/de lyto sqgradi se nova kelJa 0
nasto]nJem(q) Jer'monah(a) sVmewn(a) 0 Jer'monah(a) hrJstovora 080
,
. Ka
,
1633. 1636/1637. ,49 1636/1637.
.50
, 1636/1637,
,
1638/1639. . ,
.

.

( ).51 , ,
, XVII .52
49 , 1637,

070r=0$0e=0, 1636/1637. Cf. ,
, 57, 58, .
50 , , 5758, n. 95. Cf.
, , 54 (. 49); , , 55.
51 -, , 105106;
, , 22, 25, 46 (. 31);
Gagovi, Crnogorski ikonostasi, 3437.
cf. . -,
XVII , 1 (1966) 119134; . , (16001750), 28/4 (2007)
283292; idem, 16 ,
34/4 (2013) 323336; idem, 16
17 :
, 1 (2014) 99106 (
,
).
,
(. , , 1999,
184186, 193196, . XVI, 48)
(1634/1635) (. , . , - , 20122, 279, . 264). , cf. . . Weitzman, Icon Programmes of the 12th
and 13th centuries at Sinai, 4/12 (1984) 6386; J.-M. Spieser,
Le dveloppement du templon et les images de Douze Ftes, Bulletin de
lInstitut Historique Belge de Rome 69 (1999) 131164; . . , .
XVXVI , in: .
, d. . . , 2000, 465489; .
, , in: .

, ed. . ,
2011, 447.
52 , , 25.
,
, cf. , I, 258267.

. 16. ,
Fig. 16. Choros, inscription with the year of creation

1625/1626.
, ,53 1604/1605.

.54 ,
. , ,
, .
, ,
.55
53 , , 1920, .

1115; , XVI XVII , 142, 145, .

68; , , . XVII, .
5456; . , . ,
, 2011, 244, . . 244, 245, 246, 249; ,
I, 263, 265, . 213, 215,
54
cf. , II, 170.
55 v. , ,
128 (. 85); , , 42 (.
78). Cf. , I, 266 ( ).

,
. , ,
1643.
,
.

( )
.


,
,
. .
cf. . ,
1643. , 34
(2002) 265280; idem, XVI XVII , 6674,
145148, 254255.

213

 38 (2014) [203220]

O , , (. 12).56

(. 11), .57 , , .
. , ,

.58


.
,
. , ,
. ,
,
.59

.60 , , ,
56 , , 127 (. 84); ,

214

, 4142 (. 6). Cf. ,

I, 266 ( ).
57
, ,
, 251, .
58 . . ( , 62)
,
o o (cf. n.
66 infra). , . (
, 23)

16381639. ,
. , ,
,
. ,
(cf. ibid.,
39, 41, . 3, 6). ,

, cf. , XVI
XVII , 142; , , 94,
107; , , , 247;
, I, 266, 314.
59 , ,
. Cf. . . ,
, 1985; ,
, 120121. cf. S. uri,
Proskynetaria icons, saints tombs, and the development of the iconostasis, in: , 134152.
60 1688. , cf. ,
, 105106, . 65; . ,
,
in: , 2013, 166. ,
()
, XVIII ,
,
, cf. . , ,
1996, 7071 (v. , . 6364,
).
cf. . ,
XVII XVIII , in: idem,
XVIII .

, .61 ,

, , .62
,
.
, , , .
.
(65,5 136 cm)63
10,5 cm 6,5 cm
(76 129,5 cm). ,

.
.
,
(. 11). ,
. , ,
. ,
.64 , ,
,
. ,
, 2010, 2123.
, o . , cf. S. Kalopissi-Verti, The Proskynetaria of the Templon and Narthex: Form, Imagery,
Spatial Connections, and Reception, in: Thresholds of the Sacred: Architectural, Art Historical, Liturgical, and Theological Perspectives on Religious Screens, East and West, d. S. Gerstel, Washington 2006, 107134
( ).
61 , 1644/1645,
, (, , 99102, . 51). ,
.
1729, cf. . ,

, in: , 112; ,
, . 95.
62 . (Crnogorski ikonostasi, 34)
nedostajue ikone: sv. ora,
jednu od najljepih ikona naih prostora i sv. Savu i Simeona, kasnije
1645. godine ponovljenu na morakoj oltarskoj ikoni, pored
toga, kao oma velikom prethodniku, radi repliku Uspenja Bogorodice,
gotovo u svemu prema originalu, uz blagu dozu nadmetanja.
63 , , 39 (. 3).

, .
64 je
(76 cm). (129,5 cm)
(134 cm) (134 cm).
, , 41, 42, (. 68).
, , ,

.

 ., .:

,

(. 12).65
.66
,
, , , 1638/1639.
,
, .
, :
,
? , ,
.
.

,
.

1638/1639. , , (134 69 cm) (136 69 cm).67 ,
, in situ,
,
. K
,
(. 13),
.68 ,
65 . ,

. Cf. ,
, 42 (. 6).
66 ,
1638/1639.
.


[, ,
. 53 ( )],
1957. (,
, . XXII). ,
1969. ,
,
, cf.
, , 134 (. 230).
1961. 1969,

, cf. ,
, 127 (. 84).
,
,


, cf. n. 23 supra.
67 cf. ,
, 4041 (. 45).
68 . ,
.
Cf. , , 120.

. 17. , a
(: . )
Fig. 17. Annunciation, festal icon of the iconostasis
(photo S. Vulovi)

,
. ,
. ,
, 1969.
, , ,
. ,

.69
, ,
:
.
, , .
69 (cf.
n. 33 supra), .
.
, , (,
, 97, 116, . 31; , ,
121). ,
. , ,
,
. , ,
cf. , I, 266267.

215

 38 (2014) [203220]

. 18. ,
, (: . )
Fig. 18. Entry into Jerusalem, festl icon of the iconostasis,
detail (photo S. Vulovi)

. 1638/1639.
.
,
, .
1709.
.70
,
,
.
, 1969.
,
.

1636/1637.
1638/1639. .
. ,
, ,71 70 Cf. et ,

216

, 109112.
71 . , , 25, 4246 (. 920), : , , 107; . ,
. , ,
1997, 302; ,
, 275; Gagovi, Crnogorski ikonostasi i njihovi tvorci,
Cetinje 2007, 34; , XVI XVII , 72;

. , ,
,
. ,

, . , , ,
XVII .
(. 19). , ,
,
, .
.72
,

,73
.
,

.
.
, ,

,


. , .


[ (. 17), , , ]. , ,
, . ,

. ,
, , , , 247; A.
ilikov, Icons in Montenegro, Podgorica 2014, 64. Cf. ,
I, 261, 266,
. ,
,

,
: . a,

(, XVI XVII , 142).

o .
,
dvanaest ikona ina na templonu
, , cf. P. Mijovi, Piva, in: Likovna
enciklopedija Jugoslavije II, Zagreb 1987, 590.
72 cf. ,
I, 258267.
73 , , 25, 46, 48.

 ., .:

(. 18)].
[
(. 18)].

. ,
,74 .75
, , .76 ,
,
, .77

. 19. ,
,
Fig. 19. Descent of the Holy Spirit upon the Apostles,
festal icon of the iconostasis, detail

. , ,
,

. ,
,
, ,
,
.
.
( ,
)
[ -

74 , , , . . .
, ,
, cf. , , 62.
75 .
( , , cf. To,
I, 5258) (1641), [. , ,
7 (1971) 259268; idem, , 13 (1977)
107, 112; . ,
12. 17. , 1980, 38 (. 7475); ,
, 99105 (. 2528); , I, 263].
,
.
(1664/1665)
(1666/1667),
,
cf. . , XVII , 1998, 27,
28, 135137 ( ).
,
, cf. ibid., 27; ,
, 135, 141, . 19. ,

.
76

, , .
, ,
, cf. T. ,
, in: , 199.
77
,
, (1674/1675),
, cf. , ,
31, 163164; (), , 106107 (.
3034); , , 439, 443,
445447.

217

 38 (2014) [203220]

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 38 (2014) [203220]

The Deesis row from Piva: A contribution

to the study of the iconostasis and icon painting
of the Monastery of Piva
Dragan Vojvodi and Milo ivkovi
An interesting work of icon painting from the monastery of Piva has entirely escaped scholarly notice and
remained unstudied. It is a long Deesis row which is now
placed on the back side of the iconostasis. The representation follows the usual pattern in that it shows Christ
and the figures of the Virgin and John the Baptist in the
middle flanked by the figures of the twelve apostles. Unlike the usual Deesis row, however, the apostles are shown
seated on wide backed thrones turning towards Christ.
The Deesis row undoubtedly formed part of the screen
which had enclosed the sanctuary before the iconostasis
of 1638/1639. The older iconostasis was apparently created gradually, possibly in two or three phases. It must have
been given its final shape only in 1606, when a monumental cross was mounted atop of it, a work of one of the
painters of the frescoes in the naos. Upon closer examination, however, it appears that the painter of the Crucifix
was not the one who painted the Deesis. The painter of
the epistyle was an artist of modest talent: his drawing is
quite stiff, the painted matter often dry, the colour scheme
limited and crude. Differences between the cross and the
epistyle are even more obvious in the shape and carving
of ornaments. Despite some similarities, the figures on the
epistyle cannot be attributed to any of the painters who
decorated the monastery of Piva with frescoes in 1604
1606. In all likelihood the epistyle was painted sometime
in the course of the nineteen years which, according to
the donor inscription, intervened between the completion
of the church (1586) and the beginning of its decoration
with frescoes (1604).
The existence of the Crucifix and the Deesis row suggests that there would have been even before 1604 the
despotic icons on which these two elements of the altar
screen had leaned. It seems reasonable to assume that
those were the icons, presently in the tier of despotic
icons, of Christ and the Apostles, of the Virgin and the
Prophets and of the Dormition of the Virgin painted
by the renowned painter Longin in 1573/1574. Longin
painted them for the iconostasis of the old church of the
monastery, or for the iconostasis which was not mounted
until after the construction of the new church, begun in
1572/1573, and completed in 1585/1586. Besides the despotic icons, Longin apparently also painted choros icons.
The explanation for the stylistic differences between these
icons and his reliably attributed works has been that the
icons were reworked. It seems, however, that two choros
icons, the Birth of the Virgin and the Presentation of the
Virgin in the Temple, cannot be attributed to Longin at
all. The choros which is presently hung in church was created in 1610/1611.

220

The altar screen of the Piva monastery church was

given its final shape in 1638/1639, when the Crucifix was
mounted above the monumental two-tiered carved wooden
iconostasis that replaced the previous despotic icons and the
Deesis. The master painter, and possibly also woodcarver,
was Jovan, the most important Serbian painter of the seventeenth century. Rightly attributed to him, in addition to the
icon of St George and the badly damaged icon of Sts Sava
and Symeon, today in the tier of despotic icons, is also the
icon of the Dormition of the Virgin, now deposited in the
monasterys treasury. It has long been observed that this outstanding work is an almost exact replica of Longins icon of
the same subject matter. There should be no doubt that Jovans Dormition icon was intended for the iconostasis of the
Piva monastery. The replica perfectly fits the intercolumnar
opening of the new iconostasis, unlike Longins much narrower original. To make his icon fit the framework given by
the new iconostasis Jovan changed not only its dimensions
compared to Longins original but also the arrangement of
content elements. he 1638/1639 inscription about the making of the iconostasis partially travels over the figures of three
hymnographers n Longins icon. To avoid that in his replica, Jovan moved the poets from the bottom of the icon to
the windows of the buildings in the background of the scene.
Finally, it seems reasonable to assume that Jovan wrapped up
his work on the tier of despotic icons. Given that he painted
the icon of the feast to which the monastery is dedicated on
the model of Longins, it should be assumed that he did the
same with the icons of the Virgin with Christ and the Prophets and Christ and the Apostles, Longins also being visibly
narrower than the intercolumnar openings of the new iconostasis. Two of Jovans icons were probably destroyed in the
meantime, possibly on the same occasion when his icon
of Sts Sava and Symeon suffered substantial damage. This
seems to have been the reason for replacing them with the
older icons painted by Longin.
Yet another important issue raised by Jovans work at
Piva concerns twelve festal icons in the second tier, themselves copies of Longins icons, but in this case his choros
icons. These icons from the second tier have been attributed
to Jovan. A closer examination shows, however, that they
greatly diverge from Jovans painterly style. This goes for as
many as eleven festal icons, while only one reveals the hand
of the best Serbian painter of the seventeenth century: the
Descent of the Holy Spirit upon the Apostles. Stylistic analysis suggests that all other icons of the Great Feasts should be
attributed to another painter, a much less gifted and skilled
assistant or disciple of Jovan. Apart from a more detailed
analysis of Jovans work, more information about the history
of the Piva monastery may be offered by the remains of the
royal door which are currently not in the monastery.