The present study deals with the question of the organization of the stonemasonry production of funerary monuments in the interior of the former Roman province of Dalmatia. The aim of the research ...was to identify a model of stonemasonry production that originated in a mountainous and difficult to traverse area, where the possibilities of water transport of stone material are minimal. The author started from the assumption that production centres formed in some geographical areas during Roman rule, using local limestone sources for their operation. The study includes funerary monuments discovered in present-day Bosnia and Herzegovina and in the western part of Serbia and Montenegro. By combining the methods of macroscopic petrographic analysis of the stone material and typological and spatial analysis, the existence of several production centres was proven. The results of the analyses indicate a very likely that they exploited the local limestone resources. Epigraphic data also made it possible to define their chronological aspect.
The present study deals with the question of the organization of the stonemasonry production of funerary monuments in the interior of the former Roman province of Dalmatia. The aim of the research ...was to identify a model of stonemasonry production that originated in a mountainous and difficult to traverse area, where the possibilities of water transport of stone material are minimal. The author started from the assumption that production centres formed in some geographical areas during Roman rule, using local limestone sources for their operation. The study includes funerary monuments discovered in present-day Bosnia and Herzegovina and in the western part of Serbia and Montenegro. By combining the methods of macroscopic petrographic analysis of the stone material and typological and spatial analysis, the existence of several production centres was proven. The results of the analyses indicate a very likely that they exploited the local limestone resources. Epigraphic data also made it possible to define their chronological aspect.
The sepulchral monuments of Noricum and Pannonia dating to the Antonine - Severan period (and later), particularly the aediculae, are characterised by abundant mythological decoration. The central ...mythological scene of a more or less detailed mythological apparatus is one of the three key ingredients used in presenting the deceased or their families, the other two being the portraits and the inscription tablet (all of them placed on the front facade of the monument). The choice of the mythological scenes is guided by the two basic art themes found on Roman sepulchral monuments - death, consolation, and mourning, and, on the other hand, homage to the deceased and his virtues, or mourning and farewell. Both themes correspond to the topoi of funeral poetry and rhetoric. The choice of the individual myths reveals differences between the sarcophagi of Rome and the products of Noricum or Pannonia, as well as between the products of Noricum and of the Pannonian centres.
Boris Čok daje navodila za postavljanje strehe v delu Priročnika kraške suhozidne gradnje o vzdrževanju in gradnji hišk.“Ko smo pozidali nosilni zid do želene višine, položimo počez čez vhod ...enega ali dva podolgovata in precej simetrična kamna, prekladi ali gurenca, tako da dobro slonita čez oba konca zidu. Če ima hiška vogale, čeznje najprej položimo štiri velike, približno enako debele skrle, tako da te vežejo zid na vrhu pri vogalu, hkrati pa omogočajo krožno postavljanje ostalih večjih skrl čez rob nosilnega zidu. Hkrati s tem vsako skrlo sproti podložimo z manjšo skrlico, da dobimo naklon proti zunanjemu zidu. Pri tem poskušamo za podlaganje večjih skrl izbirati skrlice čim bolj enake debeline in ustrezne velikosti. Skrlice dajemo v roke graditelju, ki jih podklada v notranjosti hiške. Če pa že vemo, s kakšno skrlo bomo previsevali naslednjo vrsto proti notranjosti in po višini, jo kar sami postavimo na rob skrle, na katero bo prišla druga. Podkladalec jo bo nato samo ustrezno potisnil, da bo dobil pravi naklon. Sočasno s polaganjem skrl proti notranjosti se počasi ustvarja kupola strehe, zato moramo skrle na zidu sproti obteževati, zakladati z debelejšim skrlami ali kamenjem, saj bi se te v nasprotnem primeru zaradi velike teže previsevanih skrl zrušile v notranjost. Najbolj primerna debelina skrl za streho je od 1 do 3 cm. Take skrle so lahke in je z njimi lepše loviti krožni venec, ki gre lahko v višino tudi po spirali. Hkrati pa je lažje tudi zamikanje takih skrl proti notranjosti za 2 do 5 cm, saj se pri tem z višino manjša tudi odprtina na sredini strehe. Ko je odprtina v velikosti nogometne žoge ali nekoliko večja, čeznjo položimo skrlo ustrezne velikosti in tako zapremo obok, velb. Sledi še dodatno zapolnjevanje z manjšimi skrlami, tako da lahko po želji oblikujemo čim lepšo kupolo. Na vrh lahko postavimo še okrasni ali varovalni kamen, stažić ali stražič.” (Priročnik, 2014, str. 10-11)
Na kamniti plošči pred vhodom v hiško piše: “Kamnoseška hiška iz leta 1899, prestavljena 2015.” Na plošči sta tudi logotipa podjetja Marmor in Razvojnega združenja Repentabor.
“Zaradi izgradnje visokega oboka so morali upoštevati tudi večjovzdržljivost nosilnega zidu. Višja kot je bila streha, toliko boljprimerno je moral biti širok in trdno grajen nosilni zid. Tudi ...privhodu so morali paziti, da so bili kamni lepo povezani v robovepo stranici. Če so našli kamen, ki je po obliki ustrezal jrti (pokončen kamnoseško obdelan kamen na oknu ali portalu; pri hiški je to ponavadi izbran lep neobdelan pokončen kamen) , so ga prihranili za stranico vhoda. Tako so prihranili čas pri izgradnji stranice vhoda in so jrto vzidali pokončno na rob vhoda. Ponekod so zaradi večje nosilnosti prek vhoda počez položili dve prekladi. Zunanjo so nekoliko zamaknili navzven čez vhod, tako da so dobili neke vrste nadstrešek, kap ali kapec.” (Priročnik, 2014 , str. 12)
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