The catalogue of Renaissance sculpture in the Kvarner Gulf is here enlarged with some hitherto unevaluated contributions, while those already known are considered in a different context. The paper ...provides a description of the process of reception of Renaissance stone sculpture in this region, including the dispersion of individual workshops. The author also proposes a hypothesis concerning the workshopof Master Franjo as the dominant workshop of the region, primarily based on its prolonged activity and widespread presence in the Kvarner Islands and the nearby mainland.
Raspravlja se o heraldičkoj skulpturi i arhitektonskoj dekorativnoj plastici grobničke župne crkve Sv. Filipa i Jakova. U dinamičnoj slici njezinih pregradnji i dogradnji 16. stoljeća jedan sloj ...povezuje se s Bernardinom Frankopanom a zatim i s radovima dogradnje svetišta župne crkve istog titulara u Novom Vinodolskom, kao i s tamošnjom nadgrobnom pločom modruškog biskupa Kristofora Stojkovića. Analiziraju se migracije majstora, kulturne i druge veze unutar Vinodola, kao i njegove veze s otokom Krkom, frankopanskim Modrušem i daljim zaleđem. Baština se tumači u kontekstu funkcioniranja kulturnog krajolika tih prostora u razdoblju prijelaza drugog u treće desetljeće 16. stoljeća, osobito u svjetlu djelovanja hrvatskih društvenih elita tog doba.
Senj’s heritage in general is historically and artistically extremely poorly researched and interpreted in the wider context of the heritage of the Eastern Adriatic coast. This is especially true of ...the monuments of the Middle Ages, hidden under completely different later architectural layers in the Early Modern Age of the militarised town. The examples analysed here are hypothetically interpreted in a new way, with suggestions for the dating and stylistic connections from the region of Kvarner, as well as from the wider Adriatic area. Along with the emphasis on the historical circumstances and the analysis of graphic and written sources, a proposal is presented for the dating and stylistic connection of the destroyed mediaeval tower (in the old Croatian Chakavian dialect - turan) in front of the façade of Senj’s cathedral. The possible closest twin and model to the Senj tower is probably located in Krk - insufficient data about the appearance of the Senj tower requires some speculation. All the circumstances that support such an interpretation, in the stylistic and chronological connection of the former Romanesque bell tower of the Krk cathedral from the end of the 12th century and the bell tower in front of Senj’s cathedral are explained exhaustively. It is assumed that, like the Krk bell tower, this one in Senj also had a communal status, so this may have been the reason for the construction of one more bell tower behind the rear of the cathedral, connected to the whole of the bishop of Senj’s historical residence. After this, two chronologically and epigraphically-palaeographically close inscriptions are compared with two churches from the first half of the 14th century, one which according to A. Glavičić was located on the site of the sacristy of Senj’s cathedral and the other which was located on the site of the sacristy of the Krk cathedral. The epigraphically palaeographically very close inscriptions, Senj’s "Imie od Raduča" and Krk’s which mentions the donors "Leonard" and "Bogdan", as well as the master craftsman "Mikel", are dated just four years apart. Finally, there is a comparative discussion about the process of urbanisation, architecture and the possible original name of Senj’s Mala Placa, the probable centre of the secular communal life of Senj in the late Middle Ages and the second focal point of the then already bicentrically organised town. Also discussed are the implications arising from the existence of such an urban focal point located next to the quay and completely separated from the most important public space in front of the cathedral. A proposal is presented for the dating of the town Loggia (the socalled "Kampuzija") to the 14th century. The term is interpreted as the name of the Loggia (Loža), but also as the name of the whole area regulated early as a square, in the sense of "campo" - like Krk’s Kamplin. The explicit Venetian method of the shaping of the brick-built Loggia, fitted with characteristic ground floor columns and Gothic monophores on the first floor part of the façade, stands out. One’s attention is drawn to its basement storage area which may have been a storeroom for salt. In this way, an early Venetian contribution (14th century) to the urbanisation of this part of the town located in the immediate vicinity of the quay stands out. For the Daničić house fitted with a luxurious late Gothic triforium, it is assumed that in the late Middle Ages it could have been a town hall and that it could, in fact, have been the town hall whose beauty was praised by J. W.Valvasor. A hypothesis is made about its original dimensions. With a little research luck, this could be confirmed by the conservation-restoration research of the inner face of the house’s masonry, especially the floors at the level of the skilfully carved Late Gothic triforium. The triforium is attributed to the work of Andrija Aleši from the 1550s.
U radu se temeljem novih atribucija donosi reinterpretacija djelatnosti glavnih kvarnerskih radionica kamene skulpture u doba renesanse. Ponajprije se analizira fenomen izrazite kvantitete ali i ...rasprostranjenosti djelatnosti creske radionice majstora Franje Marangonića (Francesco Marangon). Prisutnost njegove figuralne plastike uočena je ne samo na brojnim creskim lokacijama, u gradu Krku i na području krčkoga ladanja, već i u Crikvenici te naposljetku i u Senju i to već 1487. godine. Karakteristike njegovoga rada uočavaju se i na jednom reljefu iz Novalje, na tadašnjem rapskom području. Upozorava se da je majstor njegove radionice predložak za reljef Bogorodice i Djeteta s pročelja crkve u Dragozetićima na otoku Cresu preuzeo s kamporskoga poliptiha braće Vivarini. Uz korištenje predložaka iz neposredna okoliša definiraju se i jasni, direktni mletački uzori ove radionice, osobito karakteristično kombiniranje različitih vrsta kamena i mramora radi postizanja polikromije. Reinterpretira se i rapski opus Petra Radova a pripisuju mu se i ostvarenja u Krku i Senju. Formiraju se podgrupe skulptura unutar opusa koji mu je dosad pripisan. Upozorava se na direktne nastavljače njegova načina rada. Dodatno se analiziraju veze Senja i Raba, posredstvom skulpture dvorišta rapske velike palače Dominis te Lavljega dvora i drugih senjskih primjera. Zaključno se raspravlja i o vremenu koje je prethodilo radionicama majstora Franje i Petra Radova. Dodatno se rasvjetljuje Alešijeva aktivnost na kvarnerskim otocima. Pretpostavlja se i utjecaj drugih majstora iz Jurjeva kruga. Regionalno se posebno naglašava utjecaj gradilišta Novoga Paga.
Na dosad slabo poznatom i sa stajališta povijesti umjetnosti još posve neobrađenom primjeru Dobrinja na otoku Krku, raspravlja se o razvitku naselja na kvarnerskim otocima. Uz isticanje štetnosti ...dosad prevladavajućih uopćavanja, karakteristični položaj i razvitak Dobrinja tumače se u širem, komparativnom kontekstu. Analiziraju se prostiranje i obilježja pojedinih dijelova ovog naselja, a naglasak je na vremenu kasnog srednjeg i ranijeg novog vijeka. Tada je najuži dio povijesnog središta Dobrinja poprimio čvrstu, na tlorisnoj osnovi i danas, usprkos opsežnim pregradnjama i arhitektonskim preinakama, jasno uočljivu, urbanu fizionomiju.
Sculpture and architectural decoration in the historical centre of Lovran and its immediate historical surroundings are discussed in the first part of the paper. They are examined in the wider ...context of comparison, encompassing historical events, cultural centres and circles which influenced the sculpture as well as the workshops creating it. Specimens from the Middle Ages are elaborated and reinterpreted, but the emphasis is given to the sculpture from the first decades of the 18th century, i.e. the „golden age“ of the overall expansion of the city of Lovran. It is conditionally connected with the M. Zierer’s workshop. Furthermore, the highlight is put to a specific phenomenon within the incompletely appraised local pastoral culture of the end of 19th and beginning of the 20th century. Typical architectural decoration from the Lovran villas is discussed, as well as the climate, taste and decorum, requests of the patrons, the relation between the Mediterranean and the Middle‑European, and finally the origins of the need for the imitation of a very specific sculptural production. In this part of the manuscript, unpublished material is presented.
The paper discusses the urbanistic development of Dobrinj, one of the medieval castle settlements on the island of Krk, which developed in the shadow of the town of Krk - an ancient urban and ...Episcopal centre with unbroken continuity of occupancy since Roman times and proto-history. Although situated away from the sea, from Dobrinj it was possible to survey the Vinodol Channel in the direction of Kotor, its counterpart on the mainland of the neighbouring Vinodol, founded above the mouth of the river Dubračina. From Dobrinj it was also possible to control indirectly the salt-works of the Dukes of Krk in the nearby Saline Bay. Dobrinj’s location on an isolated mountain ridge caused the characteristically linear development of its oldest part, the downtown area of Dolinji Grad. In spite of subsequent significant remodelling which updated the originally modest buildings, even today it is possible to recognize the characteristic rows of rectangular residential single-floor structures with a single-room layout. The houses’ façades faced each other and the ground floors were separated by narrow passageways. However, on the first floor level they were joined by barrel-vaulted structures which supported roof terraces. The rows of houses along the outskirts of Dolinji Grad adopted a fortification function through their predominantly block-like exteriors. Representative residential structures were concentrated around the Plokat square, below the parish church of St Stephen. Numerous pieces of information are provided by comparative analyses: in particular comparison with other settlements on the island of Krk, but also in combination with written sources and toponomastic research. From the confined area of Dolinji Grad, the settlement spread from the parish church towards the south. Here, around the field which stood in front of the settlement, the inhabitants built churches from the middle ages onward and a graveyard gradually developed. During the sixteenth century, this area was gradually transformed into Placa, the new communal centre, following the example of the main square at Krk, which was developed by the Venetians. Although few material remains survive in situ, it can be observed that in this area Renaissance houses were provided with the characteristic door-cum-window openings (called "na koljeno") indicative of shops on the ground-floor level. Written sources reveal that in the sixteenth century religious building focused on Placa. The beginning of the seventeenth century saw a further contraction in the area of Dolinji Grad, and the completion of the work on the parish church which had begun in the second half of the sixteenth century. From the second half of the seventeenth century, following the end of the dangers posed to Dobrinj by the Uskok War, the settlement spread out in a horse-shoe shape southward into the area of the upper town - Gorinji Grad. The process continued in the eighteenth century and thus the example of small and urbanistically underdeveloped Dobrinj demonstrates that this late period of Venetian rule does not necessarily stand for urbanistic stagnation.
Sculpture and architectural decoration in the historical centre of Lovran and its immediate historical surroundings are discussed in the first part of the paper. They are examined in the wider ...context of comparison, encompassing historical events, cultural centres and circles which influenced the sculpture as well as the workshops creating it. Specimens from the Middle Ages are elaborated and reinterpreted, but the emphasis is given to the sculpture from the first decades of the 18th century, i.e. the „golden age“ of the overall expansion of the city of Lovran. It is conditionally connected with the M. Zierer’s workshop. Furthermore, the highlight is put to a specific phenomenon within the incompletely appraised local pastoral culture of the end of 19th and beginning of the 20th century. Typical architectural decoration from the Lovran villas is discussed, as well as the climate, taste and decorum, requests of the patrons, the relation between the Mediterranean and the Middle‑European, and finally the origins of the need for theimitation of a very specific sculptural production. In this part of the manuscript, unpublished material is presented.
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