The church of Timios Stavros is inscribed on the UNESCO World Heritage List which included nine other painted Byzantine churches of the Troodos range. The present form of the church is the result of several additions and alterations, carried out throughout various periods. Originally, it was a single-aisled domed structure, built around the middle of the 12th century and it is possible that it was the church of a cemetery. The original church was destroyed under unknown circumstances. Only the apse survived, which was incorporated in a new church of the same type, built at the end of the 13th or the beginning of the 14th century. This was the first of a series of interventions, where collapsing parts were either rebuilt or expanded. The north aisle is a slightly later addition but it clearly dates to before the middle of the 14th century, while the south aisle is a 16th century addition. The final result is a three-aisled structure with appealing proportions which manage to conceal its turbulent architectural history.
According to an inscription surviving in the apse, the original wall-painting decoration dates to 1171/2. Fragments of the decoration are preserved on the apse under the layer of the 14th century frescoes. They belong to a style rarely seen in the 12th century wall-paintings of Cyprus, but very common in contemporary churches in Capadocia, Greece and Crete.
The main part of the church of Timios Stavros was decorated during the second half of the 14th century. At least two artists belonging to the same workshop were involved, together with their students. Many donors contributed towards this decoration complex. From these wall-paintings we can distinguish a group which follows the Palaiologan style developed in Constantinople during the 14th century. A second group follows the contemporary local Byzantine tradition, enriched with crusader and Armenian features, both in terms of the style and iconography.
The north aisle, which is more or less contemporary to the previous wall-paintings, served as a private chapel for the family of the Latin feudal lord of the area, Ioannes Lusignan (1353-1374/5). The wall-painting decoration of this aisle is a combination of western and Byzantine features, indicating that the Latin rulers of Cyprus did not necessarily have solely Gothic preferences in art.
References:The Church of St Donatus name refers to Donatus of Zadar, who began construction on this church in the 9th century and ended it on the northeastern part of the Roman forum. It is the largest Pre-Romanesque building in Croatia.
The beginning of the building of the church was placed to the second half of the 8th century, and it is supposed to have been completed in the 9th century. The Zadar bishop and diplomat Donat (8th and 9th centuries) is credited with the building of the church. He led the representations of the Dalmatian cities to Constantinople and Charles the Great, which is why this church bears slight resemblance to Charlemagne's court chapels, especially the one in Aachen, and also to the Basilica of San Vitale in Ravenna. It belongs to the Pre-Romanesque architectural period.
The circular church, formerly domed, is 27 m high and is characterised by simplicity and technical primitivism.