The medieval murals were uncovered in the second half of 1959 under the guidance of the conservator Ivan Komelj, who was also the first to define them art-historically. He dated the older layer to around 1300 and the more recent one to around 1400, while stylistically describing the latter as a blend of the 14^th-century tradition and more modern Friulian painting.[1] France Stele basically adopted Komelj’s interpretations. However, like Tanja Zimmermann about three decades later, he focused more closely on the more recent stage and placed it in a separate Lower Carniolan group.[2] Vilma Praprotnik examined both stages of the murals from the viewpoint of the painted ornamental frames. On this basis, she dated the older stage to the middle of the 14^th century.[3] In her 1993 article and in the 1995 catalogue of the exhibition titled Gotika v Sloveniji (Gothic in Slovenia), Tanja Gregorovič/Zimmermann dated the second stage to the end of the 14^th century.[4] In her dissertation, she once again devoted more attention exclusively to the second stage of the mural while only describing the first stage and dating it to the second quarter of the 14^th century.[5] She placed the second stage in the chapter on the so-called “mixed” northern Italian style and paid more attention to the iconographic solutions rather than to the style itself, dating them to the period around 1390–1400.[6] The older phase was not specifically examined until Robert Peskar underlined the blending of the still Romanesque and early Gothic elements and dated them to the second quarter of the 14^th century based on northern and western comparisons.[7] Similarly, he also focused on the second stage of the murals, mainly refining the earlier findings, in particular by suggesting that the votive image on the northern nave wall was slightly older than the rest of the painting. In terms of stylistic characteristics, he nevertheless placed the mural as a whole in the period around 1400.[8] At the beginning of the 21^st century, the paintings were examined by Janez Höfler, who, based on similar arguments as his predecessors, dated the first stage to the period between the Romanesque and the Gothic period, namely to the first quarter of the 14^th century. In terms of the authorship, he looked towards the South Tyrolean area while also making a few refinements regarding the iconography. In relation to the second stage, he mostly confirmed the previous research and dated it to the last two decades of the 14^th century (around 1380–1400).[9] Subsequently, Robert Peskar also accepted the dating to the beginning of the 14^th century.[10] Soon afterwards, the last considerable contribution was made by Anabelle Križnar, who carried out meticulous technical research.[11]

GREGOROVIČ 1993
Tanja GREGOROVIČ, Freske na Brdinjah nad Kotljami in njihov umetnostnozgodovinski položaj/The Frescoes in Brdinje above Kotlje and Their Significance for Art History, Zbornik za umetnostno zgodovino, n. s. 29, 1993, pp. 41–65, tab. XIII–XVIII.

Historična topografija 2021
Historična topografija Kranjske (do leta 1500), Ljubljana 2021² (Slovenska historična topografija, 1), https://topografija.zrc-sazu.si/sht/files/SHT-Kranjska_web2.0.pdf.

HÖFLER 1982
Janez HÖFLER, Trije popisi cerkva in kapel na Kranjskem in Slovenskem Štajerskem s konca 16. stoletja, Ljubljana 1982.

HÖFLER 2001
Janez HÖFLER, Srednjeveške freske v Sloveniji. 3: Okolica Ljubljane z Notranjsko, Dolenjsko in Belo krajino, Ljubljana 2001.

HÖFLER 2016
Janez HÖFLER, O prvih cerkvah in župnijah na Slovenskem. K razvoju cerkvene teritorialne organizacije slovenskih dežel v srednjem veku, Ljubljana 2016², http://viharnik.com/downloads/Oprvihcerkvah_2izdaja.pdf.

HÖFLER 2017
Janez HÖFLER, Gradivo za historično topografijo predjožefinskih župnij na Slovenskem. Kranjska, Ljubljana 2017², http://www.viharnik.com/content.php?IDb=89.

KOMELJ 1960
Ivan KOMELJ, Pangrč Grm, Varstvo spomenikov, 7/1958–1959, 1960, pp. 188–196.

KOMELJ 1966
Ivan KOMELJ, Dvajset let odkrivanja srednjeveških fresk, Varstvo spomenikov, 10/1965, 1966, pp. 39–76.

KOS 1975
Milko KOS, Gradivo za historično topografijo Slovenije (za Kranjsko do leta 1500), 2, Ljubljana 1975.

KRIŽNAR 2006
Anabelle KRIŽNAR, Slog in tehnika srednjeveškega stenskega slikarstva na Slovenskem, Ljubljana 2006.

PESKAR 1997
Robert PESKAR, Gotska poslikava Miklavževe cerkve nad Pangrč Grmom, Gorjanci. Dolenjski zbornik 1997 (eds. Marinka Dražumerič, Andrej Hudoklin), Novo mesto 1997, pp. 219–235.

PESKAR 2002
Robert PESKAR, O srednjeveških freskah. Janez Höfler: Srednjeveške freske v Sloveniji, III. knjiga: Okolica Ljubljane z Notranjsko, Dolenjsko in Belo krajino, založba Družina: Ljubljana 2001, Rast. Revija za literaturo, kulturo in družbena vprašanja, 13/1, 2002, pp. 43–51.

PIRNAT 1975
Miha PIRNAT, Čelovnik, Fojana, Pangrč Grm, Krtina. Različni načini restavriranja, Varstvo spomenikov, 17–19/2, 1975, pp. 75–88.

POHL 1966
Emil POHL, Raziskave slikarske tehnike na stenskih slikah v Pangrč Grmu, Varstvo spomenikov, 10/1965, 1966, pp 103–109.

PRAPROTNIK 1973
Vilma PRAPROTNIK, Ornamentika slikanih okvirov v srednjeveškem stenskem slikarstvu v Sloveniji, Zbornik za umetnostno zgodovino, n. s. 10, 1973, pp. 31–78.

STELE 1969
France STELE, Slikarstvo v Sloveniji od 12. do srede 16. stoletja, Ljubljana 1969.

STELE 1972
France STELE, Gotsko stensko slikarstvo, Ljubljana 1972.

ZIMMERMANN 1995
Tanja ZIMMERMANN, Stensko slikarstvo poznega 13. in zgodnjega 14. stoletja, Gotika v Sloveniji (ed. Janez Höfler), Narodna galerija, Ljubljana 1995, pp. 221–223.

ZIMMERMANN 1996
Tanja ZIMMERMANN, Stensko slikarstvo poznega 13. in 14. stoletja na Slovenskem, Ljubljana 1996 (doctoral dissertation typescript).

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[1] KOMELJ 1960; KOMELJ 1966, pp. 46, 62.
[2] STELE 1969, pp. 52, 122, 306; STELE 1972, p. XI.
[3] PRAPROTNIK 1973, pp. 34, 41, 48, 56, 58, 60.
[4] GREGOROVIČ 1993, p. 52, 65; ZIMMERMANN 1995, p. 222.
[5] ZIMMERMANN 1996, p. 207.
[6] ZIMMERMANN 1996, pp. 108–110, 207.
[7] PESKAR 1997, pp. 221–225.
[8] PESKAR 1997, p. 225–232.
[9] HÖFLER 2001, pp. 143–148.
[10] PESKAR 2002, p. 45.
[11] KRIŽNAR 2006, pp. 207–213, passim.