The author’s thesis is that the division of Byzantine fresco painting is artificial and based more on political boundaries than stylistic differences and Balkan examples from Serbia and Bulgaria (and ultimately Russia) are so similar to those of Macedonia that they should be regarded as a unified school of art distinct from the more obviously different Cretan school.  He argues his case and presents examples in the form sixty-four b&w plates.  Includes a bibliography.  Hardback.  48 pages.  Lacks dustjacket, but internally good clean condition with no inscriptions or library markings.  Cat No 4403