Brads,

This is what I could find, I hope this helps!

P.S. I really like your work would love to see more!!!

A part of the altar partition with the name of prince Muncimir
from Uzdolje near Knin

A stone beam and a triangular gable that used to belong to the upper part of an altar partition.

The triangular gable was reconstructed and put together out of several stone elements. Along the outer edge, the decoration on the front gable furtherly consists of three-branched arches crossing each other, and of tallied bands in the form of a rope bordering the central field holding a cross filled with three-branched hurdle and two stylized birds on the sides, with clusters in their beaks. All the remaining free space is filled with rosettes and little flowers.

There is an inscription running by the lower edge of the beam and the gable reading as follows:

OCTIGENT(orum) (non) AGINTA ET Q(ui)N Q(ue) (a)NNORUM D(omi)NI FERE T(…?) DENI(…?) (h)IC BENE CO(m)P(o)S(u)IT OPUS PRINCEPS NA(m)Q(ue) MUNCYMIR

Which may be translated as:

In the year of Our Lord eight hundred ninety five … Prince Muncimir (had) this piece made.

The monument is of extreme importance for Croatian history. Apart from Prince Muncimir’s name, it also mentions the year of his ruling: 895. Prince Muncimir, who ruled at the end of the 9th and beg. of the 10th c., probably had a residence in Uzdolje, including St. John’s Church that he had redecorated as his own pious endowment, and equipped with pre-Romanesque liturgical movables, one among them being also this outstanding monument.

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Prince Viseslav’s baptismal font

Prince Viseslav’s baptismal font is an extremely significant monument because it brings testimony of the time when Croats adopted Christianity.

The front side of the hexagonal font made of a single piece of marble holds a cross filled with three-branched hurdle. The end of each side has a tallied little column with a capital appearing to support the upper part consisting of a row of plastic astragals and an edging with the following inscription carved in:

HEC FONS NEMPE SUMIT INFIRMOS, UT REDDAT ILLUMINATOS, HIC EXPIANT SCELERA SUA, QUOD DE PRIMO SUMPSERUNT PARENTE, EFFICIANTUR CHRISTICOLE SALUBRITER COFITENDO TRINUM PERENNE. HOC IOANNES PRESBITER SUB TEMPORE VUISSASCLAVO DUCI OPUS BENE COMPOSUIT DEVOTE, IN HONORE VIDELICET SANCTI IOANNIS BAPTISTE, UT INTERCEDAT PRO EO CLIENTULOQUE SUO.

The inscription may be translated as:

This font, namely, takes the weak and enlightens them. Here, they wash their sins away, received from their first parent, to become Christians and profess the eternal Trinity to their own salvation. This work was piously created by father John, under Prince Viseslav, and in the honour of St. John the Baptist, so that he may intercede for him and his protégé.

The inscription is of a devotional character with a pronounced pledging component, written in metrical form.

As regards the style of its decorations, the font has all the features of transitional style towards mature hurdle later appearing as the principal ornament of stone-built church movables. There are several theories as to its period of origin, the most frequently accepted being the one dating the font’s creation, as well as Prince Viseslav’s period of ruling, back to around 800.

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Choir screen panel from Split, containing pentagram and interlace patterns, 11th century.