of that period. On the western wall of the nave is a famous fresco of the Dormition of the Virgin. In the 16th century the monks had to temporarily leave the monastery on several occasions due to the Ottoman threat. Finally, during one of the raids in 1689 the Ottoman Turks set fire to the monastery and carried off the lead from the church roof. The brotherhood escaped with some important relics to Kosovo - but did not return to Sopoćani; it remained deserted for over two hundred years, until the 20th century. The church slowly decayed: its vaults caved in, its dome fell down, and the remains of the surrounding buildings were covered with rubble and earth. Finally, during the 20th century the monastery was restored and today it is settled by a thriving brotherhood of dedicated monks. The fact that most of the Sopoćani frescoes still shine with radiant beauty - surviving more than two centuries of extreme exposure to the elements. Sopoćani was declared Monument of Culture of Exceptional Importance in 1979, and it is protected by Republic of Serbia. Art history and influence The art in Sopoćani was implemented periodically through the years following its completion in 1260. The subjects of the art include Christian Saints, national saints, as well as episcopal and illuminative narratives of Christianity. These narratives follow a left-to-right order of narration, needing to be viewed in a specific order to be understood. The classical art style of the church is largely influenced by late Byzantine art, such as that of the Basilica of San Vitale and other Byzantine churches. Some of the frescoes in the church exemplify a transition of Byzantine art periods, from Komnenian to Palaiologan, as many paintings were completed between 1263 and 1268. The Dormition, with its stately compositions and monumental figures, is an example of this. The period following iconoclasm brought upon a resurgence in these art styles moving forward into the 13th century, at the time of the construction of the monastery. Other motifs seen in the church (such as water-birds and use of specific lotuses) are indicative of influences from early Byzantine art dating to the era of Justinian I, although these influences are less prominently featured in the church. The implementation of this art can be separated into several distinct periods. In 1263–1268, various paintings, including those of the sons of Stefan Uroš I, Dragutin,