pavilion of the Kingdom of Serbia at the major Rome 1911 exhibition. The full-scale model was then exhibited by Meštrović in London in 1915. The idea of Meštrović was that epics of all Yugoslav ethnicities are the same and he wanted to represent all "three tribes" (Serbs, Croats and Slovenes) in the monumental temple. He sculpted caryatides for the entrance of the future temple, which are today in the hallways of the National Museum in Belgrade. Meštrović planned to build it at Gazimestan, on Kosovo, between the rivers of Sitnica and Lab. Second competition After World War I, Serbia was integrated into the new Yugoslav State, thus the idea for the memorial church transformed into a more ambitious project. In the second competition a church with a ground area of 60 x 60 m was publicly announced. A new impetus came from the foundation of an association to build a memorial church on Vračar. The managing board was held by the patriarch Dimitrije. The church was thought to have a built area of 3000 m2, to tower 80 m and offer space to 6.000 faithful. The church was to pay reference to close national building traditions and resemble edifices in late Byzantine art of the so-called "Morava style", highlighting locally built churches commissioned under the reign of Lazar of Serbia (1329-1389) and his successors. The churches from the second half of the 14th century had all a trikonchic floor-plans, a cross-in-square design and some important royal burial places and memorial monasteries were also five-domed. One specification said that only Yugoslav or Russian architects are eligible for entries in the competition. It favoured especially Serbian nationals and Russian émigré architects, who were the main representatives in the neo-Byzantine movement which had graduated at the Vienna Academy of Arts, where Serbian students were lectured by Theophil von Hansen at the end of the 19th century in neo-Byzantine tendencies. They figured prominently in the competition of 1926–27. The guidelines of the competition stated that the building should be the "greatest and most monumental building in the country, and have ultimate artistic importance". With the preparation and implementation of the second International Congress of Byzantine Studies 1927 in Belgrade, tendencies of the neo-Byzantine movement culminated in Yugoslavia. The clerical hierarchy sought a church in the tradition of historicism based on classical Byzantine models, more precisely on buildings in the then-called "Serbo-Byzantine Style". The competition