Sv. Spas, Skopje, Republika Makedonija

To the east of the Skopje Fortress, besides the nicely arranged green area from which one might enter the Old Skopje Bazaar, one can notice a tall enclosing stone wall, behind which a wooden bell-tower rises, identifying the existence of a church in the neighborhood. The entrance of the enclosed area offers a new discovery – a deep well that safeguards people’s wishes, and almost in the center of the yard itself, there is a white stone sarcophagus, which contains the relics of the great Macedonian revolutionary Goce Delchev (1872-1903). Located lower, half buried in the ground, with a modest outside appearance, is one of the most valuable cultural monuments in Skopje and in Macedonia – the church of St. Spas.

The church St. Spas, final look of the 19th century

The church got its complete and definite appearance in the 19th century, although it was built towards the end of the 17th or the beginning of the 18th century, over the foundations of an older sacred place, as it is indicated by the fresco-remains that were found on the southern wall, dated around the 16th-17th century.

According to its architecture, the church of St. Spas represents a three-nave construction with arched middle nave, as opposed to the side naves that are flat and covered by planks. The entrance leads through a stone staircase, which leads to an impressive space, the location of a unique beauty of deep carving in walnut-wood, used for the iconostas, bishop’s chair, two analoja pevnici, pulpit and the proscenium.

The iconostasis was made in the period from 1819 to 1824, after the completion of the hard and voluminous work supported by the tradesmen and craftsmen guild from Skopje. It is 10 meters long, and 4.5 meters high and it reaches the height of 7 meters at the section that holds the crucifix. It has been made according to and belongs to the single-story type of iconostasis, and it has been adapted to the three naves of the church. Its middle section is partly drawn-in towards the altar, while at the northern and southern part it fractures and it extends another meter in length, but with reduced height.

Iconostasis - work of the Miyak woodcarvers

According to its construction, the iconostasis is divided in five horizontal zones: the stand, a gallery of throne icons, epistyle, attic and acroterion. These elements make up a master entirety, which provides the impression that it is a master-piece by Petre Filipovski-Garkata, Makarie Frchkovski from Galichnik and Marko from Gari, talented wood-carvers in whose industrious hands walnut-wood used to tremble, bringing the scenes and persons from the Holy Bible to life, embraced by the magnificent representations of flowers, animals, plants, further enriched by geometrical shapes and forms.

The feeling of originality and impressiveness of this work of art are furthermore enhanced by the presence of Macedonian folklore motifs, like the national Miyak costume, worn by Salome in the scene "The Feast of Herod", the man who is working in the vineyard from the presentation of the old Christian motive "Vineyard of God", etc.
	The collective self-portrait of the woodcarvers, part of the iconostasis

In the dominant baroque style, to which numerous other motives are added on, the past has created a work of art, the meeting of which means a non-repeatable experience which surpasses the limit of personal wishes and dreams, and leads to a world of overall love which contains the deep necessity and inspiration of the creator.

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