Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.15
Radoslav Tomić
Leonardo Foscolo (Venecija, 1588.–1660.) bio je generalni providur za Mletačku Dalmaciju i Albaniju od 1645. do 1650. godine. Sjedište providura i državne administracije koja je upravljala pokrajinom bilo je u Providurovoj palači u Zadru. U prvom dijelu studije analiziraju se oni portreti providura Leonarda Foscola izvedeni uljem na platnu i u grafici koji su povezani s njegovom vladavinom i djelovanjem u Dalmaciji. Jedini portret izveden uljem na platnu čuva se u samostanu sv. Lovre u Šibeniku. Veća je skupina grafičkih portreta na kojima su uz Foscolov lik prikazani i pojedini gradovi, naselja i utvrde u Dalmaciji u kojima je poduzimao ratne oslobodilačke akcije. Drugi dio studije istražuje Foscolovu donatorsku i mecenatsku ulogu. U tome se izdvaja njegova uloga u oblikovanju oltara sv. Šimuna u istoimenoj crkvi u Zadru. Foscolo je ostavio trag i u Šibeniku. Prema nepotvrđenoj predaji na zvonik crkve sv. Ivana ugradio je satni mehanizam koji je kao ratni plijen prenio iz osvojenog Drniša o čemu svjedoči natpis upisan u njegovoj lođi na koju je obješen i Foscolov grb s providurskom kapom. Isti grb ugrađen je i na pročelje crkve sv. Nikole u Šibeniku. Foscolo je u Dalmaciji stekao ugled što je rezultiralo činjenicom da su mu brojne komune dale podići spomenike o čemu se raspravlja u trećem dijelu studije. Navode se djela u Šibeniku, Splitu, Hvaru, Korčuli, Pagu i Islamu Grčkom.
Leonardo Foscolo（委内瑞拉，1588-1660）从1645年开始为马来西亚和阿尔巴尼亚提供服务。直到1650年。年该省的供应商和国家行政总部位于扎德拉的供应商宫。研究人员分析了Leonarda Foscola izvedeni uljem na platnu的港口，并对其进行了分析。画布上唯一的油画肖像保存在西伯利亚的圣情人修道院。一大群带有福斯科洛夫性格的肖像画，以及达尔马西亚发生战争解放行动的一些城市、村庄和堡垒。研究的第二部分是探索Foscolo的供体和机制作用。圣西蒙祭坛在扎德拉的同一座教堂中扮演的角色。Foscolo在西伯利亚留下了一条踪迹。根据圣伊凡教堂钟声的未经证实的投降，被征服的Drnish引入了一个小时的战争捕捉机制，该机制见证了进入他的船，并用提供者的帽子悬挂着Foscolo的坟墓。同样的背面是在西伯利亚的圣尼古拉教堂开始时建造的。Foscolo在Dalmacia获得了考虑，因为许多社区让他回忆起研究第三部分中讨论的内容。希腊提到了西伯利亚、斯普利特、库尔、科尔丘利、帕古和伊斯兰教的作品。
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.05
M. Pelc
This article presents several printed collections of panegyric emblems related to the Croatian cultural milieu as specific media intended to promote the Habsburg imperial house in the 17th century. Emblem books were not printed in Croatia, but many of them were used, especially by Jesuits, as is documented in an 18th-century book inventory of the Zagreb Jesuit College’s library (preserved in Budapest). Some of these emblem books are dedicated to the Habsburg emperors Ferdinand III and Leopold I. The only author of an emblem book from Croatia in the 17th century was Sebastian Glavinić (1632–1697), Bishop of Senj, who was educated at the Jesuit academies in Graz, Vienna, and Trnava. In Vienna, he published an epithalamic panegyric emblem book in honour of the wedding of Leopold I and Margaret of Spain in 1666, under the title Deplua charitum aurora augustissimi Phoebi Leopoldi augusto rore in Margaritam resoluta. By glorifying the imperial wedding in a medium that was accessible to the wider public, Glavinić could himself partake in the imperial glory, which also brought him certain benefits.
本文介绍了一些与克罗地亚文化环境相关的颂歌象征的印刷集合，作为旨在促进17世纪哈布斯堡皇室的具体媒体。克罗地亚没有印刷徽章书籍，但其中许多被使用，特别是被耶稣会士使用，正如萨格勒布耶稣会学院图书馆18世纪的图书目录(保存在布达佩斯)所记载的那样。其中一些徽章书是献给哈布斯堡皇帝费迪南德三世和利奥波德一世的。17世纪克罗地亚徽章书的唯一作者是塞瓦斯蒂安·格拉维尼奇(1632-1697)，他是森尼主教，曾在格拉茨、维也纳和特尔纳瓦的耶稣会学院接受教育。在维也纳，他为纪念利奥波德一世和西班牙玛格丽特于1666年的婚礼，出版了一本题为《Deplua charitum aurora augustissimi phebi Leopoldi augusto roore In Margaritam resoluta》的祝词书。通过在大众可以接触到的媒介上美化皇室婚礼，格拉维尼奇自己可以分享帝国的荣耀，这也给他带来了一定的好处。
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.17
Bojan Goja
U radu se analizira stambena kuća smještena u Ulici don Ive Prodana na broju 9 u Zadru, u neposrednoj blizini crkve sv. Šime. Kao vlasnici kuće tijekom 19. stoljeća izmjenjivale su se obitelji Crnica, Pinelli i Karaman. Na temelju provedenih arhivskih istraživanja utvrđeno je kako je riječ o kući koja je 1772. godine bila u vlasništvu zadarske obitelji Cattinelli. Preciznije – kao vlasnik izdvojenog prednjeg dijela kuće s pripadajućim uličnim pročeljem navodi se signor Antonio Cattinelli. Analizom akumuliranih arhivskih vijesti pretpostavlja se da je taj vlasnik mogao biti Giovanni Antonio Maria Cattinelli (Jelsa, 1730.), padovanski doktor filozofije i medicine, sin zadarskog ljekarnika Giovannija Battiste Francesca Cattinellija ili njegov rođak Antonio Giuseppe Maria Cattinelli (Zadar, 1724.) čiji je otac bio ljekarnik Bortolo Cattinelli. Kuća je znatno oštećena u bombardiranju tijekom Drugog svjetskog rata a nakon provedene obnove od prijeratne građevine ostalo je sačuvano samo ulično pročelje. Analizom procjene graditeljskog stanja prednjeg dijela kuće Cattinelli sastavljene 1772. godine rekonstruira se izvorna struktura pročelja te raspored stambenih i gospodarskih prostorija. Na temelju raspodjele unutarnjeg prostora i oblikovanja pročelja zaključuje se da kuća Cattinelli pokazuje srodnost s venecijanskom novovjekovnom stambenom arhitekturom dobrostojećeg građanstva koja u sebi spaja stambenu i poslovnu namjenu a razvila se iz mnogo raskošnije plemićke palače tipa fontego. Istovremeno su novim arhivskim podacima dopunjena ranija saznanja o zadarskoj porodici Cattinelli i nekim njezinim članovima.
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.12
Jasminka Najcer Sabljak
This paper analyses the portraits of Habsburg rulers that were disseminated through different art media (paintings, sculptures, prints, crafts…) as an expression of power and propaganda across the Monarchy, including the area of modern-day eastern Croatia. Portraits of rulers and dignitaries were part of aristocratic collections in palaces that were built on estates established in the first decades of the 18th century, after the Ottomans had left the area. Apart from portraits of the ruling Habsburg dynasty and portraits of dignitaries, these art collections also contained portraits of the representatives of secular and ecclesiastical authority – electors, popes and archbishops – as well as portraits of the rulers from other ruling families. The majority of the preserved portraits of rulers are found in the collections of the foreign aristocratic families Odescalchi, Eltz, Hilleprand von Prandau and Normann-Ehrenfels.
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.19
Irena Kraševac
Članak se bavi počecima osnutka Moderne galerije u Zagrebu i stvaranja njenog fundusa. Preispituju se uvriježeni podaci o prva tri djela za zbirku, slici Pred vratima smrti Mirka Račkoga, skulpturi Timor Dei Ivana Meštrovića i reljefu Isus i Marija Magdalena Františeka Bíleka, te se na osnovi arhivskoga gradiva i kataloga izložaba Društva umjetnosti predlaže preciznija kronologija i slijed okolnosti njihove nabave. Djela Meštrovića i Račkoga danas su u stalnom postavu Gliptoteke HAZU, odnosno Moderne galerije, dok je Bílekov drveni reljef u vlasništvu Moderne galerije, na temelju Ugovora između dviju ustanova, pohranjen u depou Gliptoteke HAZU.
本文论述了萨格勒布现代美术馆的开端及其资金的创建。回顾了藏品的前三个动作，类似于Mirka Račkog的死亡，东帝汶的伊万·梅斯特罗维奇雕塑和导演耶稣和Maria Magdalena František Belek的死亡，并基于建筑师的建筑和协会艺术展览的展览目录，由更精确的Cronology提出，并遵循其购买情况。如今，Mastrovic和Račkog的一部分位于Glippoteke HAZU的永久位置，即现代美术馆，而根据两家机构之间的协议，Belek的木架子归现代美术馆所有，存放在Glippotek HAZU仓库中。
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.09
M. Frank
Allegorical representations and personifications of Venice, designed to perpetuate and update the myth of Venice, occupy a prominent place in seventeenth-century publishing. Editorial vignettes, frontispieces and engravings promote an image of the Republic anchored in the tradition and myth of the foundation of the city, but attentive to the evolution of the historical situation. As in the past, this image is polysemic and combines mainly the figures of Justice and the Virgin. A new dimension opens up in the context of the wars against the Ottoman Empire that occupy the second half of the century. A particularly significant example to document this historical evolution is the church of Santa Maria della Salute which, born as a votive Marian temple during the plague of 1630, is transformed into a monument dedicated to the war. On the lantern of the church’s dome, the figure of the Virgin takes on the appearance of a supreme commander of the navy.
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.02
A. Boreczky
On the basis of the Chronica Hungarorum of Johannes de Thurocz, the Epitome rerum Hungaricarum of Pietro Ransano, and the Rerum Ungaricarum decades of Antonio Bonfini that were compiled within ten years, between 1488 and 1498, my paper forms a multi-dimensional image of the late 15th-century political and cultural situation in the royal court of Matthias Corvinus, King of Hungary (1458–1490). The three chronicles have come down to us in a number of books: manuscripts, incunabula and early prints alike, and many of them contain lengthy cycles of images. My paper investigates the agency of these books with a special emphasis on their illustrations. Through a study of the traditions they followed and the messages their illustrations conveyed, the primary question my paper seeks to answer is whether the cultural and political polarity of the royal court inherent in the texts of the chronicles is also present in the format, style and iconography of the illustrated books that contain them. The comparison of the early copies of the three chronicles shows that the cultural and political diversity of the royal court had an impact on the books that were made and/or used within its walls. Taking into consideration their circulation and reception as well, my paper discusses the role they played in royal propaganda, and the impact they had on the European image of Hungary and the Hungarians.
本文以约翰内斯·德·图罗茨（Johannes de Thurocz）的《匈牙利编年史》（Chronica Hungarrum）、彼得罗·兰萨诺（Pietro Ransano。这三部编年史在许多书中流传下来：手稿、incunabula和早期版画，其中许多都包含了漫长的图像循环。我的论文调查了这些书的代理权，特别强调了它们的插图。通过研究他们所遵循的传统以及他们的插图所传达的信息，我的论文试图回答的主要问题是，编年史文本中固有的皇家宫廷的文化和政治极性是否也存在于包含编年史的插图书的格式、风格和图像中。对三部编年史早期副本的比较表明，皇家宫廷的文化和政治多样性对其墙壁内制作和/或使用的书籍产生了影响。考虑到它们的传播和接收，我的论文讨论了它们在王室宣传中所扮演的角色，以及它们对匈牙利和匈牙利人的欧洲形象的影响。
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.07
Nóra G. Etényi
The news about the war of expulsion against the Ottoman Empire was presented by a multi-central propaganda. A manuscript chronicle written in Ulm demonstrates the literacy of the broadsheets’ readership. The writer, Eberhard Gockel (1636–1703), a physician from Ulm, wrote a diary on the most important occurrences and affairs of the Turkish war from 1678 to 1703. He attached to his chronicle broadsheets and engravings on the recaptured Hungarian fortresses and the great victories against the Turks. Gockel had good sense for high quality engravings, and he chose the works of publishing houses with excellent reputations, for example Jakob Koppmayer from Augsburg, Johann Jonathan Felsecker and Johann Hoffmann from Nürnberg and Michael Wening from München. As a citizen of Ulm, he respected the interests of the House of Habsburg, but he mainly focused on the role of the imperial and troops from the region of Swabia. His manuscript illustrated with engravings gives a detailed description of the Hungarian Kingdom’s fight against the Turks. Gockel focuses on the news of the anti-Ottoman war of 1683–1688 and he recorded the victories against the Turks even after the French invasion of the Rhineland in 1688. Gockel was critical of the quantity of military news and tried to remain unbiased on political and religious questions. Gockels’ chronicle proves that the readers of the broadsheets had all the tools to use the media of that time critically, and that sensibility and curiosity for the news of the world was a significant part of the identity of a citizen in a city like Ulm.
关于驱逐奥斯曼帝国的战争的消息是由多个中心的宣传报道的。用乌尔姆语写成的编年史手稿展示了大报读者的素养。作家Eberhard Gockel（1636-1703）是一位来自乌尔姆的医生，他写了一本关于1678-1703年土耳其战争最重要事件和事件的日记。他在编年史中附上了关于夺回的匈牙利堡垒和对抗土耳其人的伟大胜利的大报和版画。Gockel对高质量的版画有着良好的洞察力，他选择了声誉良好的出版社的作品，例如奥格斯堡的Jakob Koppmayer、纽伦堡的Johann Jonathan Felsecker和Johann Hoffmann以及慕尼黑的Michael Wening。作为乌尔姆的公民，他尊重哈布斯堡家族的利益，但他主要关注帝国和斯瓦比亚地区军队的作用。他的手稿以版画为插图，详细描述了匈牙利王国与土耳其人的斗争。Gockel专注于1683-1688年反奥斯曼战争的新闻，他记录了1688年法国入侵莱茵兰后对土耳其人的胜利。戈克尔对军事新闻的数量持批评态度，并试图在政治和宗教问题上保持公正。Gockels的编年史证明，大报的读者拥有批判性地使用当时媒体的所有工具，对世界新闻的敏感性和好奇心是乌尔姆这样的城市公民身份的重要组成部分。
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.16
Petar Puhmajer
U radu se analizira povijest građevnih mijena dvorca Cernik od prvotne izgradnje u 16. stoljeću, osmanske okupacije, pa sve do obnova 18. stoljeća kada je dvorac poprimio današnji izgled. Utvrđuje se kontinuitet čitavog tog razdoblja korištenjem najranijih građevnih struktura sa zadržavanjem osnovnog koncepta četverokrilnog tlocrta s četiri ugaone kule. Zbog konstantnih nemira na granici, izgradnje vojnih tvrđava u Slavoniji u 18. stoljeću, ali ujedno i memorije na »herojska« ratna vremena, zadržava se predturski koncept osnovnog perimetra, ali se dodaje barokna osovina sa dvoranom u središnjoj osi, svodovi u obliku čeških kapa te plošna žbukana raščlamba pilastrima i trakama kao izrazitim obilježjima baroknog stila. Dio obnoviteljskih radova poduzimaju general Maksimilijan Petraš i njegova supruga, a dio novodoseljena obitelj Marković od 1752. s kojom nastupa dugo i mirno razdoblje dvorca kao sjedišta vlastelinstva. Na primjeru Cernika jasno se uočava novi polet izgradnje u 18. stoljeću kada se starije obrambene strukture oplemenjuju konstruktivnim i stilskim preinakama svojstvenima baroknom razdoblju.
分析了塞尔尼克城堡从16年第一座建筑开始的建筑名称的历史。几个世纪以来，奥斯比亚的占领，直到18世纪，关于城堡今天所说的几个世纪。整个时期的连续性应通过使用最早的建筑结构来确定，并保持塔的四个角的四翼tlocrt的基本概念。由于边境不断动荡，18世纪在斯拉沃尼亚建造了军事堡垒。在几个世纪里，还有对“英雄”战争时期的记忆，掠夺性的基本周边概念得到了保留，但大厅中轴线的条形轴线被添加到了条形轴线上，条形帽形的条形曲线，以及巨大的柱柱和带子的灯泡，以及条形风格的指示。重建工作的一部分由Maksimilijan Petr aš将军和他的妻子以及1752年以来新收养的Markovic家族的一部分进行。它将城堡作为一个财产所在地进行了漫长而和平的时期。例如，Cernika在18岁时的新建筑领域就被清晰地观察到了。一个世纪以来，古老的防御结构在其巴洛克时期得到了建设性和风格变化的补充。
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Pub Date : 2019-12-31DOI: 10.31664/ripu.2019.43.11
Damir Tulić
Senior representatives of the Venetian Republic inspired distinguished noblemen and rich citizens in Venice, as well as in Terraferma and Stato da Mar, to perpetuate their memory through lavish commemorative monuments that were erected in churches and convents. Their endeavour for self-promotion and their wish to monopolise glory could be detected in the choice of material for the busts that adorned almost every monument: marble. The most elaborate monument of this kind belongs to the Brutti family, erected in 1695 in Koper Cathedral. In 1688 the Town of Labin ordered a marble bust of local hero Antonio Bollani and placed it on the facade of the parish church. Fine examples of family glorification could be found in the capital of Venetian Dalmatia – Zadar. In the Church of Saint Chrysogonus, there is a monument to the provveditore Marino Zorzi, adorned with a marble portrait bust. Rather similar is the monument to condottiere Simeone Fanfogna in Zadar’s Benedictine Church of Saint Mary and the monument to the military engineer Francesco Rossini in Saint Simeon. All these monuments embellished with portrait busts have a common purpose: to ensure the everlasting memory of important individuals. This paper analyses comparative examples, models, artists, as well as the desires of clients or authorities that were able to invest money in self or family promotion, thus creating the identity of success.
威尼斯共和国的高级代表激励了威尼斯以及Terraferma和Stato da Mar的杰出贵族和富裕公民，通过在教堂和修道院建立奢华的纪念纪念碑来永久纪念他们。从几乎每座纪念碑的半身像的材料选择上，都可以看出他们自我推销的努力和垄断荣耀的愿望:大理石。这类最精致的纪念碑属于布鲁蒂家族，于1695年在科佩尔大教堂建造。1688年，拉宾镇订购了当地英雄安东尼奥·博拉尼的大理石半身像，并将其放置在教区教堂的正面。在威尼斯达尔马提亚的首都——扎达尔，可以找到美化家庭的好例子。在圣克里索戈纳斯教堂里，有一座纪念马力诺·佐齐的纪念碑，上面装饰着大理石半身像。扎达尔的圣玛丽本笃会教堂的condotiere Simeone Fanfogna纪念碑和圣西蒙的军事工程师Francesco Rossini纪念碑非常相似。所有这些用半身像装饰的纪念碑都有一个共同的目的:确保对重要人物的永久记忆。本文分析了比较的例子，模特，艺术家，以及客户或当局的愿望，他们能够投资于自我或家庭推广，从而创造成功的身份。
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