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1. Nepoznati mladi Nemanjić, ulomak freske na sigi, oko 1209.godine, manastir Gradac (u toku konzervatorskih radova).Snimio: R. Petrović, 2000. god.The unknown young man of the Nemanjić dynasty, fragment offresco, around 1209, the monastery Gradac (during the conservationtreatment). The photograph taken by R. Petrović, in 2000.Fragmenti fresaka pronađeni su u manastiru Gradac,u toku arheoloških istraživanja, koje je, od 1962. do1972. godine, obavila Aleksandra Jurišić, arheolog. Preventivnuslikarsko-konzervatorsku zaštitu nađenihfragmenata, na terenu, obavio je Branislav Živković, slikar-konzervatorZavoda. Tada su samo, zaštićeni otkriveniveći delovi fragmenata fresaka, dok su manji komadiostali i dalje u kesama, kartonskom kutijama, saarheološki obeleženim brojevima sondi, itd. Ova preventivnaterenska zaštita, zalivanje ulomaka u gipsane podloge,loše se odrazila na fresko malter (počeo je da se suši,zrni i otpada) i slikani sloj (gubi svojstvo slikanihpigmenata, dobija belu skramu šalitre, bojeni sloj se osipa,zbog gubitka veziva). U vreme arheološkog otkrića umanastiru Gradac, autor ovog rada, bio je još studentAkademije za likovnu umetnost u Beogradu, i nije učestvovaona preventivnoj konzervaciji novootkrivenihfragmenata na terenu u manastiru Gradac. Godine1978, po zaposlenju u Republičkom zavodu za zaštituspomenika kulture Srbije, ponuđeno mi je da pokušamda ulomke fresaka konzervatorski obradim, a kao istoričarumetnosti da pokušam da „iščitam” zagonetni iteško oštećeni tekst belih slova na plavoj pozadini (lapislassuli)?Po svojim izvornim svojstvima fragmenti fresaka iskopaniiz zemlje, posle nekoliko vekova, bili su prvorazredniizazov, ne samo za konzervaciju, već i moguće ikonografsko-stilskoistraživanje lika fragmenta freske nasigi, nepoznatog mladog Nemanjića iz prve polovine XI-II veka (sl. 1) i prve polovine XIV veka. Pristupajućiovom neobičnom „arheološkom”poslu, autor ovog rada,morao da konzervatorske probleme sagledava i rešava ikao istoričar-umetnosti, vajar, grafičar. Imajući u viduda je ovaj rad publikovan sa konzervatorskim odgovarajućimpostupkom, opisaćemo samo deo koji se odnosi nasamu prezentaciju fragmenata iz manastira Gradac i to:Klasifikacija svih fragmenata po bojama: zelena,plava, crna, oker, crvena;Grupisanja po debljini fragmenata, lepljenje orginalnihkomada;Grupisanje delova oštećenih likova svetitelja - deoglave, usta, nos, oko, prsti i ostalih delova inkarnata;Ispitivanje oblika i oštećenih fragmenata sa belimslovima i spajanje u odgovarajuće slovo ili reč;B) Fragments of frescoes presenting the words ofprayer by queen Helen of Anjou from 14 th centuryThese fragments were found in the monastery ofGradac, during archaeological survey conducted by archaeologistAleksandra Jurišić. Preventive paintingconservation measures were carried out by BranislavŽivković, paintings conservator in the Institute for Protectionof Cultural Monuments. On that occasion, onlythe larger parts of the frescoes were protected, while thesmaller parts stayed in bags, cardboard boxes, with noteson trench numbers, etc. This preventive field protection,that is casting into a plaster support, had damagedthe fresco mortar (it began drying out and crumbling)and the paint layer (loosing of pigment characteristics,getting a white film of saltpeter, detaching due to loss ofthe bonding material). During archaeological researchin the monastery of Gradac, the author of this articlewas still a student at the Academy of Fine Arts in Belgradeand could not participate in preventive conservationof newly found fragments on the site of the monastery.In the year 1978, being employed in the Serbian Institutefor Protection of Cultural Monuments, I was offeredan opportunity to attempt conservation treatmentof these fragments and at the same time, as an art historian,to interpret mysterious and heavily damaged textmade of white letters on a blue support (lapis lazuli).By their original characteristics, these fragments,excavated after several centuries, were a first-gradechallenge, not only for conservation, but also possibly asan iconographic and stylistic research, having in mind afigure on a tufa support, presenting an unknown youngman of the Nemanjić family, from the first half of 13 thcentury (Fig. 1) and the first half of 14 th century. Consequently,the author of this article had to approach thework not only as a paintings conservator, but also as anart historian, a sculptor and a graphic artist. Having inmind that the work was published with an adequateconservation procedure, we shall describe here only thesegment referring to the presentation of the fragmentsfrom the Gradac monastery themselves:Classification of all the fragments by colours: green,blue,black,ochre,red;Arrangement by the thickness of fragments, bondingof original pieces;Arrangement of segments of damaged figures of saints– part of head, mouth, nose, eye, fingers and rest ofbody;Analysis of forms and damaged fragments with whiteletters and joining into an adequate letter or word;Calking of all fragments in 1:1 proportion, reconstructionby drawing morphology of the letters, writinga list of letters, drawing composition of the scene, headof the Christ Emanuel with halo, red border – these areall very important details of the unknown ensemble.Conclusion:Fragments have, undoubtedly, great historic-artisticvalue, especially the joined segment:The composition of the Child Christ with the halo,half-length figure, blessing with both his arms;The prayer of the queen and nun Helen of Anjou, thewife of king Uroš I and the mother of kings Dragutinand Milutin. The prayer begins with words:»Vladiko čovekoljubče2 ...» (Fig. 2).The text and the composition werepainted after her death (1314). The nun Helen wasproclaimed a saint after «appearing in a dream of thebishop of Ras», so her body was taken out of the grave2 “Bishop, the man-loving...”103