But there has already existed an inner narthex, separated by two columns with lower arcs than the rest in the monument and by a different iconographic program.

[7] The older structures can be dated to the 11th century and, according to legend, were erected by Roman IV Diogenes (reigned 1068-1071),[8] whereas Milutin used this construction for his donation, only adding the upper part of the church.

[10] The Bulgarian emperor, Michael Shishman, was buried in the wall of this building after he died at battle of Velbazhd, against Serbian king Stefan Uroš III Dechanski in 1330.

[11] A second donor's inscription on the southern part of the western wall of the inner narthex gives the year 1317/18 as the completion date of the frescos under the reign of bishop Benjamin of Nagoričane.

[13] Its painters were Michael Astrapas and Eutychios, who led the most productive artist's studio of the palaiologan time for three decades.

Saintly figures (warriors, martyrs, monks, apostles, ascetics) like Pachomius, Cosmas of Jerusalem and John of Damascus are arranged in the second stripe.

The last register, mainly stretching across arch areas and barrel vaults, is ending in the cycle of the great feasts like the annunciation, the nativity, the baptism, the entry into Jerusalem and so on.

Apocryphal scenes out of the life of Mary can be seen on the walls of the prothesis, while those of saint Nicholas are displayed in the diaconicon.

The style of the frescos is that of the Palaiologan Renaissance, which came up in the 13th century and is characterised by the revival of ancient forms with iconographic innovations.

One feature is the extension of the colour spectrum by warmer shades like red and the use of white as a highlighter to increase the dimensionality of the clothing.

[15] The church contains a series of images of saints and feasts presented in the order in which they are celebrated during the year, which is one of early Serbian calendars, painted during the rule of king Stefan Milutin.

Its goal is to point towards the endangered cultural asset by taking 360-degree panorama pictures of the interior, thus providing a virtual tour of the church.