Status of monument -> National monument
Published in the Official Gazette of BiH, no. 72/11.
Pursuant to Article V para. 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and Article 39 para. 1 of the Rules of Procedure of the Commission to Preserve National Monuments, at a session held on 11 March 2011 the Commission adopted a
D E C I S I O N
I
The architectural ensemble of the Orthodox wooden church in the village of Malo Blaško with movable property and the remains of a necropolis, Municipality Laktaši, is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument consists of the wooden church with movable property and the remains of a necropolis of stećak tombstones in an Orthodox cemetery still in use.
The National Monument is located on a site designated as cadastral plot no. 572, cadastral municipality Malo Blaško, Land Register entry no.378, c.m. Blaško Slatina, Municipality Laktaši, Republika Srpska, Bosnia and Herzegovina.
The provisions relating to protection measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of Republika Srpska no. 9/02,70/06 and 64/08) shall apply to the National Monument.
II
The Government of Republika Srpska shall be responsible for providing the legal, scientific, technical, administrative and financial measures necessary for the investigation, protection, conservation and presentation of the National Monument.
The Commission to Preserve National Monuments (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and erecting signboards with basic details of the monument and the Decision to proclaim the property a National Monument.
III
To ensure the on-going protection of the National Monument on the area defined in Clause 1 para. 3 of this Decision, the following protection measures are hereby stipulated.
- all works are prohibited other than conservation-restoration works, routine maintenance works, and works designed to ensure the sustainable use of the property, with the approval of the ministry responsible for regional planning in Republika Srpska and under the expert supervision of the heritage protection authority of Republika Srpska (hereinafter: the heritage protection authority);
- no new graves shall be dug within(1) 15 m of the church;
- the dumping of waste is prohibited.
The following measures are hereby stipulated pertaining to the movable heritage referred to in Clause 1 para. 2 of this Decision (hereinafter: the movable heritage):
- the Government of Republika Srpska shall provide suitable physical and technical conditions for the safe-keeping of the movable heritage;
- conservation-restoration works shall be carried out on the collection of icons and the Royal Doors;
- all interventions on the movable heritage should be carried out by a qualified person, subject to a study approved by the ministry responsible for culture in Republika Srpska (hereinafter: the ministry responsible for culture) and under the expert supervision of the heritage protection authority;
- the display and other forms of presentation of the movable heritage shall be effected under the terms and conditions stipulated by the ministry responsible for culture;
- supervision of the protection of the national monument shall be effected under the terms and conditions stipulated by the ministry responsible for culture.
IV
All executive and area development planning acts are hereby revoked to the extent that they are not in accordance with the provisions of this Decision.
V
Everyone, and in particular the competent authorities of Republika Srpska and urban and municipal authorities, shall refrain from any action that might damage the National Monument or jeopardize the preservation thereof.
VI
The Government of Republika Srpska, the Ministry responsible for regional planning in Republika Srpska and the heritage protection authority of Republika Srpska, and the Municipal Authorities in charge of urban planning and land registry affairs, shall be notified of this Decision in order to carry out the measures stipulated in Articles II – V of this Decision, and the Authorized Municipal Court shall be notified for the purposes of registration in the Land Register.
VII
The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.aneks8komisija.com.ba).
VIII
Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.
IX
This Decision shall enter into force on the day following its publication in the Official Gazette of BiH.
This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Martin Cherry, Amra Hadžimuhamedović, Dubravko Lovrenović and Ljiljana Ševo.
No.: 06.3-2.3-77/11-8
11 March 2011
Sarajevo
Chair of the Commission
Amra Hadžimuhamedović
E l u c i d a t i o n
I – INTRODUCTION
Pursuant to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, a “National Monument” is an item of public property proclaimed by the Commission to Preserve National Monuments to be a National Monument pursuant to Articles V and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and property entered on the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02) until the Commission reaches a final decision on its status, as to which there is no time limit and regardless of whether a petition for the property in question has been submitted or not.
The Commission to Preserve National Monuments issued a Decision to add the wooden church of Malo Blaško to the Provisional List of National Monuments of Bosnia and Herzegovina under serial no. 331.
Pursuant to the provisions of the law, the Commission proceeded to carry out the procedure for reaching a final decision to designate the Property as a National Monument, pursuant to Article V para. 4 of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.
Statement of Significance
The wooden church in the village of Malo Blaško belongs to the type of simple church of small size with rectangular footprint and no apse. Modest in size and seeming swamped by its hipped roof with rounded ends, the church gives an impression of humbleness.
The church is entirely made of oak timbers. The bearing structure consists of hewn oak logs, and all the other wooden elements are of hewn oak timber.
The interior of the church is embellished by extremely fine Royal Doors and seven valuable icons.
II – PRELIMINARY PROCEDURE
In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following documentation was inspected:
- Data on the current condition and use of the property.
- Details of works on the property, etc.
- An inspection of the current condition of the property.
- Copy of cadastral plan for c.p. no. 572 issued on 10.08.2010 with extract from title deed 157/0 issued on 10.08.2010.
- Land Register entry no. 378, issued on 09.09.2010.
- Historical, architectural and other documentary material on the property, as set out in the bibliography forming part of this Decision.
The findings based on the review of the above documentation and the condition of the property are as follows:
1. Details of the property
Location
The Orthodox wooden church dedicated to the Nativity of the Virgin with burial ground and the remains of a necropolis of stećak tombstones is in the village of Malo Blaško near the Slatina baths, between Banja Luka and Laktaši. The natural and built ensemble is at the western end of the village in the Osoje beech and oak forest.
Also part of the architectural ensemble is a newly-erected bell tower standing north-west of the church, and a newly-erected single-storey building with a hall, south-west of the church. To the south of the church is a small, single-storey wooden structure used as a kiosk. None of these three is subject to protection.
Historical background
There are the traces in the village of an earlier settlement, as evidenced by the remains of the necropolis of stećak tombstones by the church. Oral tradition has it that there were 20 tombstones in the burial ground; there are now five, which are either damaged, overgrown with shrubs, or sunken into the ground.
There is no precise information on the construction of the church. The legend has been passed down by oral tradition that the wooden church in Malo Blaško “was built in a wood, and took itself to its present position one night.”(2)
According to written sources, there was a wooden polyeleos in the church, “composed of eight long rectangles with crudely painted cherubs, lilies and five-petalled roses,(3)” which hung on a rope in the middle of the church. It bore an inscription giving the year 1761 as the date when it was donated, but without reference to the occasion of the gift(4). The polyeleos was not found in the church during the on-site inspection. An old antimens dating from 1743, donated by Patriarch Arsenije IV, is still in the church, but it is not certain that it was intended for this very church. These articles, together with 20th century sources from the latter half of the 20th century, led Momirović to assume that the church was already in existence well before this and that “it was abandoned, damaged or burned down between 1737 and 1739, and rebuilt in memory of the old church in the 50s or 60s.(5)” Thus, though the exact date of the church is hard to determine, it was certainly built before 1765 or 1761.(6)
2. Description of the property
Church
The very simplicity of the church makes it of great interest, while the design of the various parts displays the intelligent boldness and adaptability of the builder(7). It is a single-storey building, rectangular in plan, with no apse. The steep hipped roof was built using a series of rafters without a ridge beam, allowing for a more subtle junction between the roof panes. The timbers were then clad initially with small oak shingles, and later with wider oak shingles.
The church belongs to the type of small, simple church of rectangular plan with no apse(8). It stands on stone footings and is otherwise entirely built of oak timbers. It lies east-west, and measures 7.19 x 4.02 m on the outside. The outside walls are 1.90 m in height from the top of the stone foundations, and the roof is 4.51 m in height; the overall height is 5.11 m. the church has an area of 28m2. The interior consists of a parvis, choir, nave and sanctuary.
The entrance to the church is in the middle of the west end, through an arched opening 1.53 m in height leading into the parvis. The doorframe consists of wooden doorjambs 17 and 22.5 m wide set on the wooden threshold. The door is made of three wooden boards, reinforced on the inside with crossbars. The door is fixed to the frame by wrought iron ring hinges.
The parvis measures 3.60 x 1.675 m. Inside, south of the door, is a steep wooden staircase leading to the choir gallery. The wooden partition separating the parvis from the nave consists of four uprights 14 cm wide and of varying lengths, linked by a 14 x 13 cm beam. The arched door into the nave is in the middle of the partition, between the two central uprights. The space between the central uprights and those next to the outside walls is filled by 4 cm thick boards of varying widths; the height of the board partition is 79.50 cm north of the door and118 cm south of it. There are no openings in the side walls of the parvis.
The staircase leading from the parvis to the choir is set on a stone plinth; it is 75 cm wide, with six steps. The choir, which measures 1.90 x 3.60 cm, rests on four crossbeams, two of which, over the parvis, are the end beams of the west wall of the church and the partition between the parvis and the nave. The gallery railing facing the nave, which is 80.50 cm in height. is of simple design, with two wooden uprights and three horizontal boards.
The nave measures 3.60 x 2.81 m, and contains a portable pulpit. Momirović states that there was a round stone ambo in the middle of the church, near the altar(9), but it is no longer in the church. The two original windows in the side walls of the nave have survived. Glass was both expensive and difficult to obtain when the church was built, which is why the openings are so small: 24 x 12 cm in the north wall, and 20 x 7.5 cm in the south wall. They are closed on the inside by sliding shutters in a wooden frame. Another sash window in each side wall was added later, the one in the north wall measuring 69 x 67 cm and in the south measuring 62 x 68 cm. The windows are fitted on the outside with flat iron bars (two cross bars and three vertical bars) in a wooden frame.
The sanctuary is divided from the nave by the iconostasis, which is in the form of a wooden partition fixed to the outer walls of the church by wooden posts. The top and bottom of the iconostasis are spanned by beams 20.5 cm wide which are also attached to these posts. The iconostasis is 3.53 cm wide and 1.90 cm high. Above it, in the middle, is a post linked by struts to the rafters, thus forming a cross at the top of the iconostasis. On either side of the cross, on the architrave, “are substantial wooden and wide cross-like bars at the top, intended for the icons of the Virgin and St John the Divine.(10)” The iconostasis is divided into four sections by door jambs. The central position on the iconostasis is occupied by the Royal Doors, which are 80 cm wide and 1.50 cm high. South of the Royal Doors the iconostasis is divided into three registers by two crossbars, on which the icons are placed. To the north of the Royal Doors is the door into the sanctuary. The space between this door and the Royal Doors is also used for icons.
The sanctuary measures 1.85 x 3.60 cm, and contains a sacrificial altar in the north-east corner, of triangular footprint with a double-valved door in the middle. The middle of the sanctuary is occupied by the altar table on a moulded wooden pier(11). One original window with sliding wooden shutter has also survived in the sanctuary; when the extra windows were cut in the nave, another was also cut here in the east wall, measuring 61 x 67 cm.
The structural system of the church consists of a framework of horizontal and vertical oak logs of rectangular section. The lower horizontal timbers, which are 20 cm wide and 26 cm high, are set around the perimeter of the church as to reinforce it transversely in two places. The lower perimeter timbers are fitted together by a dovetailed scarf joint. Where there are now stone footings at the corners of the buildings and at the joints of the timbers, there were originally stone slabs one on the other forming isolated foundations. Oak uprights joined by mortise and tenon were set at the junction of the lower timbers at the corners of the church and on the north and south side walls. The upper cross beams, also joined by a dovetailed scarf joint, were set on the uprights and fixed to them by mortise and tenon joints. The roof timbers rested on these upper cross beams.
The façades were further reinforced by posts and struts. There are no posts on the entrance façade, which is reinforced by the door frame. The north wall has three sections between the bearing posts, to each of which a post was added, with a strut also added to each of the side sections but not the middle one. The east end is divided by posts into two sections, both of which are fitted with struts intersecting to form an X. The south wall is the same as the north wall in both structure and infill. The infill of the outer walls consists of wooden boards fitted into grooves cut into the bearing and reinforcing posts to allow the boards to be slid in and out. The boards are 5 to 6 cm thick.
The roof structure consists of wall plates (purlins) and rafters joined by struts. The purlins rest on the top crossbeams of the outer walls. The roof has a pitch of 60°. The rafters, which are rectangular in section, rest on the purlin and are joined at the top by tongue and groove, reinforced by angle boards nailed to the rafters and additionally strengthened by the struts set 50 cm below the junction of the rafters. To avoid creating sharp edges on the hipped roof, which would make it more difficult to lay the oak shingles, the east and west ends of the roof are slightly rounded. The structural elements that make this possible are the slightly rounded purlin and the “double rafters, connected by a cross beam or binding beam with opposites.(12)” The rafters extend beyond the purlin by 1.00 m, forming eaves 65 cm in width. A single strut was placed between the corner posts of the church and the corner rafters. The east end also has a strut on the central post, joined to the rounded purlin, as has each post at the west end.
The roof was originally clad with oak shingles. “The shingles were made of finely worked oak in the form of long tongues with wedge-shaped tops.(13)” These were probably laid in five layers and fixed with wrought-iron nails. When works were carried out on the church in 1987 the worn oak shingles were replaced by three layers of 2-3 cm thick oak shingles, again fixed with wrought-iron nails. The new shingles differ from the original in being wider and rounded at the bottom.
The roof ridge was covered by a hollowed-out log of rectangular section.
Since the church is so low and the eaves extend still lower, an arch was cut into the west end of the roof over the entrance door, making it easier to enter the church.
In the early 20th century the earth floor of the church was laid with rhomboidal brick(14). This was later removed and replaced by flagstones set in cement mortar. The choir still has its original floorboards.
The church had no ceiling or roof boards on the inside. The slats reinforcing the rafters and oak shingles were originally left exposed on the inside, but in 1987 boards were nailed over the rafters, and the shingles were then nailed to the boards, which also differs from the original condition of the church.
Royal Doors and icons of the church in Malo Blaško
The iconostasis described above is adorned with Royal Doors, two throne icons and another five valuable icons. The church also contains two fine copper censers 8 cm in height and two chalices with inscriptions dating them to 1907.
The carved and painted royal doors of 166 x 80 cm are the main decoration of the interior. They were painted in oil on canvas.(15) “A very successful work of decoration, carved around the edges and on the decorative cross at the top of the Royal Doors, it is a simplified interpretation of the elaborate Slavonic baroque iconostases. The panels of the Royal Doors are painted in the same manner with scenes of the Annunciation and the prophets David and Solomon, very well and fluently drawn, with appealing, clean colours, soft modelling and refined skin tones. The style suggests that the Doors could date from the mid 18th century, and are probably the work of a gifted painter from north of the Sava.”(16)
Collection of icons
1. VIRGIN WITH CHRIST, throne icon
Artist: local village icon painter
Date: latter half of the 19th century
Technique: oil on panel
Size: 60 cm x 38.5 cm
Description: The Virgin is portrayed full length, seated on a throne in a red maphorion with gold details, with Jesus in her lap, giving a blessing. The composition is in portrait format. The scene is strikingly monodimensional, and the artist’s style is naive. The background is on two levels, with the lower one third in plain green and the upper two thirds in blue. The icon is in good condition apart from deposits of soot and dust.
2. CHRIST, throne icon
Artist: local village icon painter
Date: latter half of the 19th century
Technique: oil on panel
Size: 60 cm x 38.5 cm
Description: The figure of Christ occupies almost the entire area of the icon, which is in portrait format. Christ’s body is enveloped in a green maphorion, leaving his face and right hand, with which he is giving a benediction, as the dominant feature of the scene. In his left hand is a gold staff topped by a cross. As with the previous icon, the scene is monodimensional and the style naive. The background is blue. The icon is in good condition apart from deposits of soot and dust.
3. NATIVITY OF THE VIRGIN
Artist: local village icon painter
Date: latter half of the 19th century
Technique: tempera on canvas (glued to panel)
Size: 60 cm x 38.5 cm
Description: The painted surface is divided into two levels or scenes, which usually form part of a single composition in the hands of more skilled icon painters. At the top are Anne and a midwife, who is telling her she has given birth to a girl. Another two women in white robes are at Anne’s bedside, and above is an angel in the top left corner. Both scenes are in landscape format. In the background are four windows with drapery, probably the artist’s attempt to indicate Joachim’s and Anne’s luxurious home. The lower scene portrays three girls and Mary on a white cot with a jug and basin nearby, suggesting that Mary has just finished washing herself. The icon is in quite poor condition as a result of the loss of colour and exposure to damp. It is in the naive style.
4. LAST SUPPER
Artist: local village icon painter
Date: latter half of the 19th century
Technique: tempera on canvas (glued to panel)
Size: 60 cm x 38.5 cm
Description: The composition is in landscape format, with Christ as the central, dominant figure. Except for the Apostle John, whose head is in Christ’s lap, all the apostles are shown in half profile. Judas is in the traditional position opposite Christ. The icon is in good condition apart from deposits of soot and dust
5. SVETI NIKOLA
Artist: local village icon painter
Date: latter half of the 19th century
Technique: oil on panel
Size: 50 cm x 34 cm
Description: St Nicholas is portrayed in frontal view, giving a blessing with his right hand and holding the Bible in his left. Christ is portrayed on a small cloud in the top left corner, and the Virgin in the top right corner. The background is brown below and blue above. The icon is in good condition apart from deposits of soot and dust.
6. RESURRECTION
Artist: local village icon painter
Date: latter half of the 19th century
Technique: oil on panel
Size: 46 cm x 34 cm
Description: The composition, which is in portrait format, is divided into two levels. At the bottom are the figures associated with the resurrection: the three Marys and the sleeping guards, one of whom is awakening and standing up in amazement. The figures are packed together beside the tomb. At the top is a scene of Christ emerging from the tomb, with an angel in white at his right side. The scene is dominated by pure, vivid colours: red, yellow and blue. The icon is in good condition apart from deposits of soot and dust.
7. ST GEORGE
Artist: anonymous icon painter
Date: at the time the decision was being drafted no details of the date of the icon were available. It has the stylistic features of a Russian icon.
Technique: oil on canvas (glued to panel)
Size: 27 cm x 29 cm
Description: The icon is in such poor condition from deposits of soot, loss of paint, and mechanical damage to the panel to which it is attached, that the scene can barely be made out. The surviving part of the icon shows the artist’s considerable skill as a draftsman and his sense of proportion and volume. St George is portrayed on a galloping horse as he kills the dragon.
Other buildings and objects in the architectural ensemble
A simple wooden bell tower originally stood to the west of the church, 4.00 m from the entrance. On 20 November 1987 it was replaced by a new bell tower north-west of the church, which has no features worthy of protection.
An old cross of small size has survived on the simple wooden fence behind the east end of the church.
The old necropolis beside the church is in poor condition, with only the remains of five stećak tombstones, all damaged, overgrown with shrubs or sunken into the ground.
3. Legal status to date
The wooden church in the village of Malo Blaško was listed by the Institute for the Protection of the Cultural and Natural Heritage of Bosnia and Herzegovina and was on the register of immovable cultural properties.
It is on the Provisional List of the Commission to Preserve National Monuments of Bosnia and Herzegovina under serial no. 331.
4. Research and conservation-restoration works
Repairs to the church began in 1982, when the following works were carried out:
- the isolated stone foundations were replaced by stone strip foundations of stone in cement mortar beneath the lower oak logs;
- the flooring of rhomboid brick was removed and replaced by quarry flagstones in cement mortar. The ambo was removed;
- the roof cladding of oak shingles had deteriorated and the church was initially protected by a temporary gabled roof while the old shingles were gradually removed and replaced by new ones, which differ in shape from the original shingles;(17)
- the façades of the church (timbers) were painted black. Stanković says of this: “By painting the timbers black to protect them, the natural texture of the high-quality timber was lost, along with the particular charm of the patina of age.”(18)
5. Current condition of the property
The findings of an on-site inspection on 2 September 2010 are as follows:
- the wooden church in the village of Malo Blaško is in good condition. The bearing timbers and other exterior and interior timbers have not deteriorated, and require no further protection at this stage;
- the polyeleon described above has not survived;
- the new bell tower is similar to the one by the church in Ramanovići. It is 3.22 x 3.24 in plan, with a ground floor faced on the outside with stone and covered by a hipped roof above which the bell tower rises, surmounted at a height of 5 m by a hipped roof with a cut-off top over which is the bell cote. The overall height of the bell tower is approx. 8.55 cm.
III – CONCLUSION
Applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument (Official Gazette of BiH nos. 33/02 and 15/03), the Commission has enacted the Decision cited above.
The Decision was based on the following criteria:
A. Time frame
B. Historical value
C. Artistic and aesthetic value
C.i. quality of workmanship
C.ii. quality of materials
C.iii. proportions
C.iv. composition
C.v. value of details
C.vi. value of construction
D. Clarity (documentary, scientific and educational value)
D.iv. evidence of a particular type, style or regional manner
E. Symbolic value
E.ii. religious value
E.iv. relation to rituals or ceremonies
E.v. significance for the identity of a group of people
F. Townscape/ Landscape value
F.iii. the building or group of buildings is part of a group or site
G. Authenticity
G.ii. material and content
G.iii. use and function
G.iv. traditions and techniques
G.v. location and setting
G.vi. spirit and feeling
The following documents form an integral part of this Decision:
- Ownership documentation
- Copy of cadastral plan for c.p. no. 572 issued on 10.08.2010 with extract from title deed 157/0 issued on 10.08.2010;
- Land Register entry no. 378, issued on 09.09.2010.
- Photodocumentation
- Photographs of the wooden church in the village of Malo Blaško, Laktaši Municipality, photographed on 2 September 2010 by Milka Grujić, using KENOX S860 / Samsung S860 digital camera, by Aida Bucalović, using Sony Cyber-Shot DSC-H10 digital camera, and by Medina Hadžihasanović-Katana, using Canon SX 10 IS digital camera.
- Other documentation
- Architectural survey of the wooden church in the village of Malo Blaško by Arijana Pašić B Arch and Milka Grujić B Arch, drawings by Milka Grujić;
- Documentation of the Institute for the Protection of the Cultural and Natural Heritage of Republika Srpska in Banja Luka.
Bibliography
During the procedure to designate the property as a national monument of Bosnia and Herzegovina the following works were consulted:
1953 Momirović, Petar. “Dve drvene crkve u bosanskoj krajini” (Two churches in the Bosnian frontier region). Sarajevo: Naše starine, no. I, Sarajevo, Institute for the Protection of Cultural Monuments and Natural Rarities of N.R. Bosnia and Herzegovina, 1953
1996 Ševo, Ljiljana. Manastiri i crkve brvnare Banjalučke eparhije (Monasteries and wooden churches of the Banja Luka eparchy). Banja Luka: Glas Srpski, 1996.
2002 Ševo, Ljiljana. Pravoslavne crkve i manastiri u Bosni i Hercegovini do 1878. godine (Orthodox churches and monasteries in BiH to 1878). Banja Luka: Glas Srpski, 2002.
2003 Stanković, Milenko. Iskustva graditelja, Narodno graditeljstvo zapadne krajine u Republici Srpskoj (kraj 19. i početak 20 vijeka), Knjiga prva. (The builder’s experience. Vernacular architecture of the western frontier region in Republika Srpska [late 19th and early 20th century]. Banja Luka: 2003.
2005 Jovanović, Zoran M. Azbučnik (Handbook). Belgrade: Museum of the Serbian Orthodox Church, 2005.
(1) Translator’s note: the original reads, in literal translation, “no new graves shall be formed at a distance of 15 m. from the church.” I have assumed that this means “within 15 m. of the church”).
(2) Momirović, Petar, “Dve drvene crkve u bosanskoj krajiini”, Naše Starine, Sarajevo: Institute for the Protection of Cultural Monuments and Natural Rarities of N.R. Bosnia and Herzegovina in Sarajevo, 1953, 152.
(3) Ševo, Ljiljana, Pravoslavne crkve i manastiri u Bosni i Hercegovini do 1878. godine, Banja Luka: Glas Srpski, 2002, 83.
(4) See Momirović, Petar, op.cit., 1953, 153.
(5) Ibid.
(6) Ševo, Ljiljana, Manastiri i crkve brvnare Banjolučke eparhije, Banja Luka: Glas Srpski, 1996, 54.
(7) Momirović, Petar, op.cit., 1953, 153.
(8) Classification after Petar Momirović, curator and specialist in vernacular architecture.
(9) See Momirović, Petar, op.cit., 1953, 155.
(10) Momirović, Petar, op.cit., 1953, 155.
(11) See Ibid.
(12) Momirović, Petar. op.cit., 1953, 154.
(13) Ibid.
(14) Stanković, Milenko, Iskustva graditelja, Narodno graditeljstvo zapadne krajine u Republici Srpskoj (kraj 19. i početak 20 vijeka), Knjiga prva, Banja Luka: 2003, 85.
(15) The canvas is attached to the wooden surface of the Royal Doors.
(16) Ševo, Ljiljana, Manastiri i crkve brvnare Banjalučke eparhije, Banja Luka: Glas srpski, 1996, 95.
(17) The original oak shingles were shaped like a long tongue with a wedge-shaped top, while the new ones are wider and rounded at the end.
(18) Stanković, Milenko, op.cit., Banja Luka: 2003, 86.
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