The Epitaph of Gllavenica (Albanian: Epitafi I Gllavenicës) is a medieval embroidered liturgical cloth, created on March 22, 1373, in the town of Gllavenica (modern Ballsh, Albania). It is a rare and valuable example of Albanian Orthodox religious art from the late Byzantine period. The epitaph depicts Christ lying on a burial shroud, surrounded by mourning figures and biblical prophets, embroidered in silk with silver-gilt threads and vibrant natural dyes. Commissioned by Bishop Kalist and the Albanian noble Gjergj Arianiti, and embroidered by Monk Savia, the epitaph is a prime example of medieval Albanian religious art. It was rediscovered near Ballsh and is now preserved in the National History Museum in Tirana.

The Epitaph of Gllavenica was created on March 22, 1373, in the town of Gllavenica (modern Ballsh, Albania). It was commissioned by the Albanian noble Gjergj Arianiti and Bishop Kalist of Gllavenica and Berat, and crafted by Monk Savia. The cloth was created as a liturgical textile for Orthodox Good Friday ceremonies, depicting Christ’s burial with rich iconography embroidered in silk and silver-gilt thread. Originally, the epitaph belonged to the church of Gllavenica in Ballsh, a significant medieval ecclesiastical center.

According to local oral tradition, supported by scholar Theofan Popa, during the period of Bulgarian occupation of Albania, the bishops of Gllavenica-specifically Gorazhd and Angelar- were active in the area. Their relics, along with the epitaph, were moved from the Church of Gllavenica in Ballsh to the Church of the Dormition of the Virgin located inside Berat Castle for protection. The transfer was motivated by the decline of the church in Ballsh and the need to safeguard sacred objects.

In addition to the epitaph and relics, other ecclesiastical items such as liturgical books and parchments were part of this relocation. Initially, monks from the monastery moved these objects to the Monastery of Saint George in the village of Mbreshtan near Berat. However, during the Ottoman period, after the Islamization of Mbreshtan, the holy relics and the epitaph were brought back to the Church of the Dormition in Berat Castle, where they have remained safeguarded.

The relics of Gorazhd and Angelar still remain in the Cathedral of Saint Mary in Berat today, accompanied by icons and a Greek-written service honoring the saints. The veneration of these relics was significant for the local faithful, who regarded the saints as protectors of the city.

The Epitaph of Gllavenica was rediscovered in the mid-20th century in the cellar of a ruined house near Ballsh, where it had been folded and damaged by rodents and environmental factors. The researcher Theofan Popa was instrumental in its early study and gave the artifact its name based on Bishop Kalist’s ecclesiastical title linking it to the church of Gllavenica.

Restoration efforts began in 1974 under conservator Frederik Stamati, who treated stains from wax, soot, and damage caused by candles, smoke, and handling. That same year, the epitaph was exhibited internationally at the Petit Palais in Paris, where Byzantinist André Grabar described it as the third of its kind in Europe.

In 1980, following the opening of the Museum of Medieval Art in Korçë, concerned citizens of Berat, aware of their own valuable objects, proposed establishing a medieval museum in Berat. During a visit by leader Ramiz Alia, locals revealed that the epitaph was being stored improperly—wrapped and placed inside a chest. Recognizing the poor conditions, Alia ordered the epitaph to be transferred to Tirana for better preservation.