The paper presents relations between form and function in the architecture on few selected examples of theoretical texts. Interrelation of form and function is analyzed on examples of the ...mostimportant types of baroque architecture – the castle and the church. Baroque castle has a key rolein the creation and validation of the power of rulers, enfilade rooms and ceremonial staircase havefunction of stage on which the ruler displays himself and his power, but also at the same time,reflects strictly hierarchical social system of baroque. In religious architecture, relations betweenform and function are more regulated. In Instructiones… (1577) of the Council of Trent, the emphasis in the design has been placed on the fulfillment of the functions of post-Tridentine liturgy,from the layout of plan to the new meaning of the triumphal arch. However, the regulations aremost clearly expressed at the end of the 18th century, in demand for functionality as the primarygoal of a sacred space. Following the adoption of enlightenment ideas in Central europe, churchesare build according to claim that their design should be “useful and purposeful”, according to therequest of Joseph II.
Kapelu Majke Božje Lauretanske u Pogančecu, podignutu 1780., istraživala je Anđela Horvat kao primjer baroknog klasicizma. Specifičnim tlocrtno-prostornim rješenjem broda s kupolom na ...slobodnostojećim stupovima te stupcima u svetištu izdvaja se iz korpusa sakralne arhitekture kontinentalne Hrvatske tog razdoblja i predstavlja sintezu različitih utjecaja. U kupoli se materijalizira marijanska kružnica, stupovi u brodu odjek su baroknog klasicizma, dok su na pročelju, kao i u opremi, prisutni elementi rokokoa.
Archival sources, especially Canonical visitations kept in the Archbishopric Archives in Zagreb, contain descriptions of the old church from the seventeenth century, the one which stood on the place ...of the present parish church in Kupinec. This old church, like many other from the period, was originally built of timber and later someone constructed masonry and vaulted sanctuary. lnterior was richly decorated, probably with painted walls and tabulate, and had wooden ceiling of the church nave. Namely, archival sources mention many similar churches during the seventeenth and at the beginning of the eighteenth century. Moreover, sources often mention that such churches were in quite bad condition and needed rapid renovations, as it was case with the church from Kupinec too. Consequently, during the eighteenth century many churches were renovated and timber was replaced with more solid materials. Therefore, present-day researchers can investigate the interior of these previous churches only through archival sources. The last note about the old church in Kupinec comes from 1768. This renovation process was tightly connected with contemporary reform of diocese organization, which was carried on throughout the entire Habsburg Monarchy. ln the bishopric of Zagreb this reform was under supervision of bishop M. Vrhovac. This reorganization of parish system was designed to follow needs and number of local population, which was accompanied with renovation and reconstruction of old churches, and this was case also in Kupninec. In the literature parish church in Kupinec was usually dated to the mid eighteen century. However, on the basis of the archival sources, primarily Canonical visitations and the Memorial of the Parish, together with some data from the archival fond Draskovi? kept in the Croatian State Archives, authors revealed that church was built in the period between 1795 and 1799. During the construction of the new church architects kept the old belltower. This new church regarding its typology should be classified as late Baroque variation of cross-shaped layout, so called, quatrefoil that was quite usual in the bishopric of Zagreb at that time. Some details of the interior decoration reveal many motives of Marian symbolism. Archival sources also contain detailed lists that reveal in which manner the locals collected money to build the church. KEY WORDS: Kupinec, archival sources, late 18th century, typology of sacral architecture. U radu su prikazani arhivski podatci iz kanonskih vizitacija, Hrvatskoga drzavnog arhiva i Zupne spomenice o izgradnji zupne crkve Uznesenja Blazene Djevice Marije u Kupincu, na temelju kojih je postavljena nova datacija izgradnje i opremanja crkve u zadnje desetljece 18. stoljeca, izmedu 1795. i 1799. Iz sacuvanih arhivskih podataka moguce je rekonstruirati izgled i ranije crkve iz 17. stoljeca, koja je prethodila danasnjoj. Popisi iz fonda obitelji Draskovic daju uvid u tijek prikupljanja sredstava. KLJUCNE RIJECI: Kupinec, arhivski podatci, datacija gradnje 1795.-1799., tipologija sakralne arhitekture.
A dominant paradigm of Croatian art history, particularly of studies devoted to the art of the Adriatic region, has been the relationship between the artistic periphery and the centre. This was ...frequently discussed in terms of the 'timeliness' of emerging new styles and was used to determine the national component in art. By focusing on how the periodization of local styles related to contemporary phenomena in Western (particularly Italian) art, Croatian art historians tried to determine the role played by local art in a wider European context. This chapter examines how periodization was used to articulate national debates in Croatian art history. Firstly, it explores how Croatian art historians accentuated the early appearance of Renaissance features in the work of Giorgio da Sebenico. Secondly, it addresses the problem of the 'mixed Gothic-Renaissance style' in the Sponza/Divona Palace in Dubrovnik. The methodology developed to explore these issues became central to Croatian art history: it used detailed morphological analysis of decorative elements and foregrounded the personal styles developed by Dalmatian artists. From the 1950s onwards, for many art historians, the 'mixed style' became the dominant narrative, challenging earlier beliefs that the main feature of 'peripheral' art was the delayed adoption of styles.
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