7. PRIZREN, HAMAM (TURKISH BATH) - In the old part of the town of Prizren, the Turkish bath is dominant as a building which is proportionally shaped and which was built by Gazi Mehmed-pasha in the 17th century. It is a dual bath, meaning that one half was used by men and the other by women. The halves are divided by the central lateral wall to almost identical wholes. Within each half, the rooms are strictly divided according to their use. These are: the entrance area with dressing room and fountain in the centre, room for rest, bath, steam room, water reservoir and water heating room. The bath was built with stone and brick alternatively. The construction and spatial concepts of the building speak of a very good mason who showed special skill in the construction of dome and cupolas. Conservation works were carried out in 1968.
8. SIRINIC DISTRICT, CHURCHES - The medieval district of Sirinic was located in the stretched Lepenica ravine on the northern slopes of Sara Mountain. It was mentioned already in the fourth decade of the 14th century in the charters released first by King and subsequently Emperor Dusan to the Hilandar Monastery confirming the possession of its lands. Inhabited by cattle breeders, the district could hardly have a shrine made of a more lasting material. Therefore, despite its very old age, the continuity of spiritual life in this district was followed from the second half of the 16th century on the basis of the material evidence. The aspiration can be noted that every village should have its own shrine, sometimes not only on cemeteries but also within settlements so that, at the end of the 19th century, a traveller counted eleven shrines in eight Sirinic villages. Today, only four of them have kept some authentic architectural elements after the renewal of the Pec Patriarchate in 1557. Simple, one-nave, vaulted and without narthex, the churches of the Sirinic district are characteristic by their leaning columns which are almost obligatory as an architectural ornament on the outside polygonal apses. Fragments of the preserved paintings are the works of local, village painters and primarily have cultural significance.
9. BITINJA, GORNJA (UPPER) AND DONJA (LOWER) - The church of St. George at Gornja Bitinja, built most probably immediately after the renewal of the Pec Patriarchate, underwent significant renewal in 1920. However, even during the renewal, the one-nave structure of the naos was retained, as well as the small semi-circular apse, in contrast to other apses, and a part of the floor originally made of the blocks from the nearby, then already destroyed, Prizren monastery of Holy Archangels. The fresco inscription which is lost today testified that the founder of paintings was a certain Jelena, while another stone inscription said that Nikodin Prtusin donated a water mill, forest and a meadow to the church in 1592. The cemetery church of St. Theodore Tiro at Donja Bitinja has a similar architectural structure to the shrine in the neighbouring village, the difference being that the former has three-sided apse from outside. Only fragments on the western wall and in the altar area have left from the paintings painted in the 1560s. Having an average quality for the paintings of that time, a limited palette and certain roughness in drawings, the frescoes are the work of a village painter whose expressiveness cannot be denied. The fact that he used somewhat rare motives is testified by the composition of the Assumption which, besides the earthly events, includes the assumption in heaven. The church keeps the icon representing the vision of prophet Eliah from 1635/1636 which could be a throne icon by its dimensions.
10. GOTOVUSA, CHURCH OF ST. NICHOLAS - There are two churches at Gotovusa and the older one is located on the village cemetery, today dedicated to St. Savior which is also known as the church of St. Demetrios. However, the fact that it was originally dedicated to St. Nicholas is beyond any doubt considering the founder's fresco inscription partially preserved on the western wall of naos, above the entrance. Simple, small, one-nave building with the three-sided apse from outside is vaulted with the semi-oval vault and covered with the two-guttered stone-blocks roof. The facade decoration, besides the niche above the entrance on the western facade and the prayers' niche on the northern facade, includes niches of particular shape on all sides of the apse and the leaning columns connected by arch emphasizing the eastern surface of the apse. Fragments of the preserved paintings include two zones with the scenes from the Great Feasts cycle, decoration of the ceiling with friezes each having ten prophets' busts and on the top the medallions with the figures of Christ Emmanuel, Angels of the Great Council, the Pantocrator as well as the upper part of the Ascension composition. The paintings in the altar area are best preserved and are reduced to the usual motives and the most necessary figures, so that the Liturgy of Archpriests represents only St. Basil the Great and St. John Chrysostom. Since similar paintings can be found in the neighbouring churches of the Sredska district, at Bogosevac and Gornje Selo, it is believed that the paintings date back to the 1570s.
11. STRPCE, CHURCH OF ST. NICHOLAS - On the basis of the transcription of the destroyed founders'inscription it is known that the church of St. Nicholas was built and decorated with paintings in 1576/1577 with the donations of many villagers. The old village mentioned in a Turkish written source of 1455 as having 65 households got a shrine of a lasting material. After the renewal in the 19th century, only a part of the apse and of the northern wall were left showing a careful building technique with the trimmed stone and the five-sided apse konha from outside. The decorative element in the building is expressed in leaning columns to the juncture of sides. The great quality of the original paintings is testified by a figure of a deacon in the northern part of the altar and several fragments in socle zone. During the great renewal, the western wall was pulled down in order to enlarge the church while other walls were made higher and arched. Furthermore, the church got a belfry and it seems that painter Jevgenije from Galicnik, who painted the iconostasis for the new church of the Virgin Mary at Gotovusa in 1888, painted the icons for the renewed Strpce shrine.
12. SREDSKA DISTRICT, CHURCHES - East of Prizren, in the gorge of Prizrenska Bistrica, several mountainous villages around the village of Sredska have been established as a district ever since the middle age. It was mentioned for the first time in the donation charter of King Dragutin to the Hilandar Monastery in 1276-1281; it became more important at the time of Emperor Dusan through the building of the monastery of Holy Archangels, while its increasing economic strength can be followed in the Turkish documents from the beginning of the 16th century. The material traces of such a rise are churches built in every village and hamlet starting with around 1530 until mid-17th century. One-nave, semi-ovally vaulted churches without narthex, with apses three-sided from outside being only long niches inside, were built mainly with trimmed stone, while the facades had niches as the only decoration. The villagers took every effort to equip their churches, they engaged painters, ordered icons for iconostases and items necessary for the service, noting their names in the founders' inscriptions. The second wave of the intensive construction in the Sredska district, when old churches were repaired and new ones were built, took place in the changed political conditions before the liberation from Turks in the short period between 1865 and 1875. Although they, then, lost part of their authenticity, the churches of the Sredska district illustrate interesting changes in the district at the time of the re-establishment of the Pec Patriarchate.
13. BOGOSEVCI, CHURCH OF ST. NICHOLAS - The one-nave semi-ovally vaulted church dating back, on the basis of its architectural characteristics and paintings, to the end of the 16th century or the beginning of the 17th century is located on the village graveyard, on the terraced plateau falling sharply towards the river bank. It will never be possible to determine when it was built since the founder's fresco inscription is damaged. The narrow interior, lit by one window on the south and east, has only semi-circular niches of the altar and prothesis. The altar niche is three-sided from outside and the northern facade surface, with no openings, has two niches. The preserved paintings indicate that they were used for prayers so that they have - as fresco icons - the down-to-the-waist representations of Holy Archangel Michael and St. Paraskeve. The well preserved whole of wall paintings inside the church is the work of an unknown painter of sure drawing and inclined to narration so that he managed to present the full usual contents without summarizing it in this small temple. Judging by the preserved icon of St. Barbara, he most probably painted the icons for the altar partition. The church was enlarged by the poorly built narthex with wooden belfry over it. Minor architectural conservation works took place in 1959-1960.
14. GORNJE SELO, CHURCH OF ST. GEORGE - The history of the cemetery church of St. George at Gornje Selo (Upper Village) is not known, but its architecture and paintings belong to the 1570s and the first decades of the 17th century. The church consists of three successively built units. The eastern one is the oldest - the original one-nave semi-ovally vaulted temple with the altar and prothesis niches. By pulling down the western wall naos was extended and expanded and two entrances in the church were made, one from the west and the other from the south. A stone shallow-relief tablet with the blooming cross and two birds on it is above the southern entrance. The third phase is represented by narthex with wooden domed belfry. Paintings are preserved only in the oldest part of the church, on its three remaining walls. Stylistically very similar to the paintings at Bogosevci and Gotovusa from the Sirinic district, wall paintings are attributed to the same painters characterized by narrativeness, free drawing and live colours.
15. DRAJCICI, CHURCH OF ST. NICHOLAS - Shallow and semi-circular apse is the characteristic that, architecturally, differs the Drajcici church from other churches belonging to the Sredska group. It is also interesting that this one-nave semi-ovally vaulted edifice has the floor with stone tiles lower in naos and elevated at the level of solea and the altar area. The southern facade has a semi-circular niche with the down-to-the-waist fresco painting of an archangel. The period of the described first phase of the construction of the church is determined on the basis of paintings as the last decade of the 16th century. The original appearance was changed by the removal of the western wall and the significant extension of naos in the 1630s. In addition to architectural changes, the restoration also implied the repainting of the church so that the new paintings covered or replaced almost the entire old ones. The quality of the original wall paintings can be judged today only by the icons preserved in the iconostasis in the throne series and the frieze making the Great Deesis which is supposed to be the work of the same painter. Characterized by sure drawing and the noble colours, these works are the expression of a mature painter who, by wide strokes, defined the form and achieved magnificence that lacks in other painters from the same region. Conservation works on icons were carried out in 1960-1961.
16. MUSNIKOVO, CHURCH OF THE HOLY APOSTLES - The church originally dedicated to the Holy Apostles Peter and Paul whose patron today is St. Paraskeve is located above the village of Musnikovo. It was built and painted in 1563/1564 and extensively renewed in the second half of the 19th century. That restoration included the removal of the western wall, expansion of naos by the width of wall and its extension to the west, the enlargement of windows and the changing of the appearance of the front - instead of triangular it got a high sloping gable. The original appearance of the church shows that it was built with trimmed stone, without ornaments, and that it had an apse three-sided from outside. In the interior, only two niches necessary for rites were built, the altar and prothesis. Although only a small part of the original fresco paintings was preserved, the work of a painter who gained knowledge in one of the Cretan workshops is recognizable in the zone of standing figures on the southern wall. Besides Greek inscriptions and style, recognizable is also the rare iconography solution of the representation of St. Peter and St. Paul in an embrace painted next to the original iconostasis. Another painter from the same group who painted the altar is considerably less talented. During the architectural conservation works carried out in 1962 the ruined church got the dome and the two-guttered roof covered by stone blocks.
17. MUSNIKOVO, CHURCH OF ST. NICHOLAS - At the village cemetery, there is an old church considerably surpassed, in size, by the subsequently built narthex which is wider and higher than the small church on whose western facade it is leaning. The original temple is one-nave, with undivided space, semi-ovally vaulted and with three semi-circular niches in the altar area. Lateral niches are built in the wall, while the altar niche is three-sided from outside. The church was built with trimmed stone and its facades have one niche each. There are three narrow and high windows on the southern wall, while a window on the eastern side casts light on the holy throne. Pomenik (requiem book) inscribed beside the prothesis niche cannot help in determining when the church was built, so that, on the basis of the stylistic characteristics of the preserved wall paintings, it is considered that the church dates back to the second half of the 16th century. The usual contents, which summarizes the cycles of Great Feasts and Passion of Christ, is also characteristic for that time, while in the context of iconography the attention is primarily drawn by the representation of St. Sava Nemanjic, characteristic for the cap adorned with crosses. As to the style, the frescoes of this church are of a considerably poorer quality in comparison with the works of an unknown group which painted the nearby church of the Holy Apostles.
18. SREDSKA, CHURCH OF THE HOLY VIRGIN - At the hamlet of Pejcici, today north of the highway, there is the biggest but also the youngest church in the group of churches of the Sredska district, dedicated to the Holy Virgin. One-nave, semi-ovally vaulted temple, with the altar apse which is shallow and three-sided from outside and in the shape of niche in its interior, had been probably built several years before it was painted, i.e. in 1646/1647. It was built thanks to the contributions of a great number of villagers whose names are mentioned in the founders' fresco inscription. The well preserved paintings include the zones of standing figures, saints' busts in medallions, compositions of the cycles of the Passion of Christ and Great Feasts arranged in two separate columns and the standard decoration of the altar and vault areas. With the gamut reduced to colour and the prominent drawing, the paintings of this church are rather illustrative than having artistic value. In the second half of the 19th century, a square storeyed narthex and a light wooden belfry above it were built in front of the church.
19. SREDSKA, CHURCH OF ST. GEORGE - In the middle of the village of Sredska, by the village road, there is a miniature church for which the villagers say that it was a family chapel and which is certainly the oldest and the most interesting monument of this district. This status of the church is ensured because of its simple architecture (one-nave foundation with the apse hardly rounded from outside, semi-oval vault and exterior dimensions of little over 5 m of length and 3 m of width) and the exceptionally high quality of its frescoes. An unknown painter did not pay any attention to the dimensions of the building and, already in the first zone below the painted arcades, he painted monumental and exceptionally modelled figures of holy doctors and holy warriors clad in lively aristocratic garments. He painted the Liturgy of Archpriests and Virgin's bust with angels in the small altar niche and archdeacon Stephen in the prothesis niche. The light translucent colours and the inclination towards decorativeness contribute to the fact that, out of the previously offered years in the literature, we accept the year of 1530 as the most acceptable. Finally, it should be added that these frescoes attract attention also because of the painting technology since they were painted on the mud mortar with coarse chaff.
20. VELIKA HOCA - The village of Velika Hoca is located in the picturesque hilly area full of vineyards south of Orahovac in Metohija. Hoca was well known in the historical sources already at the end of the 12th century by its cultivated vineyards and wines. In 1198 Stephen Nemanja donated it to the Hilandar Monastery, emphasizing that he himself established two vineyards. Nemanja's descendants, Serbian kings, confirmed his gift to Hilandar and, at the same time, enlarged the Hoca lands. In the middle age, Velika Hoca developed into a strong economic and important spiritual centre. The sources mention its 12 churches: St. Nicholas from the 14th century, St. John from the 14th century, St. Stephen from the 14th century renewed in the 16th and 19th centuries, St. Cyriace renewed in the 19th century, St. Paraskeve rebuilt in the 20th century, St. Anne rebuilt in 1912, ruins of the church of St. Luke from the 16th century renewed in 1985; the following churches are preserved in ruins: Holy Archangels from the 16th century, St. Peter from the 16th century, Holy Virgin Precista, St. Eliah; a church at Dugi Rid is also mentioned in the folk tradition. The monumental wine cellar of the Decani Monastery, with its vineyards in Hoca ever since the time of Emperor Dusan, is in the Decani quarter in the centre of village. The ground floor of this exceptional achievement of the folk architecture contains cellars with barrels which are 5 m high and 4 m wide. The upper floor with a long wooden trench has rooms for the rest of winegrowers.
21. VELIKA HOCA, CHURCH OF ST. JOHN - The church of St. John is located on the elevation near the eastern entrance in Velika Hoca. It was probably built in the 14th century which is confirmed only by fragments of frescoes from that time. Architecturally unusual, the church has the shape of tetrakonhos with square narthex. Lateral apses are lower than the ones on the east and west. Naos and narthex are covered with semi-oval vault. The apses are polygonal from outside and semi-circular inside. In the 1580s, the church was repainted. The altar area has the paintings of Virgin Mary, Liturgy of Archpriests, Communion of apostles and Annunciation, while in the first zone standing saints are painted and in the narrow column above them there are down-to-the-waist representations. The cycles of Great Feasts, Passion of Christ and Akathistos Hymn are painted in higher zones of the temple. Iconographic contents of the paintings in narthex, with the interesting choice of scenes, emphasizes the message of prayers to Christ. On the eastern wall of narthex in the Deesis composition, Virgin Mary and St. John the Baptist address prayers of the human race to Christ to be a mild judge on the Last Judgment painted on the western wall. The portrait of St. John is painted in the niche above the entrance in naos, while the scenes from his life are illustrated in higher zones of narthex. Conservation works on the paintings were carried out in 1975.
22. VELIKA HOCA, CHURCH OF ST. NICHOLAS - The church of St. Nicholas, at the graveyard above the village, was built and painted by 1345. In that year, nun Marta was buried in that church, mother of landowner Gradislav Susenica, which is inscribed on her tombstone. It is supposed that the temple was built by the parents of landowner Gradislav in the second quarter of the 14th century. The church is an one-nave building covered with semi-oval vault, with the apse three-sided from outside and semi-circular inside. The wall between narthex and naos was removed. Part of the original wall paintings is preserved only on the western wall which, by its style, belongs to the time of King Dusan. It is supposed that the founder of paintings was Gradislav Susenica himself. The scenes of the cycle of St. Nicholas include, inter alia, the composition of St. Sava and St. Simeon Nemanja bowing to the icon of Virgin Mary with Christ. After the renewal in the 16th century, the church was repainted. Above the zone of standing saints, there are busts in medallions and the cycles of Great Feasts, Passion of Christ and St. Nicholas, while the Akathistos Hymn, Christ's miracles and parables and the Last Judgment are illustrated in narthex. Conservation works on the paintings were carried out in the 1970-1975 period.
23. MUSUTISTE, CHURCH OF THE VIRGIN HODEGETRIA - The endowment of the main accountant John Dragoslav and his family is located above the village of Musutiste, 10 km south-east of Suva Reka. It was built in 1315 which is evidenced by a long and neat stone inscription above the western portal. The founder was one of the first Serbian landlords who was in the position to build such a big church. It was built with alternate layers of stone and brick, while the semi-circular altar apse has a more complex decoration in the combination of brick and mortar. Its foundation has the shape of the cross-in-square with the dome supported by four free columns. Only fragments of paintings are preserved, so that four archpriests painted in the altar area (including one of the oldest representations of St. Kliment of Ohrid) and several individual figures in the northern-western corner of naos (holy women, warriors Theodore Tiro and Theodore Stratelates, angels and St. Panteleimon) speak about the great skill and education of the painter. Although they have no direct parallels, the Musutiste frescoes can be placed among the most beautiful achievements of the epoch of King Milutin. Although their creation was not mentioned in the founder's inscription, it is supposed that they were painted immediately after the completion of construction and by 1320 at the latest. The church keeps two throne icons from 1603. The temple was renewed in the second half of the 19th century. No conservation works were carried out.