U župnoj crkvi sv. Ivana Krstitelja u Zelini danas je smještena kamena skulptura Bogorodice Sućutne nastala vjerojatno krajem 17. stoljeća, a svojim srodnim likovnim rješenjem približena je skupini ...kamenih figura izrađenih prema uzoru na bakrorez Johana Sadelera I. Izvorno je zasigurno stajala u funkciji pila, no rastući ugled i čudesa potaknuli su 1718. godine izgradnju kapele Majke Božje Žalosne njoj u čast, kako opisuju vizitatori, »na način postaje«. Njezin izgubljen izgled i inventar ovdje su prvi put rekonstruirani i protumačeni detaljnim iščitavanjima arhivskih vrela koja otkrivaju da su oltari sadržavali jedne od najranijih primjera ikonografskih motiva i kompozicijskih rješenja, a arhitektonsko oblikovanje pročelja s dvoetažnim ulaznim trijemom i scenografski razrađenim prizorom Kalvarije na katu ističu se kao usamljeni predstavnici u sakralnoj arhitekturi i umjetničkom stvaralaštvu 18. stoljeća na prostoru sjeverozapadne Hrvatske.
Članak obrađuje proces demuzealizacije i resakralizacije pobočnog oltara Preobraženja Gospodinova koji je stotinjak godina čuvan u Muzeju grada Zagreba, od čega je posljednja desetljeća proveo u ...depou. Porijeklom iz kapele svetih Fabijana i Sebastijana u Kučama, danas župa Vukovina, a nekad Staro Čiče, oltar je bio uklonjen pred rušenje stare drvene kapele 1909. godine i gradnju nove zidane koja je potom uslijedila na istom mjestu. Prije povrata u kapelu oltar je restauriran, a usporedna povijesnoumjetnička i restauratorska istraživanja otkrila su niz dosad nepoznatih činjenica, uključivo dataciju, prethodne posvete oltara, naručitelja/donatora i slijed njegovih selidbi.
U radu su obuhvaćeni svi oltari na području sjeverne Hrvatske koji su, prema dosadašnjim saznanjima, pripisani kiparu i stolaru Franzu Antonu Straubu i njegovoj radionici. Po prvi puta analizirani su ...s obzirom na udio inovativnih oblikovnih rješenja koja su obilježila altaristiku Srednje Europe 17. i 18. stoljeća. Smještajući ih u kontekst prostora i vremena, utvrđeni su uzori na koje se ugledaju kroz utjecaje poslijetridentske traktatistike, Giana Lorenza Berninija i kazališnih scenografija, te poveznice s djelima druge braće, ali i odjeci kod kasnijih sljedbenika u Hrvatskoj. Pažnja je posvećena i genezi motiva, osobito motivu zastora koji je tumačen s obzirom na njegovo podrijetlo i značenje. Iščitavanjem arhivskih vrela te provedenim konzervatorsko-restauratorskim istraživanjima ispravljene su dosadašnje datacije i predložene nove atribucije.
U članku su obrađene dvije dosad neistražene i neatribuirane skulpture na bočnim oltarima župne crkve sv. Ivana Krstitelja u Novom Čiču. Riječ je o skulpturi Bogorodice s Djetetom nastaloj 1693. ...godine i skulpturi sv. Antuna Padovanskog iz 1694./95. godine. Istraživanja su utvrdila da ih se može ubrojiti u stvaralaštvo Johannesa Komersteinera, o čemu svjedoči znalačka kvaliteta kiparskog oblikovanja kao i usporedbe s ostalim djelima njegova opusa.
U tekstu je obrađena povijest izgradnje i uređenja župne crkve sv. Josipa u Lipovljanima, koja je prvi put analizirana i valorizirana kroz prizmu arhivskih izvora i konzervatorsko-restauratorskih ...istraživanja. Lipovljani su bili u sastavu Gradiške pukovnije Vojne krajine, a župa pod patronatom Marije Terezije, stoga je i oblikovanje unutrašnjosti i pročelja nove zidane crkve, građene 1771. – 1772. godine, u skladu s tipskim planovima i rješenjima (
Kirchennormpläne
) kakva se postoje diljem Vojne krajine, ali i Habsburške Monarhije. Izborom materijala ističe se glavni oltar, koji je zidan, što je vrlo rijetka pojava u umjetnosti kontinentalne Hrvatske 18. stoljeća. Konzervatorsko-restauratorskim radovima otkrivena je prvobitna polikromacija drvenih skulptura, polirana bijela, tehnika naročito omiljena u Beču i Bavarskoj tijekom 18. stoljeća, s vrhuncem u doba rokokoa. Podjednako su zanimljive reinterpretacije u kasnijim obnovama oltara, prilagođene kontekstu i lokalnim očekivanjima.
The paper discusses the history of the construction and design of the parish church of St Joseph, in Lipovljani, through the prism of archival sources and the results of conservation and restoration research, used for the first time to analyse and evaluate the church in the context of the space and the time period in which it was built. The people of Lipovljani were members of the Gradiška Regiment of the Military Frontier, and the parish was under the patronage of Maria Theresa. Loyalty to the imperial crown is evident from the choice of the patron saint, as well as in the design of the interior and the façade of the new brick church built in 1771 in accordance with the typical plans and solutions (
Kirchennormpläne
) used throughout the Military Frontier and the Habsburg Monarchy. The church is a single-nave longitudinal building with two bays vaulted with domed ceilings, and it has a built-in belfry on the façade. The church inventory was acquired shortly after its construction in 1775. The high altar stands out because of the rare materials used for its construction. It was made of brick, similar to the one in the parish church of St. Vitus in Brdovac, so far the only known 18th-century example in continental Croatia. The side altars were fresco-painted illusory altarpieces on the wall of the nave. The altars, and the altarpiece on the high altar, were replaced in 1885 with wood-carved altars from the Moravian workshop of Ignaz Johann and Teodor Berger. The next major change came in 1895, when Marko Antonini painted the entire interior of the church and reapplied the polychromy on the high altar. The interior was renovated again in 1980, and the high altar was repainted with acrylic paints, and it remained the same until the conservation project carried out from 2019 to 2022. The work yielded a valuable discovery of the original polychromy of wooden sculptures – a polished white colour – a technique particularly popular in Vienna, Bavaria and the larger cities of the Habsburg Monarchy during the 18th century, and that reached its peak during the Rococo era. The appearance of white-painted sculptures in continental Croatia is primarily a reflection of the client's taste, as well as historical and political circumstances. The clients were mainly noble families, church dignitaries or monastic orders (Jesuits, Franciscans) connected with the brothers at the centre of the Monarchy, especially in the Military Frontier and Slavonia, which was politically dependent on Vienna. Equally interesting are the reinterpretations in later altar renovations, adapted to the context and local expectations. Where monochrome was generally accepted, sculptures were often restored in a similar manner; however, many sculptures acquired mimetic polychromy during restorations. A review of the conservation and restoration records from the archives of the Croatian Conservation Institute and the conservation departments of the Ministry of Culture and the Media has revealed that the restoration of monochrome sculptures differs in approach from the restoration of polychrome sculptures, and that overpainting with polishing, also applied in Lipovljani, has been accepted as a possible and correct choice in recent decades when it comes to damaged or matted white polished sculptures in churches.
U tekstu se donosi niz novih spoznaja o povijesti
izgradnje i uređenja župne crkve sv. Vida u Brdovcu, koje su rezultat
usporednog iščitavanja arhivskih izvora, ponajprije izvještaja kanonskih
...vizitacija, i nalaza konzervatorsko-restauratorskih istraživanja, a koje bitno
mijenjaju prije objavljene teze. Iscrpno su sagledane sve povijesne faze s
opisom građevnih transformacija i razvoja crkve, iz čega proizlazi zaključak da
su se ključne intervencije dogodile tijekom 17. i 19. stoljeća, kad crkva
dobiva današnji izgled. Razjašnjena je i građevna geneza kapele sv. Barbare,
jedine bočne kapele kružnog tlocrta iz 17. stoljeća na području kontinentalne
Hrvatske, a štukatura u njezinu interijeru, ovdje se po prvi put analizira i
valorizira u kontekstu štukatura sjeverozapadne Hrvatske i susjednih regija.
Prvi put se objavljuje i podatak o naručiteljici kapele i oltara sv. Barbare
koju vizitatori izrijekom navode, a riječ je o Heleni pl. Patačić.
The text offers a
number of new insights into the history of construction and design of the
parish church of St. Vitus in Brdovec. They are the result of a comparative
reading of archival sources, primarily reports of canonical visitations, and
conservation and restoration research, which have significantly changed
previously published theses. Rich stratification is the main feature of the
church in Brdovec, and all historical phases, with detailed descriptions of
renovations and the development of the church, have been thoroughly reviewed,
leading to the conclusion that key interventions occurred during the 17th
and 19th centuries, when the church got its present appearance. The
older church, most likely from the beginning of the 16th century,
was rebuilt in 1634 by extending the nave, and building a stepped bell tower in
front of its western entrance. This was followed by the addition of the chapel
of St. Anthony (1669) along the north wall of the nave, construction of a new
wider sanctuary, and the installation of vaults over the nave which replaced
the painted wooden ceiling. The construction of a new sanctuary and the
"lower and upper sacristy" was arranged in 1672 with the master mason
(
magistrum murarium
) Silvester Donati. The renovated church was consecrated
in 1679; and, according to the visitor of 1686, it was under the patronage of
the Čikulin family. The side chapel of St. Barbara was built between 1695 and
1700 on the site of the former masonry porch next to the south wall of the
nave. The circular floor plan of the chapel is the only such example in the
continental Croatia of the 17th century. The dome is decorated with
valuable stucco decorations that have not attracted the attention of
researchers, and which, along with chapels in Zagreb and Varaždin, are the only
surviving stucco from the 17th century in continental Croatia. This
research is the first time that information has been provided about the
patroness of the chapel and the altar, Helena pl. Patačić, a great benefactress
and client, who the visitors explicitly mention. The author of the stucco
ornament remains unknown, but the formal features of the shallow, elongated
ornamentation point to neighbouring Styria, since examples with similar
stylistic features from the turn of the century can be found there. The only
significant building project from the 18th century – which, however,
significantly influenced the identity of today's church – is the installation
of a Baroque top on the bell tower with a stepped structure, and the shaping of
its façade with flat, elongated medallions made using a combination of coarse
and smooth plaster textures. The church underwent major renovation during the
first third of the 19th century, probably based on a standard design
that changed the character of the interior and exterior. Baroque vaults were
installed on the flanges above the nave and sanctuary, which is why the
perimeter walls were lifted by approximately 130 cm and a new roof was
installed. The basic front articulation, both the architectural ornaments and
the shape of the window openings, originates from this period. The defined
condition of the church was mostly repaired only through subsequent
renovations, especially after the earthquake in 1880, when repairs were made to
the damaged chapel of St. Barbara under the leadership of Gjuro Carnelutti.
Analysing written sources, together with the findings of conservation research,
has led to new knowledge about the church in Brdovec, since its qualities and
historical stratification is yet again attracting the attention it undoubtedly
deserves.
U tekstu se donosi niz novih spoznaja o povijesti izgradnje i uređenja župne crkve sv. Vida u Brdovcu, koje su rezultat usporednog iščitavanja arhivskih izvora, ponajprije izvještaja kanonskih ...vizitacija, i nalaza konzervatorsko-restauratorskih istraživanja, a koje bitno mijenjaju prije objavljene teze. Iscrpno su sagledane sve povijesne faze s opisom građevnih transformacija i razvoja crkve, iz čega proizlazi zaključak da su se ključne intervencije dogodile tijekom 17. i 19. stoljeća, kad crkva dobiva današnji izgled. Razjašnjena je i građevna geneza kapele sv. Barbare, jedine bočne kapele kružnog tlocrta iz 17. stoljeća na području kontinentalne Hrvatske, a štukatura u njezinu interijeru, ovdje se po prvi put analizira i valorizira u kontekstu štukatura sjeverozapadne Hrvatske i susjednih regija. Prvi put se objavljuje i podatak o naručiteljici kapele i oltara sv. Barbare koju vizitatori izrijekom navode, a riječ je o Heleni pl. Patačić.
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