Serbian supremacy and under a Serbian sign. During the debate, some even pushed for the construction of the Vidovdan Temple instead. Especially vocal was art historian . He and his supporters opted for the "Yugoslav, not Serbian Pantheon". They also rejected the Byzantine design, as it only symbolized "one tribe". Meštrović supported Strajnić, insisting that the new "Yugoslav style" should be created, instead of the sacred architecture that would fit only one of the denominations. King Alexander Karađorđević publicly didn't support any solution, but privately pushed for the Meštrović's temple. The King was a major proponent of integral Yugoslavism and changed the state's name to Yugoslavia. Meštrović, as the most important representative of the idea of the "autochthonous Yugoslav art and architecture", was his favorite artist. After the 1926–27 competition had no winner, the project remained dormant for three years. The "Society for the Construction of the Church of Saint Sava on Vračar" called the University of Belgrade in 1930 to delegate "two specialists" to join the Society and Nestorović in further elaborating on the design of the church. The faculty proposed two professors, Dragutin Ðorđević, from the architectural department of the Technical University, a known project engineer and Aleksandar Deroko, lecturer at the chair of Byzantine and Old Serbian Architecture. Meanwhile, only Aleksandar Deroko joined Bogdan Nestorović in the fulfilment of the task. Both architects were asked to submit separate new plans based to the new guidelines defined by the technical department of the "Society for the Construction of the Church of Saint Sava on Vračar". On 1 and 2 January 1932 their definitive plans were published for the first time by the newspaper Politika. The plans appeared as images of plaster models for the future church. Both of the new models differed from the previous competition entries of Nestorovic and Deroko in 1927. In contrast to their sketches from 1927, when their entries differed markedly in silhouette, materials, composition and general appearance, the new proposals now looked very similar. References to the national tradition had vanished, neither of the two models was based in any way in design on the "Morava"-churches or Gračanica. The visual difference to the five year older proposals was even substantiated by the information in the accompanying text, where a 33 m measuring dome, which would dominate the church, was quoted. Without doubt the two similar plans had now been drafted authoritatively through the