Slavist Vatroslav Jagić dao je ubrzo nakon smrti supruge Sidonije, rođ. Struppi, podići spomenik nad njezinim posljednjim počivalištem. Naručio ga je 1914. godine. Na sjevernoj strani Pekla, ...najstarijeg dijela varaždinskog gradskog groblja, nad obiteljskom grobnicom stoji jednostavan crni mramorni obelisk. Isklesao ga je i potpisao slovenski kamenoklesar Feliks Toman. Na desnome kutu stoji brončana skulptura žene. Jagić u pismima svojoj obitelji i poznanicima iznosi porijeklo i opisuje tijek narudžbe, izradu i postav spomenika. Temeljem signature i podataka u prepisci razmatraju se dosadašnje dvije atribucije bronce hrvatskom kiparu Ivanu Rendiću i slovenskom kiparu Ivanu Zajcu.
In 1914, following the death of his wife Sidonija née Struppi, Vatroslav Jagić, a scholar of Slavic philology, commissioned a monument for her final resting place. Located on the northern side of the oldest part of the Varaždin City Cemetery, a black marble obelisk with a bronze sculpture marks the Jagić family tomb. A woman in a richly pleated dress sits on the right corner of the plain obelisk, which is signed by the Slovenian stonemason Feliks Toman. Valuable information on the provenance, commission, creation, and installation of the monument can be found in extensive correspondence sent by Jagić to his family members and acquaintances. In light of its signature and the information in the correspondence, this article reviews two current attributions of the grave monument: to Croatian sculptor Ivan Rendić and Slovenian sculptor Ivan Zajec.
Supružnici, hrvatski ban i feldmaršal Franjo Nádasdy i Suzana rođ. Malatinski na svome vlastelinstvu u Zelendvoru su oko 1767. godine dali postaviti baroknu skulpturu Svetoga Ivana Nepomuka. Kameni ...prikaz češkoga svećenika podigli su u perivoju dvorca po preudaji udove Malatinski nakon smrti svog prvog supruga, Josipa Kazimira Draškovića. Skulptura danas krasi perivoj s južne strane Starog grada u Varaždinu. Četiri spisa, tintom ispisana i strojem natipkana od kraja kolovoza 1932. do studenoga 1933. godine, otkrivaju da ju je tamo u kolovozu 1932. godine postavilo Muzealno društvo Varaždin. Mjesni odvjetnik Nikola Pečornik žali se Gradskom poglavarstvu Varaždin što je muzealci nisu radije smjestili unutar dvorca, u sjeveroistočni kut većeg dvorišta, lijevo od potpornjaka na početku malog dvorišta i desno od ulaza u prostoriju s topovima. Sačuvana žalba ocrtava poteškoće koje su nastale pri postavljanju skulpture izvan spomenika arhitekture. Gradonačelnik Stjepan Novaković očevidom u prostorijama dvorca 24. kolovoza 1932. godine pokušava razriješiti spor pomoću drugih stručnjaka i gradskih zastupnika. Arhitekt Artur Kaderávek izjavljuje da su muzealci poslušali njegov savjet glede lokacije skulpture. Gradski inženjer Viktor Rogina i zastupnik Mirko Hikec priklanjaju se Pečorniku koji smatra da bi skulptura u perivoju odala dojam da je nastala u kontekstu dvorca. Naknadnim su se očitovanjem muzealci Krešimir Filić i Adolf Wissert izjasnili da su postupali u skladu sa zakonima i da su plaćeni građevinski materijal i radnici koji podižu postolje za baroknu skulpturu. Predsjednik Muzealnog društva Wissert i Hikec 25. kolovoza postižu kompromis koji dozvoljava da vrijeme i rad posuđenih radnika ne propadnu i obvezuje muzealce ukloniti skulpturu ako tako bude preporučio koji stručnjak. Gradonačelnik Stjepan Novaković 1933. godine odlučuje za
mišljenje pitati konzervatora Gjuru Szabu, tajnika tadašnjeg Zemaljskog povjerenstva
za čuvanje umjetnih i historijskih spomenika u kraljevinama Hrvatskoj i
Slavoniji. Nisu otkriveni spisi koji bi otkrili što je točno preporučio Szabo, Filićev
dugogodišnji prijatelj i savjetnik oko muzejskih i pitanja zaštite spomenika. Žalba
nažalost ne donosi razlog muzealizacije skulpture iz zelendvorskog posjeda kojim
tada upravlja Josip, sin Marka Bombellesa mlađeg. Sačuvanih šest pisama i dopisnica
većinom ispisanih 1932. godine otkrivaju da su o skulpturi, naručitelju i točnoj
identifikaciji sveca koji predstavlja, raspravljali zagrebački kanonik i povjesničar
Ljudevit Ivančan i stanoviti Pavao Wittmann, obojica misleći da je riječ o sv. Donatu.
S druge strane, don Frane Bulić, nekadašnji konzervator za Dalmaciju smatra da
kip nije primjeren za smještaj u perivoj dvorca i moli muzealce neka mu obrazlože
znanstvene razloge koji su ih vodili da ga tamo postave. Sačuvana žalba i korespondencija
dokumentiraju napor varaždinskih muzealaca u očuvanju baroknoga djela
budućim pokoljenjima koji danas uživaju u još jednoj skulpturi u svojemu gradu.
In 1914, following the death of his wife Sidonija née Struppi, Vatroslav Jagić, a scholar of Slavic philology, commissioned a monument for her final resting place. Located on the northern side of the ...oldest part of the Varaždin City Cemetery, a black marble obelisk with a bronze sculpture marks the Jagić family tomb. A woman in a richly pleated dress sits on the right corner of the plain obelisk, which is signed by the Slovenian stonemason Feliks Toman. Valuable information on the provenance, commission, creation, and installation of the monument can be found in extensive correspondence sent by Jagić to his family members and acquaintances. In light of its signature and the information in the correspondence, this article reviews two current attributions of the grave monument: to Croatian sculptor Ivan Rendić and Slovenian sculptor Ivan Zajec.
Najopsežnije i sigurno najcitiranije djelo o povijesti »grada baroka«, epitet
je kojim se nesumnjivo može opisati Povijest grada Varaždina renomiranog hrvatskog
povjesničara Rudolfa Horvata ...(Koprivnica, 14. ožujka 1873. – Zagreb,
25. svibnja 1947.). Njegovim se tiskom namjeravalo dostojno obilježiti proslavu
jubileja sedamstogodišnjice grada Varaždina (1909.) – ali nije; rukopis je tiskan
1993. godine. Godine 2017. navršilo se sedam desetljeća od piščeve smrti, a 2018.
godine, 125 godina od njegova rođenja i četvrt stoljeća od tiskanja povjesnice. Na
temelju podacima obilne arhivske građe u varaždinskom i zagrebačkom arhivu,
upotpunjuje se slika o njezinom nastanku. Iz sačuvanih točaka sjednica gradske
vlasti, dopisa gradonačelnika i Prosvjetnog odbora, korespondencije između
gradske vlasti i Horvata iščitava se napor autora u provođenju opsežnog istraživanja
povijesti grada Varaždina i obradi građe za sastavljanje buduće povjesnice,
njegovoj viziji o njezinom sadržaju i ustrajnosti u isplati honorara koji je on
neprestano smatrao primjerenim za svoj gotovo tridesetogodišnji rad. Također
se iščitava napor njezinog naručitelja da primjerenu visinu honorara provjeri sa
znanstvenim i nakladničkim institucijama, te je ugovori u skladu s tadašnjim lošim
gospodarskim uvjetima. Naručitelj se o troškovima tiskanja buduće povjesnice
raspitavao kod različitih tiskara unaprijed im poslavši predloške tiskanih
historiografskih radova, pa tako i Horvatovog. U njezin nastanak uključivao je i
mjerodavne osobe – zastupnike i ne-zastupnike grada Varaždina koji će na temelju
svog stručnog iskustva i rada, putem triju višečlanih odbora donositi stručne
zaključke o predanom rukopisu. Horvat je na njemu radio nepunih trideset godina.
Zaključuje da je rukopis predao u dijelovima: u ožujku 1934., 1935., 1936.,
kolovozu 1938. i proljeće 1939. godine, izravno osobnim dolaskom u Varaždin
ili posredstvom gradonačelnika Novakovića ili dragog mu prijatelja. Zaključuje
se da je zamislio višedijelni sadržaj rukopisa: njegov I. dio, opća ili politička povijest
tiskana je 1993. godine, a tematski II. dio sa zasebnim poglavljima ostao je
neobjavljen; pod naslovom Dr. Rudolf Horvat: Kulturna povijest grada Varaždina,
skupa s objavljenim prvim djelom, čuva se u Gradskom muzeju Varaždin. Želeći
omogućiti Horvatu vrijeme za istraživanje i pisanje povjesnice, gradska vlast je
uz pomoć tadašnjeg hrvatskog bana Pavla Raucha, piscu ishodila premještaj u
tadašnji Zemaljski kraljevski arhiv u Zagrebu, kako bi tamo mogao istraživati
sačuvanu arhivsku građu, a novčanom isplatom pripomogla njegova arhivska
istraživanja u austrijskim i mađarskom arhivu i tisak studije Varaždin koncem 16.
vijeka. U zagrebačkom arhivu Horvat je imao mogućnosti i vremena istraživati građu ne samo o povijesti Varaždina, nego i o povijesti drugih hrvatskih gradova,
na temelju koje je također mogao raditi i na povjesnicama tih gradova.
U tom se pogledu ističe i skroman doprinos varaždinskih gradskih zastupnika
davne 1909. godine za hrvatsku historiografiju. U vezi s tim, s obzirom na to da je
Horvat na rukopisu radio nepunih trideset godina i da ga je u dijelovima predao
do 1939. godine, neminovno je uspoređivati rukopis i promatrati ga u kontekstu
historiografskih radova nastalih tijekom 1930-ih godina.
The most comprehensive and most cited work on the history of “the Baroque Town” is undoubtedly the best description of The History of the Town of Varaždin by the renowned Croatian historian Rudolf ...Horvat (Koprivnica, 14 March 1873 – Zagreb, 25 May 1947). The manuscript was meant to be printed on the 700th anniversary of the founding of the town of Varaždin (in 1909), but the plan failed; it was only printed in 1993. In 2017 it was seven decades since the author’s death, and in 2018 we marked 125 years since his birth and a quarter of a century since the publishing of his historiographic work. With the help of rich and comprehensive archive material in State Archive in Varaždin and Croatian State Archives in Zagreb, we get the full picture about the making of his work. Reading the minutes from town assembly sessions, the letters by vice-mayor and Education board, and the correspondence between town officials and Horvat, we see how ardent the author was in conducting a comprehensive research of the history of Varaždin, in collecting the materials for the future historiographic work, in his vision regarding the work’s content, and in his persistence in negotiating the fee he deemed reasonable for his 30-years effort. We can also see the commissioner’s efforts to discuss the reasonable fee with scientific and publishing institutions, in order to agree a fee in accordance with the poor economic situation of that day and age; they negotiated the cost of printing of his future historiographic work with different printing offices having sent them similar examples of historiographic works, including Horvat’s own. The commissioner was keen to involve other competent people in this process – representatives and non-representatives of the town assembly of Varaždin – who were supposed to use their professional and work experience and draw an expert conclusion about the manuscript by means of three multimembered committees. Horvat had worked on it for almost thirty years. He handed over his manuscript in parts in March 1934, 1935, 1936, August 1938 and in the Spring of 1939; he used to com to Varaždin in person or send the text via the mayor Novaković or one of his close friends. It is thought he planned to publish the manuscript in multiple volumes: the first part, general and political history, was published in 1993, whereas the topic-based, second part with separate chapters has never been published. This text titled Doctor Rudolf Horvat: The Cultural History of the Town of Varaždin, together with the published first part, is kept in the Varaždin City Museum. Wanting to give Horvat the time for research and writing of his historiographic work, the town authorities, with the help of the former governor of Croatia Ban Pavao Rauch, sent the author to the then Royal State Archive in Zagreb, where he studied archive materials, and helped him financially to continue his research in Austrian and Hungarian archives, as well as to publish the study Varaždin in the Late 16th Century. In the Royal State Archive in Zagreb (today’s Croatian State Archives), Horvat had the time and opportunity to research not only the history of Varaždin, but also the history of other Croatian towns, which allowed him to write historiographic works about these towns as well. That way the representatives of the Varaždin town assembly from 1909 made a small contribution to the development of historiography in Croatia. Regarding that and keeping in mind that Horvat worked on the manuscript for almost thirty years up until 1939, it is necessary to compare this manuscript in the context of historiographic works from the 1930s.
In 1983, three stained-glass windows designed by the painter, costume and set designer Pavao Vojković (b. June 24, 1912 – d. December 26, 2006 in Varaždin), and manufactured by the Zagreb glassmaking ...company Staklo, were installed in the Church of St. Martin the Bishop in Varaždinske Toplice. The rectangular Gothic windows topped with lancet arches are adorned with stained-glass images showing key episodes of the saint’s life. On the northern wall of the church, in the Gothic opening that stands closer to the arch, there is a stained-glass window with a tetramorph, the symbol of the Four Evangelists. The window on its right shows St Martin and the Beggar, while on the opposite, southern wall, there is an image of St Martin the Bishop. The information concerning the three stained-glass windows, apart from their locations, is listed on an unnumbered page of the parish chronicle, under a series of notes from 1983. That the windows were made after the artist’s designs corroborates the inscription NACRT / P. VOJKOVIĆ / STAKLO – ZGB / IZVELO, (DESIGN / P. VOJKOVIĆ / STAKLO-ZGB / MANUFACTURER) found in the lower left corner of the stained-glass window depicting St. Martin the bishop. The inscription and the note in the parish chronicle tie in with nine surviving sketches made by the artist in 1982 and 1983. These are kept in the Pavao Vojković Collection of the Varaždin City Museum, and a private collection of the artist’s work, forming a significant part of his religious oeuvre. Comparing the sketches with the windows highlights the changes in the iconography and composition of the scenes on the three windows. These were most probably selected to match the existing iconography: until the windows were installed in 1983, an oil painting of St. Martin on the main altar, not originally intended for it, was the only image of the saint Martin of Tours inside the church. Following the relocation of the painting to the parish house, the windows remain the only examples of the saint’s iconography in the church.
The forty five years of continuous tradition of the Varaždin Baroque Evenings music and performance festival is an expression of the desire of its founders to support and promote music to the ...audiences in Varaždin, its immediate surroundings and the north of Croatia, as well as in Europe and the world. Musical performances and the accompanying programmes introduced the audience to the history of Varaždin, its musical, architectural and artistic heritage, as well as the beauty of its nature and tourist destinations. When the festival, with its beautiful performance spaces, countless associates and an excellent reputation, started growing out of its local framework and gaining international recognition, it started to contribute to the promotion of art not only in the north of Croatia, but also on a wider European level as well. This was achieved by using the urban locations and the magnificent architectural heritage of the region as concert venues. Even more importantly, the artwork on the posters, invitations and records published by the festival also featured the cultural heritage of the region, which was the subject of research of the many participants of conferences and symposiums that were part of the festival’s accompanying programme. Also part of the accompanying programme were the numerous exhibitions which, just like the performances that took place in the castles of Hrvatsko zagorje, testified to the organizers’ attitude towards the preservation and renovation of national heritage sites. More recently, in addition to promoting the arts in Croatia, the festival has also been promoting the heritage of partner countries. This dedication to the promotion of artistic heritage is an expression of the sensibilities of those who have been the moving force behind the Varaždin Baroque Evenings in the past forty five years.
Na području sjeverozapadne Hrvatske, pod koju podrazumijevamo Bjelovarsko-bilogorsku, Koprivničko-križevačku, Krapinsko-zagorsku, Međimursku i Varaždinsku županiju rođene su ukupno 82 osobe koje su ...zahvaljujući svojem nesebičnom radu te znanstvenom i kulturno-umjetničkom doprinosu postali članovi Hrvatske akademije znanosti i umjetnosti, od njezina osnutka do kraja 2016. godine. Najbrojniji su članovi iz Varaždinske županije, podjednako iz Koprivničko-križevačke i Krapinsko-zagorske županije, slijedi Bjelovarsko-bilogorska županija, a najmanje ih je iz Međimurske županije. Zastupljeni su svim Akademijinim razredima; najviše ih je u Razredu za likovne umjetnosti, a samo jedan član u Razredu za tehničke znanosti. Neki od njih postali su akademici ili redoviti članovi, dok je dio djelovao u statusu člana suradnika, dopisnog člana ili počasnog člana. Od ukupnog broja članova, 64 su preminula, a 18 je u vrijeme pisanja ovog rada živih. Također, od ukupnog broja članova njih 80 su muškarci, a samo dvije su žene. Ovim radom želimo i lokalnoj zajednici ukazati na članove Hrvatske akademije koji su porijeklom s navedenog područja i ukazati na značaj njihovih života i rada za povijest, znanost, kulturu i umjetnost Republike Hrvatske. Na području sjeverozapadne Hrvatske danas djeluju tri Akademijina zavoda: Zavod za znanstveni rad Hrvatske akademije znanosti i umjetnosti u Varaždinu, Zavod za znanstvenoistraživački i umjetnički rad u Bjelovaru i Zavod za znanstvenoistraživački i umjetnički rad Koprivničko-križevačke županije u Križevcima.
As many as 82 people whose exceptional scientific and artistic contributions earned them a place in the Croatian Academy of Sciences and Arts were born in the Northwest of Croatia, a region which ...includes the counties of Bjelovar-Bilogora, Koprivnica-Križevci, Krapina-Zagorje, Međimurje and Varaždin. Most of those Academy members hail from the Varaždin County and approximately the same number from Koprivnica-Križevci and Krapina-Zagorje counties, followed closely by the Bjelovar-Bilogora County, with the fewest of them being native to the Međimurje County. They are represented in all of the Academy’s departments; most of them are members of the Department of Fine Arts, while only one of them is a member of the Department of Technical Sciences. A number of them hold the title of academician or full member of the Academy, while others are associate, honorary or corresponding members. At the time of the writing of this article, of the total number of Academy members from the Northwest of Croatia, 64 are deceased, while 18 are living. Additionally, 80 of that number are men, while only 2 are women. The goal of this paper is to raise the awareness of the significance of their contributions for Croatian history, science, culture and art in the local community. There are three Academy institutes active in the northwest of Croatia,: the Institute for Scientific Work of the Croatian Academy of Sciences and Arts in Varaždin, the Institute for Scientific and Artistic Work in Bjelovar, and the Institute for Scientific Research and Artistic Work of the Koprivnica-Križevci County in Križevci.
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