Within the complex of the Žiča Monastery is the chapel of Saint Sava, built in 1935. The project of this small church and the monastery refectory, which is connected to it, was arranged by the eminent architect, researcher of Serbian antiquities, professor, academician Aleksandar Deroko. He also designed the bishop’s palace, which is located on the northwest side, while the chapel is located southwest of the main church. The Church of Sain. Sava was modelled on temples from the early Christian period, and with its simple shape, reduced dimensions and discreet decoration, it fit perfectly into the monastery complex.
The key figure in the great reconstruction of Žiča in the forties of the last century was the great builder, the bishop of Ohrid-Žiča, Nikolaj Velimirović. As a supporter and one of the spiritual leaders of the prayer movement, he tried to build a total of twelve altars in Žiča, together with a bell tower that will have twelve bells, as many as there are chief apostles. The Church of Saint Sava with a refectory was just built for the members of the pilgrimage movement who often organized organized visits to the monastery, stayed there and held their assembly there in 1937.
The church is a single-domed building, with a semicircular altar apse in the east. The rectangular nave is divided by a transverse transept that forms a cross, as in the buildings of the Raška school. The main entrance is on the north wall and leads to the nave, while the west entrance with its wide doors is connected to the dining room and when opened, a unique space is obtained. In addition to perfect communication, the temple received excellent lighting due to the correct arrangement of window openings.
Soon, after the construction work was completed, the church was painted in 1937, with the funds of Marija Žutić, in memory of her deceased only son Petar. The painting was executed by the Russian painter Nikolai Baron Mayendorf, with his assistant Naum Andrić. When starting from the northern wall, in the western aisle, to the left and right of the monophore, the Russian imperial theme is presented. It is certainly a visual expression of the spirituality of the Serbian Orthodox Church and its deep respect for the Russian monarchy and Orthodoxy. Obviously, it was also a direct choice of the bishop of Žica, Nikolaj Velimirović, who realized his idea with the painter Baron Mayendorf. Bishop Nikolaj, in that terrible time of turmoil and crisis, with tragic events in Russia and fascist forces on the political scene in Italy and Germany, foresaw a similar scenario in Serbia. A wise bishop, like a good shepherd and spiritual leader, advises his people all the time, emphasizing the national importance of the Orthodox Church, the monarchy, rulers and hosts.
Among the Russian rulers, Tsar Nicholas II Romanov, then Saint Prince Vladimir, the founder of Russian Christianity, were chosen to suffer, while below them in the first zone is painted a standing figure of Saint Venerable Seraphim of Sarofsky. Nicholas II Romanov (1868-1919), son of Tsar Alexander and Empress Maria Feodorovna, was crowned in May 1896. During his reign, he participated in the construction of 10,000 temples and 750 monasteries.
The representative portrait of the emperor in the Žica chapel was made on the basis of an already existing painted portrait. The monarch is represented in half profile and is slightly turned towards the altar. The imperial uniform and insignia (crown, scepter and sfairos) indicate the status of the person portrayed and the ideals of beauty of the time in which the portrait was created. The emperor is draped in a yellow mantle, decorated with ornaments of black double-headed eagles, which has a wide collar and ermine edges. Ermine fur, because of its whiteness, symbolizes innocence and spiritual purity. For this reason, it decorates the clothes of statesmen and high church dignitaries. A necklace is draped over the mantle, which is also formed by double-headed eagles. On the chest is a straight-armed Maltese cross and most likely it is the cross of St. John of Jerusalem, which is kept in the Hermitage. On the monarch’s head is a crown with rows of jewels. The striking figure of Tsar Nicholas II Romanov has been carefully processed: regular features, a high forehead, brown hair, a finely shaped beard, a slightly accentuated smile and, above all, expressive, clear blue eyes, indicate power, wisdom and beauty, which were the virtues that adorned the ruler.
Since he worked in the palace chapel in Dedinje, it is possible that Mayendorf was familiar with the collection of Russian imperial portraits in the possession of Prince Pavle, who was closely related to the noble Demidov family. It is evident that Bishop Nikolay had great respect for Russia and its fallen monarch, and Nikolay Velimirović wrote about Nikolay II Romanov, who was declared a great martyr only in our time, as a great benefactor of the Serbian people, highlighting his high moral qualities. It is a historical fact that the emperor entered the First World War honorably, in order not to betray Serbia and France. King Aleksandar Karađorđević was also a great admirer and debtor of the emperor, who, after the dramatic circumstances that occurred in Russia, generously received and housed Russian emigrants. As a sign of the Serbian people’s gratitude to the Russian emperor, the painter Andrej Bicenko, also a Russian emigrant, painted Nicholas II Romanov with King Peter and King Alexander Karađorđević on the west wall of the Ruzica Church in Kalimegdan.
After the Second World War and the victory of the revolutionary authorities, the church of Saint Save in Žiča was closed to the public, and the portrait of the emperor was covered by nuns with blue paper, which over time merged with the wall. So the portrait slowly sank into oblivion. During the restoration work in the church itself, which was damaged in the 2010 earthquake, this emperor’s portrait was rediscovered.
Marina Lukić Cvetić
art historian
Museum of Spoonsweets – House of Cvetić, Kraljevo