Provider: - Institution: - Data provided by Europeana Collections- Publikacja stanowi przewodnik do projektu „Muzyczny folklor Podkarpacia - badania terenowe” zrealizowanego przez Muzeum ...Etnograficzne im. F. Kotuli - Oddział Muzeum Okręgowego w Rzeszowie ze środków MKiDN w ramach programu "Kolberg 2014 - Promesa"- Spis treści: Oskar Kolberg i XIX – wieczne badania nad folklorem muzycznym dzisiejszego województwa podkarpackiego / Monika Zydroń. Muzyka ludowa Podkarpacia / Jolanta Danak-Gajda. Rozwój kolekcji muzycznej Muzeum Etnograficznego w Rzeszowie / Emilia Jakubiec-Lis. Archiwum materiałów terenowych Muzeum Etnograficznego w Rzeszowie- W przewodniku wykorzystano fotografie i reprodukcje ze zbiorów archiwalnych: Muzeum Etnograficznego im. F. Kotuli w Rzeszowie oraz zbiorów prywatnych: Mychajło Sałaka, Longiny i Stanisława Oważanych, Czesławy Cyran, Małgorzaty Kamińskiej, Kazimiery Zimy, Ireny i Stanisława Malinowskich, Kazimiery Malec, Damiana Wilczka, Heleny Wilczek, Albiny Kuraś, Krystyny i Władysława Jantasów, Eugeniusza Kopery, Stanisława Marszałka, Aleksandra Galika, Mieczysława Czapli, Edwarda Filipczaka, Danuty i Franciszka Tompalskich, Stanisława Guzika (Szymunika)- All metadata published by Europeana are available free of restriction under the Creative Commons CC0 1.0 Universal Public Domain Dedication. However, Europeana requests that you actively acknowledge and give attribution to all metadata sources including Europeana
U tekstu se razmatraju prva dva stoljeća povijesti Novog Mjesta, kapele i njezinih pokrovitelja, od utemeljenja do obnove početkom 16. stoljeća (1302. – 1502.). Analiziraju se geodetskim mjerenjima ...utvrđeni položaji uzdužnih osi u kapeli (os svetišta i os broda) i pomoću njihovih azimuta datira se njezino utemeljenje. Sveto usmjerenje kapele i njezin izvorni titular dovode do zaključka da je crkva utemeljena 1302. i posvećena dominikanskom redovniku sv. Petru mučeniku. Kapela sv. Petra utemeljena je u doba Ladislava Rakovečkog koji je sjeverozapadni zid broda dao oslikati prizorima iz ciklusa Legende o sv. Ladislavu, posvećenih njegovu zaštitniku. Pored njih u kapeli je fragmentarno sačuvano i više slojeva zidnih slika iz 14., 15. i 16. stoljeća, među kojima su najvrjedniji scene Majke milosrđa i Jeseova stabla na trijumfalnom luku, te Sveto lice iz Luccae i apostoli na zidovima svetišta.
Autor raspravlja o kršćanskim memorijama križnoga tlocrta nastalima u vremenu od kasne antike do romanike na tlu Istre i Dalmacije. Bavi se pitanjem trajanja forme i funkcije koju dobro ocrtava ...primjer tzv. mauzoleja Galle Placidije u Ravenni. Kompaktnu skupinu sličnih građevina čine bizantske memorije na jugu Istre, u Puli: krstionica, dvije kapele uz baziliku sv. Marije Formoze, te crkva sv. Mateja pred zidinama i Sv. Katarine na otočiću ispred Pule. Donekle su problematični oblik i vrijeme nastanka kapele sv. Andrije na otičiću ispred Rovinja. Srodne crkvice Sv. Klementa na Vrhu pred Pulom i sv. Tome nedaleko Rovinja upućuju na kontinuitet tog arhitektonskog tipa i tokom ranoga srednjeg vijeka u pulskoj regiji. Skupina sličnih građevina u Dalmaciji nema takvu kompaktnost. Krstionica u Baškoj na otoku Krku znatno je manja od crkve sv. Martina na Cresu, a jedna i druga različite su od trikonhalne nutrine u kapeli sv. Ciprijana u Gatima, te njene, vjerojatno nišama, raščlanjene vanjštine. S druge strane upravo su jednake dvije ranosrednjovjekovne kapele: sv. Vid u Zadru i sv. Križ u Ninu. One obnavljaju predloške ranokršćanskih križnih memorija. Indikativna je srodnost njihovih kupola s nekim primjerima iz bizantske arhitekture 10. i 11. stoljeća. Romanička kapela Sv. Dunata pored Kornića na otoku Krku ima neobično rješenje s oblim apsidama u poprečnoj osi prostora. Bogomolja nepoznatog titulara na Crkvini pored Kašića, nedaleko Zadra, srodna je drevnome tipu memorije s tri apside grupirane na začelnoj strani. Unatoć pojedinim razlikama ipak sve memorije i obje njihove skupine povezuje slična križna forma i funerarna funkcija te kontinuitet samog oblika i njegove namjene na tlu Istre i Dalmacije u vremenu od kasne antike do romanike. Zamjetan je također utjecaj bizantskih sredina na oblikovanje takvih memorija u kulturnom krajoliku Jadrana.
GIS based buffer analysis methods were applied for analysing spatial distribution anddensity of dolinas in the NW part of Velika Kapela. Results extracted from existing spatialdatabases indicated ...spatial distribution of faults, as well as a degree of relationship betweendirection and density of dolinas with identified lineaments. By comparing faults identified fromdolina analysis, with faults identified during on-situ mapping, major tectonic blocks or unitswithin researched area were identified. Bigger regional and local faults identified from digitalelevation model are dividing larger tectonic units, while smaller local faults derived fromlinearly developed dolina are mostly dividing smaller tectonic blocks and can indicate theirdegree of faultness and deformities.
As the former capital of Dalmatia, Zadar abounded in monuments produced during the 17th and 18th century, especially altars, statues, and paintings. Most of this cultural heritage had been lost by ...the late 18th and the first decades of the 19th century, when the former Venetian Dalmatia was taken over by Austrian administration, followed by the French and then again by the Austrian one. Many churches were closed down, their furnishings were sold away or lost, and the buildings were either repurposed or demolished. One of them had been home to two hitherto unpublished angels-putti located on the top of the inner side of the arch in the sanctuary of Zadar’s church of Our Lady of Health (Kaštel) at the end of Kalelarga (Fig. 1). Both marble statues were obviously adjusted and then placed next to the marble cartouche with a subsequently added inscription from 1938, which tells of a reconstruction of the church during the time it was administered by the Capuchins. The drapery of the right angel-putto bears the initials I. G., which should be interpreted as the signature of the Venetian sculptor Giuseppe Groppelli (Venice, 1675-1735). This master signed his full name as IOSEPH GROPPELLI on the base of a statue of St Chrysogonus, now preserved in the Permanent Exhibition of Religious Art in Zadar (Fig. 2). Same as the signed statue of St Anastasia by master Antonio Corradini (Fig. 3), it used to form part of the main altar in Zadar’s monumental church of St Donatus, desacralized in 1798. Recently, two more angels have been discovered, inserted in the tympanum of the main altar in the church of Madonna of Loreto in Zadar’s district of Arbanasi, the one to the right likewise bearing the initials I. G. (Fig. 4). Undoubtedly, these two artworks were once part of a single composition: the abovementioned former altar in the church of St Donatus, transferred to the cathedral in 1822 and reconstructed to become the new altar in the chapel of St Anastasia. Giuseppe and his younger brother, Paolo Groppelli, led the family workshop from 1708, producing and signing sculptures together. Therefore, the newly discovered statues produced by Giuseppe are a significant contribution to his personal 174 Damir Tulić: Nepoznati anđeli Giuseppea Groppellija u Zadru... Ars Adriatica 6/2016. (155-174) oeuvre. It is difficult to distinguish between his statues and those by his brother, but it is generally believed that Paolo was a better artist. It is therefore important to compare the two sculptures, as they are believed to have been made independently. Paolo’s statue of Our Lady of the Rosary (1708) was originally located in the former Benedictine church of Santa Croce at Giudecca in Venice, and acquired early in the 19th century for the parish church of Veli Lošinj. If one compares the phisiognomy of the Christ Child by Paolo to that of Giuseppe’s signed sculpture of angel-putto in Zadar, one can observe considerable similarities (Figs. 5 and 6). However, Paolo’s sculptures are somewhat subtler and softer than Giuseppe’s. The workshop of Giuseppe and Paolo Gropelli has also been credited with two large marble angels on the main altar of the parish church in Concadirame near Treviso, as they show great similarity in style to the angels in Ljubljana’s cathedral, made around 1710 (Figs. 7, 8, 9, and 10). The oeuvre of Giuseppe and Paolo Gropelli can also be extended to two kneeling marble angels at the altar of the Holy Sacrament in the Venetian church of Santa Maria Formosa, with their marble surface somewhat damaged (Figs. 11 and 12). Coming back to the former main altar in Zadar’s church of St Donatus, it should be emphasized that it was erected following the last will of Archbishop Vettore Priuli (1688-1712), that contains a clearly expressed desire that the altar should be decorated as lavishly as possible. As the construction contract has been lost and the appearance of the altar remains unknown, it can only be supposed what it may have looked like (Fig. 13). It is known that the altar included an older, 13th-century icon of Madonna with the Child, which was later transferred to the Cathedral and is today preserved in the Permanent Exhibition of Religious Art. Scholars have presumed that the altar may had the form of a triumphal arch, with pillars enclosing the pala portante with an older icon and statues placed lateraly. However, it can also be presumed that the executors of the archbishop’s last will, canons Giovanni Grisogono and Giovanni Battista Nicoli, found a model for the lavish altar in Venice, in the former altar of the demolished oratory of Madonna della Pace. That altar had been erected in 1685 and included an older Byzantine icon of Madonna with the Child. It was later relocated to Trieste and its original appearance remains unknown, but can be reconstructed on the basis of its depiction on the medal of Doge Alvise IV Mocenigo (1764), preserved in the parish church of Plomin (Fig. 14). This popular solution undoubtedly served as a model for the main altar in the church of Madonna delle Grazie at Este (Fig. 15), constructed between 1692 and 1697. Today’s appearance of the chapel of St Anastasia does not reveal much about its previous altars (Fig. 16). A recently discovered document at the State Archive of Zadar sheds a new light on the hypothesis that the old main altar was transferred from St Donatus in 1822 and became, with minor revisions, the new altar of St Anastasia, demolished in 1905. According to a contract from 1821, the saint’s altar was designed by Zadar’s engineer and architect Petar Pekota, and built by parish priest Giovanni Degano by using segments from older altars, including that of St Donatus. The painting ordered for the new altar, Martyrdom of St Anastasia by Giuseppe Rambelli from Forli (Fig. 17), is the only surviving part of the 19thcentury altar. The overall reconstruction of the chapel of St Anastasia took place between 1903 and 1906, according to a project of architect Ćiril Metod Iveković, which intended to have the chapel covered in mosaics ordered from Venice. However, during the reconstruction works, remnants of 13th-century frescos were discovered in the apse and the project had to be altered. The altar from 1822 was nevertheless demolished and a new marble mensa was built, with a new urn for the saint’s relics, made in the Viennese workshop of Nicholas Mund, as attested by receipts from 1906 (Fig. 18). A hundred years after the intervention, another one took place, in which the marble altar was disassembled and replaced by a new one, made of glass and steel, yet bearing the old marble urn of Bishop Donatus.
Twelve lithostratigraphic units, representing a 5 km thick succession,have been determined from the Senj -Ogulin profile through theVelika Kapela Mt. This 45 km long sequence lies approximately ...normalto the Dinaric strike. Carbonate deposits ranging from the MiddleLiassic to the Albian include laterally variable environments duringthe Kimmeridgian and Lower Tithonian. The deposits were deformedby compressive tectonics during the Tertiary tectonic cycle, and wereconsequently reshaped by weaker Neotectonic transpression. Thereforestructures with the N-S strike, which are different to the commonDinaric strike (NW-SE), are interpreted as a consequence of syngenetic bending during the Tertiary cycle, rather than rotation during theNeotectonic cycle.
Environmental differentiation at the end of the Lower Malm, as observed at Breze, was caused by gradual synsedimentary tectonics when the hitherto uniform Adriatic carbonate platform was partly ...differentiated into two different sedimentary environments. Thus the sunken intraplatform trough of unknown dimensions, which was possibly connected with the open basin (similar to the modern “Tongue of the ocean”?), formed the depositional site of deeper-water pelagic influenced platform carbonates. This gradual change in sedimentary environment can be defined as shallow-water platform facies retrogradation.
Periodic shedding of carbonate material, during the Upper Malm, from the perireefal/reefal margin of the intraplatform trough by mechanisms of gravity flows, caused the deeper-water inclined marginal part of the trough to be filled up resulting in the re-establishment of shallow-water sedimentary conditions. This process can be defined as shallow-water platform facies progradation whereby shallowing-upward sequence is formed.
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