Grgeteg Monastery
First mentions and early history
In 1910, Mata Kosovac noted that two old records could be found (in the fraternal council protocol from 1753 and in the monastery inventory from 1785), according to which Grgeteg was founded in 1471 by the Despot Vuk Branković, better known as Vuk the Fiery Dragon. The legend tells of Vuk’s desire to build a suitable monastery for his father, the blind Despot Grgur who became a monk in Hilandar under the name German, on the safer soil of Syrmia, since Mount Athos was seriously threatened by the aggressive policy of the Ottoman Empire. Nevertheless, death destroyed all the hopes of the monk German that he would spend his old age in the peace and quiet of Grgeteg, a monastery named after German’s worldly name (Grgur).
However, it is precisely the Ottoman defters that are the oldest, completely reliable documents, in which there is unquestionable information about this place. It is thus remembered that, in 1545, the monastery paid the sultan’s treasury an annual feudal obligation of 50 akçe. It seems that, during the next two decades, a great economic boom took place here, at least judging by the 1566 duties on wine, grains, beehives and sheep, which surged as high as 400 akçe, while Grgeteg was forced to pay 6,000 akçe to repurchase its own “fields, gardens, meadows and vineyards”, as well as temple buildings, dormitories and economic buildings. In 1578, this annual expenditure was further increased to 500 akçe, and in 1588 and 1595, three more mills were added to the list of monastery property. There is evidence of its existence during the 17th century, in the Ottoman tax documents from 1619, 1646, 1653 and 1659. A certain monk named Nikodim from Grgeteg is mentioned in 1626.
Retreating from Hungary, after the defeat in the Great Turkish War from 1683 to 1699, the Turks looted and then burned the monastery. The desolate sanctuary thus stood in ruins, until the Emperor Leopold I donated it to Bishop Isaija (Đaković) of Ineu, along with the aforementioned mills, Neradin and Bankovci, on August 21, 1691. In the copy of the privilege from 1705, which was kept in the Grgeteg archive until the Second World War, it can be read that the aforementioned Bishop Isaija, later Archbishop and Metropolitan, received this good “in recognition of his merits and values”, as well as that he completely restored it and renewed it.
The old temple
The efforts of Metropolitan Isaija (Đaković) regarding the revitalization of the monastery were continued by his successors on the throne of Arsenije, who, as beneficiaries of the mentioned property, were also Grgeteg archimandrites. In this sense, Emperor Charles VI issued a charter dated December 9, 1722, which confirmed previously recognized rights to the acquired property to the Metropolitan of Karlovci Vikentije (Popović). Furhermore, the regulation of the legal status of the monastery encouraged the heads of the archdiocese to invest larger sums of money in its restoration. It is known that in 1713 a valuable “Gospel” was attached there, as well as that shingles were borrowed from the Novo Hopovo Monastery to cover the old, damaged church, built in the spirit of Moravian architecture. There is no information about the origins of the original church, so it is usually assumed that it was built between 1459 and 1521. It had stone walls, brick vaults and a “little dome with six windows”, which was located above the analogion. The middle altar window was protected by an iron grate, while the other six were glazed with glass and partitioned. There were three tin crosses on the church and the description also mentions the double-winged, “tin-plated”, fir doors “with a German lock”, as well as the large-format brick used to pave the floors, the altar on one column and the high altar in one niche. The bell tower was built in the southwestern part, next to the vestibule. Just as it is not known when it was built, we also do not know the exact date of its demolition, which falls somewhere between 1753 and 1767.
The new temple
The new church was built between 1768 and 1771. One of its founders was Metropolitan Pavle (Nenadović), who, in 1767, sent a circular letter to the administrations of the Fruška Gora monastic families, instructing them to send “one cart from the monastery and one from the village, to drive the bricks” to Grgeteg. The other founder was Metropolitan Jovan (Đorđević), donor of the Holy Table, prothesis and red marble diaconicon, in 1770. After thorough renovation, carried out at the end of the 19th and beginning of the 20th century, in the altar of the new temple still lays a striking prothesis of Metropolitan Jovan, with two graceful allegories, between which the heraldic symbols of the Metropolitanate of Karlovci are shown in relief. The baroque, four-story bell tower, with a square base, was finished together with the temple. The high rococo iconostasis was erected also thanks to Metropolitan Jovan (Đorđević), who a little earlier ordered a smaller altar partition with the same number and arrangement of icons for the chapel of the Bishop’s Palace in Vršac. The painting works were entrusted to Jakov Orfelin, during the ordination of Metropolitan Vikentije (Jovanović Vidak). Orfelin worked on this brick iconostasis, over a plaster base, in 1774 and 1775, receiving a lucrative monetary compensation of 21,000 forints for his work, with the obligation to procure paints and other materials himself. The monastery administration set him a condition that, as long as he is under contract, he must not receive anyone from outside, “except relatives”, and to decorate the church “as beautifully as possible” with his painting skills.
The current northern and eastern dormitories were built in 1751 and 1752, while the western one was completed in 1753. It is assumed that the southern part of the dormitory was built much earlier, but the construction was done in 1756, 1763 and 1766. In addition to the monastic cells, spacious, vaulted cellars, larger and smaller dining rooms, “two-story” vaulted balconies, a kitchen and accompanying economic buildings, such as a storage room for barrels, distillery, stables, storerooms, granaries and mills, were constructed here. The decoration and painting of the large dining room was completed by 1780, during the administration of Protosyncellus Kiril (Živanović), under the patronage of Stefan Rašković from Veliki Bečkerek. The inscription carved in stone above the double-winged entrance gate testifies to the fact that the dormitory got its special four-sided shape by 1760. Metropolitan Pavle (Nenadović) was again the most important founder of this construction project.
Furthermore, the bell chapel was decorated with icons and wood carvings by Georgije Bakalović and Dimitrije Đurković most likely by the end of the 18th century, though its first reliable mentions come from as late as 1836.
Abolition and re-establishment of the monastery
Grgeteg experienced a serious turmoil between 1776 and 1777, during the administration of Metropolitan Vikentije (Jovanović Vidak), when it was abolished by the decree of Emperor Joseph II. In accordance with the emperor’s decision, all members of the monastic family were forced to finally leave the monastery, as well as to seek for asceticism in another place of worship. Nevertheless, after less than a year, Empress Maria Theresa, graciously responding to the pleas of Metropolitan Vikentije and the believers, allowed the exiled monks to return to Grgeteg and gave them, with a special privilege, all their previous possessions. From 1777, the metropolitans of Karlovci were no longer beneficiaries of the monastery’s income, which is why they were paid an annual compensation of 5,000 forints from the state treasury, while permanent hegumens of Grgeteg were started being appointed. Out of a total of seventeen archimandrites of this monastery, eleven were to take the archbishop’s miter. In addition, Arsenije (Stojković), who served as an elder here between 1845 and 1853, was elected twice as the Serbian Patriarch at the national-church assembly, in 1874 and 1881, but failed to obtain the necessary confirmation from the emperor. In his place, another former archimandrite from Grgeteg, Germano (Anđelić), then Bishop of Bačka, was appointed to the throne of Saint Sava by Emperor Franz Joseph.
The great renovation, 1901
The monastery complex was seriously damaged in a fire that broke out in 1841, during the reign of Jerotej (Mutibarić), and also in a devastating earthquake in 1880, under the administration of the enterprising Ilarion (Ruvarac). In addition, it was threatened by moisture and literally subsided, undermined by the waters of the mountain springs, while the drainages were very badly done. Due to the aforementioned circumstances, in 1893 the dome which was pressing on the dilapidated building was demolished and was already perceived as a redundant and outdated detail. The fundamental renovation of the Church of the Transfer of the Relics of the Holy Father Nicholas was carried out from 1899 to 1901, according to the designs of the architect Herman Bole, when Grgeteg finally got its present appearance. Extensive works were undertaken by Patriarch Georgije (Branković) and Archimandrite Ilarion (Ruvarac) of Grgeteg. The facades of the temple and the bell tower were completely changed; a new roof structure was installed, covered with copper, while the barrel vaults were rebuilt with two chandeliers hanging from them. The windows on the nave and bell tower were enlarged and decorated with stained glass windows, semicircular arcades and slender columns with feet and capitals, built along the very edge of the shaft. In this building, more spacious and bright, the floor surfaces were covered with ceramic tiles, and the walls were embellished with decorative painting. A new white marble baptismal font was also built. It can be said that Bole’s skill in fitting and combining decorative elements from different stylistic periods really shined on this sacred object.
During the major adaptation, the dormitories were also significantly changed. The staircase that led to the western part of the monastery was brought to the axis of the temple, and the facades were harmonized. Frescoes from the 18th century were also removed from the large dining room. Since the high, decorative cap, “resembling an apple”, was destroyed in the aforementioned earthquake, a new one, lined with sheet metal, was installed during the renovation from 1898 to 1901. Significant changes were also made in the interior of the temple itself. After the old iconostasis done by Orfelin was removed, according to Bole’s idea, a new partition was installed, made of Istrian marble and gilded wrought iron, on which were icons painted by Uroš Predić in 1901 and 1902, on English canvas or wood. According to the contract he concluded with Archimandrite Ilarion (Ruvarac), the painter was obliged to paint the icons on the iconostasis and the archbishop’s throne “artistically and in the spirit of the Serbian Orthodox Church”, for a compensation of 8,000 forints. This is how this unique iconostasis was created, where the cycle of major church holidays was reduced to the Nativity and Resurrection of Christ, while the icons on the throne were raised in the first zone, next to the depiction of the Last Supper.
The appearance of the old chapel in the bell tower of the Church of the Holy Father Nicholas was also changed. The choir gallery was removed, a narrow altar area of the chapel was built above the narthex, supported by elegant columns, while the nave remained in the bell tower. The renovated monastery church was consecrated in the summer of 1901, when a marble plaque with the names of the architect Bole, Emperor Franz Joseph, Patriarch Georije and the brotherhood of that time (“Archimandrite Ilarion, Josif the Governor, Gideon the Confessor, Athanasius the Ecclesiarch and Nicodim the Hierodeacon”) was placed. The new altar partition in the belfry chapel was made a little later, in 1911, and its painting was boldly entrusted to Pjer Križanić, whose previous work was mostly related to contemporary, profane art. Although undeniable in its artistic value, it was decided that Križanić’s icons stood in “disharmony with the environment”, mainly due to the fact that they were strongly influenced by Roman Catholic iconography and “Western art”. Unfortunately, in the later post-war damages to the monastery, these rare works of our famous caricaturist also disappeared irretrievably.
Sufferings and renewals
During the Second World War, Grgeteg was destroyed and devastated. In September 1943, it was bombed by German planes, and then the bell tower was demolished, which damaged the nave vaults when it fell. The army of the Independent State of Croatia demolished the lodgings, having previously looted them down to the bare walls. The rich archive and personal library of the founder of Serbian critical historiography, Archimandrite Ilarion (Ruvarac), were burned at the stake in front of the monastery. Seven Grgeteg monks were taken to the transit camp in Slavonska Požega, and only Hegumen Georgije (Bojanić) and Hieromonk Milutin (Stojadinović), the future rector of Clerical High School of Saint Arsenije and Bishop of Timok, survived the wartime period. The monastery was turned into an almost shapeless pile of rubble, and to this day, a particularly poignant moment of that terrible history is remembered, when, in the deserted, half-ruined church of Saint Father Nicholas, a mind-sick forester shot the icon of Christ on the throne with a firearm. After the war, the monastery was restored for the first time only in 1950. Major repairs were carried out in 1965 and 1966, after which the temple and dormitories were partially covered. The monastic family reunited in 1947, after the arrival of the nuns Katarina (Jovanović), Marija (Dinjaški) and Sevastijana (Stanić), who settled modestly in the southern dormitory, in the only room suitable for living. After their departure, after a few months, Grgeteg became quiet again, until Hieromonk Naum (Andrić) moved in, in the middle of the fifth decade of the 20th century. From 1964 to 1984, the hegumen of this holy place was Hieromonk Ilarion (Mišić), who was succeeded by Hegumen Atinagora (Milanović) from 1985 to 1987. After that, Vasilije, the Bishop of Srem, entrusted the Hieromonk Dositej (Miljkov) with the leadership of Grgeteg.
By 1992, when it was enthroned by Serbian Patriarch Pavle (Stojčević), the temple was completely renovated. A new facade and stained glass windows were made, its interior was decorated and copper roofing was done. The new bell tower was built between 1998 and 2000 on the foundations of the old one, demolished by mines. The facade was done to suit the church’s stylistic features, and four new electrified bells, cast in Voronezh, Russia, were purchased. A chapel dedicated to the Holy Virgin was rebuilt within the bell tower and it was painted by the academic painter Dragomir Jašović. The restored bell tower was consecrated by the Bishop of Srem, Mr. Vasilije (Vadić), together with the Chapel of St. Seraphim of Sarov, which was done in the eastern part of the dormitory in 2000. The driveway and the magnificent gate with mosaic icons were completed by 2005.
A new roof structure was built over the dormitory and roof tiles were installed, all four facades and the entire interior were reconstructed. Today, the dormitory contains a reception room with a kitchenette, two chapels, two dining rooms (one for monks and one public), a salon, a library, a tailor’s and icon painting workshop, offices, a bakery, spacious cellars and, of course, monastic cells. Furthermore, central heating and water supply were introduced, as well as the new electrical installations. Between 2006 and 2009, a new dormitory was built near the north side of the monastery, with monastic cells and two garages. Its facade includes two mosaic frescoes depicting the Nativity and Resurrection of the Christ. To honor the seventeen centuries since the promulgation of the Edict of Milan and three centuries of the Metropolitanate of Karlovci, in 2013, the skete of Salvation and Transfiguration, which lies next to the monastic cemetery, was consecrated. This temple’s frescos were executed by Rade Sarić, while the iconostasis was painted by the nuns of Grgeteg Monastery.
Treasury and library
The monastery has a valuable collection of portraits of its former hegumens, archbishops and archimandrites. Particularly valuable are the portraits of Metropolitan Isaija (Đaković), by an unknown foreign author, Bishop of Dalmatia Jerotej (Mutibarić), Archimandrite Count Antonije (Branković) and of Pavel Hadžić, all of which were created by Pavel Đurković, as well as a portrait of Archimandrite Ilarion (Ruvarac) by Uroš Predić. The current Grget administration ordered a few more portraits from the painter Veljko Đurđević: the blessed Bishop of Srem Dr. Andrej (Frušić), Hegumeness Melanija (Krivokućin), the Bishop in charge Vasilij (Vadić) and Archimandrite Dositej (Miljkov). Despite the destructive spirit of the 20th century, this monastic community remained extremely rich in antiquities. Although most of the valuables looted during the Second World War are now on display in the Museum of the Serbian Orthodox Church in Belgrade, the monastery treasury, among other things, still contains: several old icons, including some from the original iconostasis by Orfelin, a silver chalice from the 17th century, a wood-carved cross with filigree fittings from 1772, a candlestick from 1873, a wooden box for relics with the image of Saint Stefan Dečanski, a triptych from 18th century, handwritten menology for August from 1674, “Gospel” with depictions of the Evangelists on enamel, which contains the signature of Patriarch Arsenije III (Čarnojević). Given the fact that the priceless, library of Ruvarac was founded here more than a hundred years ago (and later savagely destroyed), the monastery family again cataloged the books collected during the previous decades.
Holy relics and graves
Since 2002, this place has been the home of a copy of the icon of the Panagia Tricherousa (Three-handed Theotokos), as an expression of spiritual connection with Mount Athos. Following the example of the Hilandar Monastery, the sisterhood celebrates her presence with all-night worships, which are held on all holidays dedicated to the Blessed Virgin Mary. From the Holy Relics, Grgeteg keeps the parts of holy remains of the Holy Great Martyr Anastasia the Pharmakolytria, Venerable Melania of Rome, Venerable Seraphim of Sarov, Venerable Job of Pochayiv, Venerable Amphilochius of Pochayiv, Holy and Glorious Hieromartyr Haralambos, Venerable Mother Angelina of Krušedol and Holy Great Martyr Theodore Tiron. Next to the skete of Salvation and Transfiguration, the
monastic cemetery was founded and there, among others, there are gravestones of Bishop Gavrilo (Zmejanović) of Vršac, Bishop Mihailo (Aleksandrovski) of Russia, Hegumen Miron (Simičić) of Bešenovo, Archimandrite Dr. Avgustin (Bošnjaković), Georgije (Bojanić ) hegumen of Grgeteg, Hegumen Hadži-Kesarije (Kalychenko) and protoiereus-stavrophore Prof. Dr. Radoslav Grujić, with his wife Milica. The granite tomb of the most important patron of this sanctuary, Archimandrite Ilarion (Ruvarac), is located a little further, on the road that leads from the dormitory to the monastery cemetery. Archimandrite Andrej (Atanasijević) was buried in the southern part of the churchyard, and a crypt was built under the bell tower where several monks rest. Above the crypt, on the ground floor of the bell tower, there is a monument to the Bishop of Dalmatia Jerotije (Mutibarić).