The Serbian wall painting in the churches of bigger dimensions in the area of Patriarchate of Peć in the 16th and 17th century was very abundant and various, primarily relying on the iconographic solutions from the 13th and 14th century, while in the village churches of smaller dimensions it was rather modest. Mostly, the ordering parties but the very painters as well, are the ones who are responsible for keeping a suchlike tradition. A great number of painters, mostly the ones who did the wall painting of churches of smaller dimensions, were not theologically educated, and that actually influenced the iconography, or to be more precise the wall painting in general. At the end of the 16th century, the Greek masters arrived in the area of Patriarchate of Peć, and at the beginning of the 17th century they almost completely did the wall-painting in huge monastery churches bringing theme and style novelties and creating style unevenness that way. The wall painting in the area in East Herzegovina relied on the arrangement, thematic and iconographic patterns which were set after the renewal of the Patriarchate of Peć in 1557. The preserved frescoes from the first decades after the renewal, offer many pieces of information and data in terms of thematic and iconographic rarity and singularities. Insufficient offer and arrangement of compositions and images correspond to the general concept of the common solutions which were represented in the churches of smaller dimensions in the area of the renewed Patriarchate of Peć, and even in its wider area during the 16th and 17th century. There were some deviations and variances in the repertoire of churches in Herzegovina where the presentation of the hermits from the Balkan wasn't recorded, the image of Georgije New Kratovac wasn't enlisted into the programme while the images of holy saint women were presented in a small number, and the portraits of the donors were recorded sporadically. Holy warriors, holy servants, martyrs and monks were most frequently presented. The entire theme field in the village churches was adapted both to the liturgical needs and the needs and understandings of the believers and ordering parties. By means of the analysis of the church painting in the area of Patriarchate of Peć, the unity in the programme and iconography, which was enabled by the unitary church organization, has been stipulated.