Srednjovjekovna feudalna utvrda Possert (Shabez), koja
se nalazi u općini Cerovlje, u blizini Belaja, predmet je
arheoloških istraživanja i konzervatorsko-restauratorskih
zahvata koje tijekom zadnjih ...šest godina provodi Služba za
arheološku baštinu Hrvatskog restauratorskog zavoda. U tom
su periodu arheološkim istraživanjima otkriveni mnogobrojni
do sada nepoznati arhitektonski detalji koji pojašnjavaju
način funkcioniranja utvrde te je prikupljena značajna količina
pokretnih arheoloških nalaza koji omogućavaju datiranje
perioda funkcioniranja utvrde (15. i 16. st.) te daju uvid u
svakodnevicu koje se u njoj odvijala. Zbog iznimno lošeg
stanja u kojemu su se nalazili sačuvani građevinski elementi
utvrde, u istom su periodu obavljeni i obimni konzervatorskorestauratorski
radovi kojima su sanirani njezini najugroženiji
dijelovi i utvrda spašena od daljnjeg propadanja. U radu se uz
analizu dostupnih povijesnih podataka, analizu arhitekture
utvrde i opis dosad obavljenih radova donosi pregled i analiza
prikupljenih pokretnih arheoloških nalaza na temelju kojih
se Possert pokušava smjestiti u povijesno-društveni kontekst
perioda u kojemu je utvrda funkcionirala.
A good example of how archaeological finds of the
late Middle Ages and early Modern Age supplement archive
sources are stove-tiles found in the course of archaeological
excavations over a number of ...years of medieval
fortified castles of Ružica-burg and Ilok.
Besides being a visual art and artistic value they are an
excellent example for the research of family, political and
business connections and economic power of the Dukes of
Ilok, who as owners and builders of these two most valuable
mediaeval complex in Eastern Croatia played crucial
role in Hungarian-Croatian Kingdom from the second half
of the 14th century until Turkish seizure.
Nikola of Ilok (died in 1477) and his son Lovro (died
in 1524) were the main bearers of these family’s powers.
Their sepulchral slabs in the church of St. John Capistran
in Ilok were starting points of my research and reflection on
heraldic heritage of this family and indistinctness referring
to particular coats of arms and their origin.
While processing huge amounts of stove-tiles found
at Ružica-burg, fragments with images of different coats
of arms drew a particular attention. Although they seemed
at first to be imported stove-tiles i.e. the moulds so that the
coats of arms had more of aesthetic purpose the detailed
analysis resulted in a smaller number of coats of arms (fig.
3, 4, 5, 6, 7) of this type.
The other group of coats of arms comprises state i.e.
royal coats of arms such as Hungarian, Austrian, Bohemian
or Portuguese (fig. 8, 10, 11, 12, 13, 14, 15, 16). The coat
of arms of the Pecs bishop of Sigismund Ernuszt has been
found almost intact.
The small coat of arms of Portugal is ‘‘odd’’ only at
first impression. However, keeping in mind the conflict
between Nikola of Ilok and the King Matthias Corvinus
(1458-1490) and Nikola’s inclination and connections with
Austrian Emperor Friedrich III of Habsburg, Roman-German
Emperor 1452-1492, whose wife was the Portuguese
princess Eleonor (died in 1467) this coat of arms is a confirmation
that stove-tiles motifs on show-piece stoves at special
court premises such as festivity halls, dining halls, chapels,
yards etc. had not been selected by chance (fig. 16).
The same applies to the fragment of the coat of arms
of Kyburg, an estate in the vicinity of Habsburg (now Switzerland),
which was inherited by marriage of Rudolph of
Habsburg (1218-1291) (fig. 17).
Similar features are carried by the fragment of unglazed
terracotta with black bird image presumably raven- the
family symbol of the King Matthias Corvinus (fig. 18).
The third group of coats of arms gives us the most
information and refers to those coats of arms that reached
the families through family bonds. These are the fragments
of several coats of arms of the Gorjanski family (fig. 19, 20)
since Lovro’s sister Euphrosyne was married to Job, who
was the last Gorjanski (died 1481).
Lovro’s sister Hyeronima was married to Leonhard,
the count of Gorica, the part of whose coat of arms was
found on Ružica (fig. 21). The sepulchral slab of Leonhard,
the count of Gorica and Tyrol in Lienz contains a fragment
of the Carinthia coat of arms (fig. 22) as well; a fragment of
the Counts of Celje (fig. 23) was also found.
The coat of arms fragments that had obviously been a
part of a larger stove tile in the crest of a luxurious tile stove
are of special interest. The rest of the lower part, glazed in
green, indicates that the coat of arms was slightly slanted to
the right, leaning to the Gothic balustrade of the large gable
stove tile from the stove crest. It was probably a part of a
pair together with another coat of arms slanted to the left,
with an axe image. The combination of the two motifs is
depicted on the sepulchral slab of Lovro of Ilok.
The reconstructin (drawing) of this coat of arms established
that it contains the motive of a four posted bower,
the roof of which is made of four layers of straw bound to a
knot on the top (fig. 25, 33).
The constant issue in the course of research of the stove
tiles and finds from Ružica was connected to non-existence
of a single item that would bear at least one of the
coats of arms of the Dukes of Ilok known in literature, i.e.
that are on the sepulchral slabs or seals (fig. 1, 2, 28, 35).
Almost the same statement could be applied to the stove
tiles found during archaeological research in Ilok.
The analyses of the existing coats of arms on sepulchral
slab of Nikola of Ilok and his son Lovro have shown
that preserved coats of arms on Nikolas’ a slab are known
and they depict coats of arms of the Bosnian Kingdom with
three crowns (Nikola’s title was the King of Bosnia), i.e.
the old family coat of arms with the image of two laid beams.
Subsequent intervention and attempts to insert some
randomly selected and poorly made coats of arms are completely
unfounded.
The stone fragment with finely carved coat of arms on
a similar red stone (without an inventory number) that is in
the holdings of the Museum of the Town of Ilok (fig.29) is
not the part of Nikola’s sepulchral slab, either.
The Renaissance image of a shell which comprises
the mentioned coat of arms is similar to that on which two
putti hold the shell with an empty shield (coat of arms is
chiselled off) and with the subsequently chiselled year of
1797. The fragment with the coat of arms of the Dukes of
Ilok must have been in the same position between two putti.
There is another fragment with one putto in the Museum
of the Town of Ilok; however the breach line indicates that the fragment of the coat of arms of the Dukes of Ilok
did not make a whole to fit. The rests of iron clamps on both
fragments indicate that this was a frieze (cornice with coat
of arms), i.e. the coats of arms of the Dukes of Ilok, one of
which was a fragment with a quartered coat of arms and a
bower in its third quarter. These could be also coats of arms
of the families with whom the Dukes of Ilok were in family
ties, as well as the state i.e. royal coat of arms.
Sepulchral slab of Lovro of Ilok has been preserved
almost intact (a part of the inscription in its left corner is
missing) and it comprises four coats of arms preserved in
its entirety.
Besides the first three known coats of arms (the coat
of arms of Bosnia, of the Dukes of Ilok and Lovro’s wife
Katarina Pongracz de Dengelog), the fourth coat of arms of
an unknown origin comprises the motif on the right side of
the shield for which it was not clear what it depicted, which
is the key to its origin.
The vagueness of form and function of this quite effaced
and indistinct object rendered the finding out of its
significance and function impossible.
It was only by notification of stove tile from Ružica
and subsequent analysis that I managed to establish that
the fourth coat of arms on Lovro’s slab comprises the same
four-posted bower with a straw roof bound in a knot on its
top that is also depicted on the coat of arms i.e. the stove
tile that formed the tile stove crest at Ružica burg (fig. 25).
The mentioned fragment of the red stone slab in the
Museum of Ilok bearing a nicely dressed smaller coat of
arms should be noted in this context. On this quartered coat
of arms in the upper left corner there is an old coat of arms
of the Dukes of Ilok with two laid beams (2nd quarter. In
the upper right corner (1st quarter) there is a Hungarian
cross and in the lower left corner (4th quarter ) an axe turned
to the left, which is the same motif as on the fourth coat
of arms on Lovro’s slab.
The third quarter is of the greatest significance obviously
containing the motif of a bower with a four layered roof,
that is here round-shaped (semi-cicular) for the «restricted
space» on the 3rd quarter (the shield is slightly bent). It
is particularly interesting that four posts of the bower are
depicted as a pruned tree trunk. Finally, we should note an
importat find of the completely preserved niche-shaped tile
that was excavated in the course of archaeological excavations
within the mediaeval palace of the Dukes of Ilok in
Ilok over a number of years.
Within the niche of the green glazed and partially reconstructed
stove tile there is an image of quartered coat of
arms depicting a common cross in its first quarter.
In the 2nd quarter there is an old coat of arms of the
Dukes of Ilok with two laid beams whereas the 3rd quarter
depicts two pruned tree trunks with a round tree top and
probably an image of a snake raised along the left tree. The
4th quarter was destroyed and reconstructed as a flat surface
and it could have depicted an axe.
Thus, it should be concluded that we deal with an image
of the same coat of arms from the fragment from the
Museum of Ilok with modifications that first of all reflect an
unskilful stove maker, i.e. the mould maker.
It is questionable why the tile from Ružica that comprises
a coat of arms with a bower lacks an axe unlike other
images, however the possibility should be reconsidered
that besides this coat of arms slanted to the right within the
big crest of the tile there was also a coat of arms with an axe
slanted to the left. The rests of the olive-green glaze (for
reinforcing the construction), i.e. the breach in the upper
right corner on the coat of arms with a bower where it was
connected to the other coat of arms, speak for the fact.
The coats of arms of the Dukes of Ilok and their variations
in professional literature were reproduced i.e. drawn
based on preserved seals on charters and images on stone
monuments.
The oldest coat of arms in whose shield there are two
laid beams, a helmet with a crown out of which a crowned
winged virgin appears, could be found earlier on seals of
Nikola Kont in 1359 and 1364. Such a seal can be found
both on the sepulchral slab of Nikola of Ilok and his seals.
The second coat of arms can be found on seals and
on sepulchral slab of Lovro of Ilok. This quartered coat of
arms from the sepulchral slab of the Dukes of Ilok was probably
used only by Lovro of Ilok.
This counts for the third coat of arms that was no
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Za 2011. godinu osigurana su sredstva isključivo za konzervaciju arheološkim iskopavanjima otkrivene arhitekture. Konzerviran je istočni segment obodnog zida burga te zid koji je u ranom novom vijeku ...podignut neposredno ispred tog spomenutog dijela srednjovjekovnoga burga.
Rad je podijeljen u tri osnovna dijela. U prvom dijelu razmatraju se osnovne diplomatičke i paleografske značajke najstarije sjevernohrvatske glagoljske bilježnice koju je zapisao anonimni župnik ...Šćitarjeva početkom 16. stoljeća. U drugom dijelu autori upućuju na vrijednost ovog sveščića u proučavanju određenih historiografskih problema kao što su pitanje načina i vrsta podavanja na ime lukna, mogućnosti proučavanja društvene i crkvene problematike ruralnih sredina, nekih demografskih pitanja ove malene seoske i crkvene jedinice i slično. U trećem dijelu donosi se transliteracija ovog vrela te faksimil ovog glagoljskog sveščića.
U radu se na temelju arhivskih istraživanja otkriva sudjelovanje klesara Stjepana Bokanića pok. Vicka u radovima na izgradnji pročelja nedovršene Crkve sv. Šimuna u Zadru, za koje se on 1599. godine, ...prema ugovoru sklopljenom s prokuratorom Julijem Grisogonom, obvezuje dobaviti četiri stupa iz kamenoloma na otoku Braču.
To je nacrt sintetičkoga prikaza književnosti u hrvatskom kulturnom prostoru od prijelaza iz 12. stoljeća u 13., pa do prijelaza iz 15. u 16. st. U njem se upozorava na književne rodove koji su u to ...doba bili važni, a i na književne osobe, koliko se pojavljuju i ističu, te se pokazuje kako je taj razvoj pratio u stopu onaj koji se odvijao u svoj latinskoj Europi, a pri tome je na razini posvećenoga bogoslužbenog jezika i zahtjevne jezične porabe u svako doba dvojezičan: latinski i slavenski. Na razini pučkoga jezika moglo je toga biti jedino tamo, gdje je neobrazovano pučanstvo bilo dvojezično. Koliko je na čitavom europskom Zapadu narodni jezik u književnom stvaranju stjecao veće značenje, toliko je i književnost na slavenskom jeziku na hrvatskom prostoru dobivala na opsegu i na važnosti. Da bi se to razumjelo, potrebno je dobro poznavanje glagoljaškoga udjela u tom sklopu i njegove povezanosti s pisanjem na hrvatskom narodnom jeziku. Za to pak ostaje nezaobilazno djelo i djelovanje naše svečarice.
Na Triptihu obitelji Bundića (prije 1502.–1508.) Nikole Božidarevića u crkvi dubrovačkih dominikanaca, na bočnim poljima prikazani su sv. Vlaho, sv. Pavao, sv. Toma Akvin ski i sv. Augustin, a u ...središtu
Bogorodica s Djetetom okružena anđelima. Iako ju je slikar ikonografski opisao kao Apokaliptičnu ženu, što kasnije odgovara nauku o Bezgrješnom začeću, ona se u kontekstu dominikanske duhovnosti oko 1500. godine ne može tako tumačiti, ali bi se mogla povezati s tada iznimno popularnom molitvom Ave, Sanctissima Maria mater Dei. Za nju je papa Sikst IV. (1471.–1484.) proglasio oprost od jedanaest tisuća godina ukoliko ju vjernik izmoli pred slikom Maria in Sole (Marije u Suncu). Budući da je Božidarevićeva Bogorodica prikazana sa Sunčevim diskom sa zrakama u njemu i iza, na zlatnoj pozadini, mogla je zadovoljiti papin zahtjev. Osim toga, na Božidarevićevoj slici u Marijinu svetokrugu ispisan je Marijin naslov istovjetan početku papine molitve: MARIA MATER SANCTISSIMA, a na drugim sačuvanim njegovim slikama imenovana je VIRGINIS MARIA (Lopud), VIRGINIS MARIE (Dubrovnik) ili VIERGO MARIA (Danče), što podržava uvjerenje da se radi o ikonografskom tipu Marije u Suncu, vezanom uz papin oprost i slavnu molitvu koja se raširila Europom oko 1500. godine.
U 2010. godini nastavljena su sustavna arheološko-konzervatorska istraživanja srednjovjekovnog burga Vrbovca u Klenovcu Humskom. Okončano je istraživanje ulaznog objekta u romanički burg, smještenog ...uz sjeveroistočni dio obodnog zida jezgre burga. Na ostalim dijelovima, okolo obodnog zida burga, izvan njegove jezgre, uglavnom se uklanjao sloj recentnog humusa i postsrednjovjekovni nasipi kako bi se oslobodili zidovi za konzervaciju te kako bi se uspostavio ophod, tj. privremena šetnica oko burga. Nakon arheoloških istraživanja obavljena je konzervacija i sanacija dijela istočnog obodnog zida te ostataka temelja anektiranog ulaznog objekta.
U vremenskom slijedu rad donosi pregled nakita na zadarskom području prema pisanim izvorima od 13. do konca 16. st., i to na osnovi popisa imovine (inventara), popisa dota udavača i oporuka. Radom su ...obuhvaćene zadarske plemićke obitelji, ali i građani pučani te stanovništvo širega zadarskog područja koliko je to bilo moguće iz dostupnih izvora. Od nakita se obrađuje prstenje, naušnice, ogrlice, ukrasne igle i narukvice. U ovom razdoblju nisu jednako zastupljene sve vrste nakita. Prstenje je bilo najčešće, vitice su rijetke, o narukvicama u srednjem vijeku nema podataka, a naušnice su češće u 14. i prvoj polovini 15. st. te od druge polovine 16. st., a tek će od 17. st. doživjeti svoj najveći razvoj. Neki su se oblici nakita iz toga vremena sačuvali do danas u tradicijskom nakitu, kao što su naušnice s tri izdužena privjeska. Nakit koji se nalazi u ovim popisima, izrađen je od najvrjednijih materijala, u prvom redu od zlata, zatim pozlaćenog srebra i rjeđe od srebra. Naravno da su plemići i bogatiji građani imali uglavnom zlatni nakit, no i kod šireg puka prevladavaju plemeniti metali tako da su bakar i bronca veoma rijetki. Od tehnika ukrašavanja zastupljen je filigran, emajl i niello-tehnika. U srednjem vijeku vrlo se često javlja ukras od bisera, pored safira i rubina. Od 16. st. češće se javlja koralj, zatim poludragi kamen karneol. U drugoj polovini 16. st. prvi se put javljuju moretti i peružini. Sada se već pojavljuju i imitacije dragog kamenja, staklena zrna i gorski kristal. Takav razvoj i sastav uglavnom odgovaraju stanju u širem europskom prostoru. Ovaj osvrt ujedno dopunjuje dosad poznatu arheološku građu na našem prostoru.
