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The paper takes a systematic approach to the hitherto unpublished relic of St John the Baptist’s right arm which is kept in a cache in Siena cathedral. It includes the available historical information about the relic’s journey from Serbia until its arrival in Siena (1464) and the circumstances in which it came into the possession of pope Pius II. It provides a detailed description both of the relic and of the reliquary, an exquisite piece of medieval goldsmithing and filigree work with few direct analogies. Particular attention is devoted to the inscription on the reliquary lid: “Right arm of John the Forerunner, cover me, Sava the Serbian archbishop.” Based on the inscription, the reliquary is identified as one of the founding objects of the treasury of the monastery of Žiča (the Serbian cathedral and coronation church) which was gradually built up in the first decades of the thirteenth century through the effort of Sava of Serbia. Discussed in the context of this topic are also the “veil” and the “cushion”, the luxurious textiles in which the Baptist’s arm was brought to Siena. [Project of the Serbian Ministry of Education, Science and Technological Development, Grant no. 177003: Medieval heritage of the Balkans: institutions and culture]

This paper, as the second in a series with the same name, represents a continuaton of attempts at studying the destroyed parts of the wall painting of the Ascension church in Žiča on the basis of old research documentation, primarily drawings and photographs.

This paper, the first in a series with the same name, represents an attempt at studying, on the basis of old research documentation, primarily drawings and photographs, the destroyed parts of the wall painting of Zica and to check the descriptions and interpretations of previous researchers.

Kao drugi od radova pod istim naslovom, ovaj tekst predstavlja nastavak pokušaja da se na osnovu stare naučne dokumentacije, pre svega crteža i fotografija, prouče uništeni i oštećeni delovi zidnog slikarstva Spasove crkve u Žiči. This paper, as the second in a series with the same name, represents a continuation of attempts at studying the destroyed parts of the wall painting of the Ascension church in Žiča on the basis of old research documentation, primarily drawings and photographs.

Prvi u nizu radova s istim nazivom, ovaj tekst predstavlja pokušaj da se na osnovu stare naučne dokumentacije, pre svega crteža i fotografija, prouče uništeni delovi zidnog slikarstva Žiče, odnosno da se provere opisi i tumačenja starijih istraživača. This paper, the first in a series with the same name, represents an attempt at studying, on the basis of old research documentation, primarily drawings and photographs, the destroyed parts of the wall painting of Žiča and to check the descriptions and interpretations of previous researchers.