distinguished professors and experts from various fields that would contribute in summarizing the rich history of Serbia through the items and architecture presented at the Expo. With a prominent location at the bank of the Seine River near the Pont de l'Alma at the end of the Rue des Nations, Serbia introduced itself through a pavilion that looked like a church (almost looking like the Church of St. Mark in Belgrade) or a medieval Serbian Orthodox monastery (similar to Gračanica Monastery). The project's chief architect was Milan Kapetanović of Belgrade, in co-operation with architect Milorad Ruvidić. It was an ideological collection of national myths, depictions of pre-Christian supremacy, a journey into the past, and the celebration of pre-Ottoman roots. Serbia would come out of the Expo with international praises and accolades, reinvigorating its national consciousness, which was evident through the vibrant unique architecture built in Serbia after the Expo. The Serbo-Byzantine Revival style would be showcased at several Expos prior to the creation of the Kingdom of Serbs, Croats and Slovenes, such as the Liège International of 1905 and Turin International of 1911. There were plans to showcase Byzantine Revival architecture by a sibling architect duo of Petar and Branko Krstić at the Sesquicentennial Exposition of 1926, but due to disagreements between Belgrade and Zagreb cultural scenes, the Expo pavilion was never built. Serbia's modern sacral architecture got its main impetus from the dynastic burial church in Oplenac which was commissioned by member of the Karađorđević dynasty in 1909. With the arrival of Russian émigré artist after the October revolution, Belgrade's main governmental edifices were planned by eminent Russian architects trained in Russian Empire. It was King Aleksandar I. who was the patron of the neobyzantine movement. Its main proponents were Aleksandar Deroko, Momir Korunović, Branko Krstić, Petar Krstić, Grigorijji Samojlov and Nikolay Krasnov. Their main contribution were Beli dvor, the Church of Saint Sava, St. Mark's Church, Belgrade. After the communist era ended Mihailo Mitrović and Nebojša Popović were proponents of new tendencies in sacral architecture which used classic examples in the Byzantine tradition. The style would even incorporate elements of Art Nouveau and Secession with national motifs. Serbo-Byzantine Revival is still prevalent in contemporary Serbia, especially with religious buildings such as churches and monasteries. The Church of Saint Sava is the best example of contemporary Serbo-Byzantine Revival architecture, being inspired by Hagia Sophia in Istanbul. Art Nouveau and