Suchergebnisse

Crkva sv. Mihajla u Stonu važan je spomenik srednjovjekovne graditeljske baštine šireg dubrovačkog prostora i jedini je sigurno potvrđeni spomenik tzv. južnodalmatinskog jednobrodnog kupolnog tipa na prostoru nekadašnjeg Zahumlja. Podignuta je na vrhu uzvisine Gradac, tj. brdu sv. Mihajla (kota 107), na mjestu ranijeg utvrđenja. Na temelju analize arhitekture Sv. Mihajla, kao i pripadajuće mu kamene opreme nastojalo se ukazati da je crkva predromaničkog podrijetla. Također, predloženo je da je zvonik (zapadno zdanje) izgrađen zajedno sa crkvom, jer tlocrtna zamisao stonske građevine (odnos dužine i širine, neznatno istaknuta apsida), njezine male dimenzije, kao i vertikalna stratigrafija (zvonik, ali i kupola), upućuju na funkciju tog zdanja podignutog kao dvorske kapele. Po svemu sudeći, crkva je od vremena podizanja bila posvećena arhanđelu Mihovilu, budući da je štovanje tog nebeskog vojskovođe, kao zaštitnika vladara i njihovih vojnih pohoda, bilo osobito rašireno među vladajućim slojem u ranom srednjem vijeku, pa bi ta znakovita posveta bila u skladu s njezinom funkcijom. Vrijeme izgradnje vladarske kapele sv. Mihajla najvjerojatnije bi trebalo dovesti u vezu s prvim, povijesno zasvjedočenim i najvažnijim zahumskim vladarom u Stonu - knezom Mihajlom Viševićem (prije 910.- nakon 928.), kada Ston biva upravnim i crkvenim sjedištem te sklavinije. Na osnovu analize mlađeg sloja skulpture iz Sv. Mihajla (monumentalni prozorski okviri i ulomak s ljudskim licem) i zidnih oslika, moguće je pretpostaviti da je vladarska kapela bila znatnije i raskošnije opremljena oko sredine 11. stoljeća. Imajući u vidu povijesna vrela o onodobnom Stonu predloženo je da je za tu obnovu bio zaslužan Stefan Vojislav (prije 1018.-43./50.), rodonačelnik dinastije Vojislavljevića. Na tu pretpostavku bi upućivao podatak da je Vojislav, nakon pobjede nad Bizantom i njegovim saveznicima (među kojima je bio ugledni zahumski knez Ljutovit), osvojio prijestolnicu zahumskih vladara. Da je u njoj neko vrijeme i boravio potvrđuje vijest koju donosi bizantski pisac Kekavmen - da je bio toparh u Stonu i da je zarobio dubrovačkoga stratega. Stoga osvajanje Stona, kao i slavna pobjeda nad Bizantom, ali i Ljutovitom koji je predvodio savezničku vojsku, nameće se kao mogući razlog zašto je Stefan Vojislav obnovio stonsku crkvu, točnije zabilježio svoj vojni trijumf u vladarskoj kapeli poraženog zahumskog vladara. Spomenuta obnova stonske crkve najvjerojatnije se dogodila u razdoblju između 1042/43. i 1050. godine, odnosno nakon Vojislavove pobjede i njegove smrti. ; St Michael's church in Ston is an important monument of medieval architectural heritage within a wider area of Dubrovnik and the only positively attested monument of the so-called southern Dalmatian single-nave dome type in the area of historical Zahumlje. The church stands on the top of the Gradac hill or St Michael's Mount (107 m.a.s.l.), at the location of an earlier fortification. Based on an analysis of St Michael's architecture, as well as its stone furnishing, the author has argued that the church is pre-Romaneseque in origin. It has also been suggested that the belfry (the structure to the west) was built together with the church, since the concept of the ground plan (the width-length ratio, the slightly protruding apse), its small dimensions, as well as its vertical stratigraphy (the belfry and the dome) indicate that it was constructed as a ruler's chapel. It is most probable that the church was dedicated to Archangel Michael from the very beginning, as the cult of the heavenly host-leader as the patron saint of rulers and their military campaigns was widespread among the upper classes in the early Middle Ages. The time of construction should most probably be connected with the first historically attested and significant ruler of Ston – Duke Mihajlo Višević (before 910 – after 928), who raised Ston to an administrative and ecclesiastical centre of this Sclavinia. An analysis of the younger layer of sculpture in St Michael's (the monumental window frames and a fragment with human face), as well as its murals, has suggested that the ruler's chapel was furnished more richly around the mid-11th century. Considering the historical sources on Ston in this period, it has been suggested that its renovation took place at the initiative of Stefan Vojislav (before 1018 – 1043/1050), founder of the Vojislavljević dynasty. This hypothesis is supported by the fact that Vojislav, having defeated Byzantium and its allies (among them the distinguished Duke Ljutovit of Zahumlje) conquered the seat of Zahumlje's rulers. It may be presumed that he spent some time there as well, since the Byzantine writer Kekaumenos mentions that Vojislav was a toparch in Ston and that he captured the strategos of Dubrovnik. Thus, the conquest of Ston, as well as the glorious victory over both Byzantium and Ljutovit leading the allied army, imposes itself as the probable reason why Stefan Vojislav renovated the church in Ston, namely in order to celebrate his military triumph in the chapel of the defeated ruler of Zahumlje. The reconstruction most probably took place between 1042/43 and 1050, after Vojislav's victory and before his death.

Autor donosi izvore o osnutku dominikanskog samostana u Trogiru s posebnim osvrtom na širenje dominikanskog reda u hrvatskim krajevima u XIII. i XIV. stoljeću. Samostan je utemeljen nakon 1260. godine na predjelu Pasike izvan gradskih zidina kod crkvice sv. Franje Asiškog. Uz detaljne opise crkve i samostana kao i pregled temeljite rekonstrukcije samostanskih zgrada tijekom XIX. i XX. stoljeća, autor navodi bogati sakralni i umjetnički inventar. Posebice naglašava ulogu dominikanskog samostana u Trogiru kao i djelatnost uglednih članova ove zajednice na širem području. ; In the 13th century, two mendicant religious orders, the Dominican and the Franciscan, spread throughout the whole of Europe, promoting the ideas of equality, justice, piety and voluntary renunciation of ties to property. No more than a decade after the establishment of the order (1216), the Dominicans started to settle in the lands of the Croats. This preaching order, which primarily operated in urban units – in the centre of political, social, cultural and religious events – founded a base in Trogir some little time before 1243, and in the 1260s this became a monastery. Under the influence of the Cistercians, the Dominicans built hall churches, which differed according to the functionality of the rite. The Dominican churches were meant primarily for the laity, the choirs for the religious. The Trogir monastery in its typology follows the rules of construction – the spaces are arranged around a cloister – the church, choir, sacristy, bell tower, capitulary hall, kitchen, refectory, locutory and garden, while on the top there was dormitory and library. The Dominicans arrived in Trogir from the Split monastery of St Catherine of Alexandria. The town magistrate, Nikola Albertinov, who had the presentation to the little church of St Francis of Assisi in the area of Pasike, gave them a little church to the west of the city walls. After conflicts with the Trogir bishop, in 1365, Pope Clement IV acknowledged the lawfulness of their possession of the church and approved a plan for the construction of the monastery. However, around 1325, the church was enlarged, and in 1372, thanks to the generosity of the Kažotić and Andreis families, was extended, when the relief of the lunette of the main portal was made by Niccolò Dente known as Cervo from Venice. In the second half of the 16th century during a visitation by A. Valiero, six altars are mentioned, with a beautiful old altarpiece on the altar of St Catherine of Alexandria. In the early 17th century, as well as the large church, the Trogir Dominicans also had the Church of St Rochus alongside the southern walls of the city and the Church of St Mary outside the walls, with three altars. At the beginning of the 15th century the community used a house south of the church that was knocked down in 1412 to make room for the construction of the city walls on the town's south side. Today's monastery building was put up in 1425, as witnessed by the inscription incorporated into the eastern wall of the cloister. Major alterations were undertaken on the building of the monastery in the 19th and 20th centuries, when military units were quartered in it; and the monastery was thoroughly renovated before World War I. During the time of the English bombing in 1944, the northern wing was completely demolished, the roof of the church was destroyed, and the eastern and western wings suffered minor damage. The most celebrated member of the Trogir Dominican monastery was the 107 Blessed Augustin Kažotić (1260-1323) from a well-regarded Trogir family. He studied at the university of Paris, wrote several theological treatises, and held the offices of bishop of Zagreb and of Lucera. Also deserving of mention is the prior of the monastery in Trogir, baccalaureate and doctor of theology Vinko Andreis, who urged both the doge and the pope to come to the aid of Croatia against the Ottomans. In 1515 he was appointed papal commissioner for Illyria. In the 15th century, calligrapher and illuminator Fra Bartul was at work in the monastery, and another prominent figure is the priest Nikola Milinović, founder of the monastery of Holy Cross on Čiovo. The particular importance of the Trogir monastery came out at the end of the 16th and in the early 17th century, when a branch of the Zadar General College was opened in Trogir, with two degrees of university studies. At the end of the 18th century, the Trogir and Čiovo Dominicans were particularly prominent for their education in the theological and humanist sciences.

MUSIC AND POLITICS, THE INFLUENCE OF POLITICAL CIRCUMSTANCES ON THE MUSICAL LIFE IN ZADAR IN THE SECOND HALF OF THE 19th CENTURY

The history of the Order of Saint Augustine in Rijeka links the city and its region with Central Europe – more particularly to Bavaria, Bohemia, Austria, Slovenia and Italy. Unfortunately, the past of the Augustinian convent of St. Jerome is mostly unknown. The Order of St. Augustine was in fact the first religious community in Rijeka. The monastery, founded by the noble families of Devin and Walsee, existed from the 14th century till 1788, when it was dissolved by Joseph II. The archive suffered two main disasters: in 1509, when the Venetians partially destroyed it, and in 1788, the year of its closure. The Augustinian archive remained partially in the State Archives in Rijeka, but the largest part of its precious holdings was displaced. However, part of the archive disappeared. Cimiotti-Steimberg, a historian from Rijeka, speaks of that fact as incuria et vandalismus (negligence and vandalism). Part of the convent's archive returned to Croatia during the 19th century, but the Hungarian politics of centralization, led by Khuen-Héderváry, displaced again the Augustinian documents to Budapest. Finally, the 1958 restitution replaced the holdings back to Croatia. We can only partially assess the content of the archival holdings because many sources mention inventories, registries and urbaria that the convent in Rijeka once possessed. After its dissolution, the documents of a number of Augustinian fraternities disappeared. The most important of them was the Fraternity of Immaculate Conception, that convened in the Augustinian chapel and whose members were some of the most important citizens from Rijeka. The most important contribution to the archive of the Augustinian convent took place in 1958, when the Augustinian books and documents were restituted from Budapest. They have been kept in the State Archives in Rijeka ever since. The most important source preserved in Rijeka is Protocollum conventus Fluminensis Ordinis eremitarum s. patri Augustini ad s. Hieronymum. It was made by the Austrian Augustinian provincial Joseph Achinger, who in 1704 made an inventory of the archive of the Convent of St. Jerome. A smaller part of the archival holdings is preserved in the State Archives in Zagreb. It is not clear how the 16th century cartulary from the Augustinian Convent in Rijeka ended up in the University Library in Vienna. This Diplomatarium monasterii sancti Hieronimi ordinis eremitarum sancti Augustini in terra Fluminis sancti Viti is a source that still needs to be researched. During the last hundred years of its existence, the Augustinian convent makes part of the Austrian Province that preserved well the archives during the 18th century. It had nominated historians for every convent and documented local history. The historical research of the Convent of St. Jerome in Rijeka requires the knowledge of the Order of Hermits of St. Augustine. They are grouped in provinces that are under the authority of the general prior with a seat in Rome. The Central Archives of the Order in Rome preserve the major part of the correspondence between generals and the provinces. The Austrian National Library in Vienna hosts the archives of the Augustinian Province of Austria since the Augustinians of St. Jerome were part of it from 1669 to 1788. There are manuscripts from Vienna Augustinian convent of St. Sebastian and St. Rocco, mostly records and excerpts from various sources from the 16th, 17th and 18th centuries. An important source for the Rijeka Convent is the Codex latinus monacensis 8423 from the Bavarian State Library, which is related to the period from 14th to 16th century, when the convent was part of the Augustinian Province of Bavaria. The work of Rijeka Augustinians can be reconstructed only through historical sources of those provinces, the central Order structures in Rome and the remains of once rich convent archive, parts of which are preserved today in Rijeka, Zagreb and Vienna.

Autor u radu donosi prikaz dviju vladarskih crkava iz IX. st. slična ustroja s westwerkom. Uz obje crkve pronađeni su ulomci kamene plastike s dedikacijskim natpisom, od kojih jedan spominje župana a drugi kraljicu. Na Klisu je pronađena ploča s reljefom na temu Majestas Domini. Obje crkve spadaju u privatne crkve, tzv. eigenkirche, što upućuje na novi način franačke organizacije teritorija s utvrđivanjem feudalnog posjeda (Ordensburgen). ; The remains of churches that have been found and are discussed in the text can reliably be ascribed to the chapel of the long-sought Trpimir residence at Klis and the pre-Romanesque stratum of the church dedicated to the BVM at the cemetery of the village of Blizna Gornja in the Trogir hinterland. The find of sculpture and texts written on the altar screens show that in both cases these were churches of members of the medieval ruling elite: the church in Blizna Gornja can be connected with the župan of the županija of Drid, and the chapel in Klis directly with the ruler of Croatia. The existence of a medieval church at Klis is strongly supported by investigations of the walls, which showed that a large number of marble fragments of ecclesiastical stone architectural decoration from the 9th to the 12th century were incorporated into the building of the mosque. Among the fragments there are pilasters, plutei and the trabeation of an altar screen from the early Middle Ages, while the whole of the medieval material is built into the walls of the mosque above its floor level. In the western wall four marble fragments of architraves of an altar screen with parts of an inscription were found, one fragment of a marble architrave of a pluteus and a pilaster with the base of a pillar of the screen. All the fragments of this carving were made of Proconesian marble and were incorporated in such a way that the decorations and inscriptions were not to be seen. The fragments belonged to the septum and contain typical pre-Romanesque interlacing motifs, pretzels, and the parts of an inscription are carved on a ribbon of the trabeation of the altar screen below the characteristic hook decoration. Fragments of the trabeation contain parts of an inscription about a ruler that mentions the royal family, and on an architrave of the altar screen of the church in Klis that has been found, for the first time the title of queen is mentioned. The parts of the altar screen found with interlacing ornamentation of the 9th century belong to a pilaster with interlacing and an architrave of the pluteus with interlacing ornamentation and four fragments of the architrave of the altar screen with parts of a royal inscription. The fragments contain wording with the royal formula: ORUM FILIU(S)., MEA DOM(N)A S(C)LAVA REGINA. Although these are detached pieces, it is very clear that they are part of a single inscription in which the wife of the ruler or king is mentioned. It is clear in this part of the text that the wife of the ruler is called regina, from which it can be concluded that her husband, the subject of the inscription, is a ruler who bears the title of rex. It is important to point out also that she is addressed as domna, and that analogously to this her husband must have been addressed as dominus. From these titles, the votive inscription of the church in Klis might have belonged to a ruler of the middle of the 9th century, probably to Trpimir himself, the only ruler of that time who is mentioned together with the title of king, probably attained through victory in the war with the nation of the Greeks, as reported by the Saxon Gottschalk. And the fragment of the first part of the inscription contained this very title of the ruler (REX SCLAV)ORUM FILIU(S). This would be supported by the inscription in the Cividale Gospel, where Trpimir is signed as »domno Trepimiro«, and the title of his wife really could have been DOMNA SCLAVA REGINA, as this is read from the wording on the architrave of the altar screen. As well as the described parts of the septum, during works on the renovation of the Church of St Vitus a slab with a relief was found built flat as a building stone in the annular wall of the tambour. This fragment of early medieval figural sculpture of Proconesian marble shows Christ in Glory. Preserved from the composition featuring the topic Majestas Domini in the Klis relief is the central figure of Christ in a mandorla and an angel on his right hand side. Christ is shown down to the waist, his right hand raised in blessing, while in the left hand he holds a scroll with the Gospels. The relief from the Klis Church of St Vitus, though modest in its dimensions, might have belonged to the lintel of a portal of an early medieval church, although according to the mortise on the upper part it could equally well be supposed to have been a fragment of some stone furnishing that consisted of pillars and beams. The visual treatment of the relief of the linearly grooved surfaces that suggest folds of clothing, the manner of treatment of the figures with single incision of the features with expressive underlined eyes, the hatched curls of the hair and the particularly characteristic handling of the nose reveal the hand of the skilled mason who made the relief. As for the origin of the relief of the church in Klis, the finding of the medieval royal church in the foundations of the Church of St Vitus and the confirmation of the existence of a fortified royal court at the site of Klis Fort are sufficient warrant that it originally came from Klis. From this it could well be hypothesised that the relief of Christ from the church in Klis belongs to a separate sculptural unit, directly related to this site. Extensive archaeological and conservation-restoration excavations in 1999-2000 preceded the thoroughgoing renovation of the Church of St Mary in Blizna Gornja. Against expectations, the pre-Romanesque architecture of a ruler from the 9th century was found in them, belonging through their form among the few specimens of pre-Romanesque churches with external buttresses of semicircular cross-section. Like similar examples, the Church of St Saviour at the source of the Cetina and the church at Lopuška glava, Biskupija, by Knin, the Church of St Mary in Blizna had a forecourt in front of the main elevation. An external staircase led to the first floor, over which there was probably a tower, as in examples of similar churches with a westwork. In the forecourt of the church the lid of a Roman period sarcophagus used as a gravestone was found. The find of the sarcophagus lid and many fragments of stone sculptural decoration of the 9th century in marble and limestone show that the Church of St Mary was richly endowed and equipped. One of the fragments contains the name and title of the donor: .ANVSIV[panv]S, for which reason it is assumed to have belonged to an altar screen put up by a Croatian magnate, mostly likely a župan. Numerous fragments of trabeation have been found, the beams of which were marble, while the arched tegurium was made of limestone. Fragments of marble plutei and pilasters of the altar screen, as well as pillars with capitals found around the church belong in their form to the sculptural art of the 9th century. Fragments found are enough for the reconstruction of the original appearance of the screen and for an understanding of the inscriptions in the field of the lower part of the gable and the architraves. The inscription is a typical intercession, in which the prayer is addressed to Our Lady and to St John the Baptist, asking for their intercession with Christ, for the salvation of his soul, and the following reading can be proposed: .[pe]R I[nte]RCOESSIONEM BEATE ET GLORIO[se matri]S D[e]I GE[netricis apud Christum satvatOREm SCTAe Mariae] ET BEATI IO[hannis Baptistae] OP[vs] E[dificavit] pro animae suae[reme]DIO V[otum complevit Prod]ANVS IV[ppanu]S. According to the inscription on the septum the church would have been dedicated to St Mary like many of the churches of that time in the early of medieval Croatia, in Golubić, Ostrovica, Biskupija, Gradec, Pađeni and Lepuri. But the inscription relates it in a particular way via the intercession of Mary and John to Christ, to whom the intercession is addressed. The permeation of the contents by the theme of the Madonna's intercession (i.e. the Deisis), typically Byzantine iconography on the one hand and the Sanctus written in the spirit of the revived Roman liturgy on the screens of churches in Trogir as well as the churches of the Croatian župans in the hinterland and on the islands suggest something of their specific political position in the second half of the 9th century at the border between the tradition of the East and the new influences coming from the West. The question arises as to who the donor of the church of St Mary in Blizna Gornja was. Only the ending of the name and the beginning of the title in the letters IV[ppanu]S are in existence. From this it can be assumed that the church was put up by a župan, and his name, which ends with the letters.ANUS, might be Stephanus or, more likely, it was part of some Croatian name that is borne in the documents by the župans, like Branus or Prodanus. According to the results of the most recent research, St Mar in Blizna is a votive church of a Croatian magnate put up in the middle of the 9th century on the remains of an ancient villa that was part of his estate. Analysis of the architecture confirms this. The oldest archaeological stratum found at the site is the remainder of a wall of the later Roman period, probably from the 6th century, in front of the forecourt of the church. This stratum is insufficiently investigated, but it belonged to a building of much greater size than the pre-Romanesque Church of St Mary. The early medieval stratum, of the 9th century, lays claim to the foundations of the church, of a simple rectangular ground plan with semicircular buttresses, and the shallowly founded apse on the bedrock might be a building of later time. A very good state of preservation is exhibited by the walls of the pre-Romanesque building that bound the ground plan, the beginning of the staircase of the atrium, its western and southern doors, while in the interior of the atrium, in front of the façade of the church, a cylindrical sarcophagus lid has been found. The two-storey court, the chapel of the pre-Romanesque church and its undoubtedly funerary purpose in the ground floor part are known in the literature as westwork, and their finding at the site of Blizna Gornja suggests there was a very strong influence from the Carolingian court on the Croatian ruling and aristocratic stratum of the 9th century, to which, along with the actual rulers, it was primarily the župans that belonged. The Church of St Mary on the current graveyard of the village of Blizna Gornja was, then, the church of a magnate, who in his name has the ending anus, most probably Prodan (Prodanus?) or Bran (Branus?) rather than Stjepan (Stephanus), a župan of the županija of Drid of the middle of the 9th century, for at that time along with the titular functions of the Croatian župans their Slavic names were regularly given. This is a typical example of a private church (Eigenkirche), a new legal institution of the Frankish type, put up on the foundations of a renovated Roman period villa, the feudal property of the lord, who used it for ceremonial purposes, as well as a private funeral chapel for him and the members of his immediate family, and hence it was forbidden to bury members of the community at large in its vicinity. Among the process that took hold of Europe in the post-Carolingian period an important place is occupied by the construction of fortified manors, which from the 9th to the 12th century totally changed the image of early medieval Europe. The Croatian ruler, who was at first directly subject to Aquileia, the Frankish ecclesiastical centre in Friuli, must have been directly impressed by the construction of the fortified estates of the marquisate of Friuli, for it was from here that Frankish missionaries arrived in Croatia. Its connection with Frankish church centre even after the abolition of the marquisate in 828 is shown by the pilgrimages of Croatian dukes and their families to the Benedictine monastery of Cividale during the whole of the 8th century. Einhard's Annales mentioned Borna's forts in Dalmatia, into which the duke retreated before the attack of Ljudevit Posavski. Trpimir's royal residence is mentioned in a deed of gift of his of 852. There is an obvious difference in the name of the ruler's residence of Trpimir's time, as mentioned in two texts: one mentions villa nostra, the other curte nostra. The mentioned curtis in the document is called Clusa, which implies the name of the fortress of Klis, which for the whole of its history was in strategic control of the approach to the sea, to ancient Salona and the city of Split. Unlike Klis, which is called a curtis, the name of the villa from the Gottschalk text is not recorded, and it might be to do with some residential complex in the Salona area, or perhaps some place very close to Klis, such as Rižnice, in which Trpimir, wishing to make contrition for his sins, built a monastery and church after the war, at the time of the normalisation of relations with the Romans. The fact is that the concepts of villa and curtis appear at the same time in the mid-9th century in the context of the formation of feuds and manors, although there may be some fundamental difference concealed in them. One and the other may be related to the ruler's residence. The concept of curtis in this sense can be found afterwards, among many examples of the 11th century, when the king's curtis of Rogovi on the lower slopes of the hill by Biograd, or the curtes of the imperial protospatar and ban Stjepan Uitula, Nova sella and Butina ues, as well as many others related to the names of their owners, like that of Vlkomir and Preda in Žrnovnica or Tješen on Brač. Still, in the light of the new research, the curte nostra, quae Clusan dicitur mentioned in Trpimir's deed of gift should be looked at in a completely different context, not only as an estate but also as the residential complex of a feudal ruler.

Augustinski samostan sv. Jeronima podignula je najstarija redovnička zajednica u Rijeci. Od početaka u 14. stoljeću, pa do ukidanja samostana 1788. godine, augustinci pustinjaci obilježili su grad i širu riječku okolicu u vjerskom, kulturnom i ekonomskom pogledu. Rad opisuje negativne posljedice jozefinističkoga zatvaranja samostana na augustinsko arhivsko gradivo, što se odrazilo i na nedovoljni historiografski interes prema povijesti te zajednice. Autor daje presjek sačuvanoga gradiva koncem pedesetih godina 20. stoljeća vraćena iz Budimpešte, od kojega je najvrjednije vrelo samostanski protokol. Navode se podatci i o arhivskom gradivu diljem Europe, iz svjetovnih i crkvenih ustanova, neophodnom za historiografsku prosudbu povijesti augustinaca pustinjaka u Rijeci.State Archives in Rijeka ; The history of the Order of Saint Augustine in Rijeka links the city and its region with Central Europe – more particularly to Bavaria, Bohemia, Austria, Slovenia and Italy. Unfortunately, the past of the Augustinian convent of St. Jerome is mostly unknown. The Order of St. Augustine was in fact the first religious community in Rijeka. The monastery, founded by the noble families of Devin and Walsee, existed from the 14th century till 1788, when it was dissolved by Joseph II. The archive suffered two main disasters: in 1509, when the Venetians partially destroyed it, and in 1788, the year of its closure. The Augustinian archive remained partially in the State Archives in Rijeka, but the largest part of its precious holdings was displaced. However, part of the archive disappeared. Cimiotti-Steimberg, a historian from Rijeka, speaks of that fact as incuria et vandalismus (negligence and vandalism). Part of the convent's archive returned to Croatia during the 19th century, but the Hungarian politics of centralization, led by Khuen-Héderváry, displaced again the Augustinian documents to Budapest. Finally, the 1958 restitution replaced the holdings back to Croatia. We can only partially assess the content of the archival holdings because many sources mention inventories, registries and urbaria that the convent in Rijeka once possessed. After its dissolution, the documents of a number of Augustinian fraternities disappeared. The most important of them was the Fraternity of Immaculate Conception, that convened in the Augustinian chapel and whose members were some of the most important citizens from Rijeka. The most important contribution to the archive of the Augustinian convent took place in 1958, when the Augustinian books and documents were restituted from Budapest. They have been kept in the State Archives in Rijeka ever since. The most important source preserved in Rijeka is Protocollum conventus Fluminensis Ordinis eremitarum s. patri Augustini ad s. Hieronymum. It was made by the Austrian Augustinian provincial Joseph Achinger, who in 1704 made an inventory of the archive of the Convent of St. Jerome. A smaller part of the archival holdings is preserved in the State Archives in Zagreb. It is not clear how the 16th century cartulary from the Augustinian Convent in Rijeka ended up in the University Library in Vienna. This Diplomatarium monasterii sancti Hieronimi ordinis eremitarum sancti Augustini in terra Fluminis sancti Viti is a source that still needs to be researched. During the last hundred years of its existence, the Augustinian convent makes part of the Austrian Province that preserved well the archives during the 18th century. It had nominated historians for every convent and documented local history. The historical research of the Convent of St. Jerome in Rijeka requires the knowledge of the Order of Hermits of St. Augustine. They are grouped in provinces that are under the authority of the general prior with a seat in Rome. The Central Archives of the Order in Rome preserve the major part of the correspondence between generals and the provinces. The Austrian National Library in Vienna hosts the archives of the Augustinian Province of Austria since the Augustinians of St. Jerome were part of it from 1669 to 1788. There are manuscripts from Vienna Augustinian convent of St. Sebastian and St. Rocco, mostly records and excerpts from various sources from the 16th, 17th and 18th centuries. An important source for the Rijeka Convent is the Codex latinus monacensis 8423 from the Bavarian State Library, which is related to the period from 14th to 16th century, when the convent was part of the Augustinian Province of Bavaria. The work of Rijeka Augustinians can be reconstructed only through historical sources of those provinces, the central Order structures in Rome and the remains of once rich convent archive, parts of which are preserved today in Rijeka, Zagreb and Vienna.

Konzervatorsko-restauratorski radovi poduzeti od 2005. do 2013. godine na crkvi sv. Mateja u Prodolu potaknuli su revalorizaciju male ladanjske crkve čiju arhitektonsku jednostavnost nadoknađuje bogat zidni oslik s početka 15. stoljeća. Dosadašnje se spoznaje o tom objektu, objavljene tek u putnom izvještaju Branka Fučića prije šezdeset godina, dopunjuju novim zapažanjima i analizama o povijesti građevine, ikonografiji i stilskim karakteristikama zidnog oslika. U radu se donosi i opis konzervatorsko-restauratorskih radova koje je Hrvatski restauratorski zavod izveo na crkvi. Praksa obnavljanja sličnih, oblikovno ili dimenzijama nerijetko skromnih građevina na izoliranim lokacijama zapuštenih zbog nenaseljenosti ili otežanog pristupa, nije česta, što ladanjsku i ruralnu baštinu čini naročito ugroženom. U tom je kontekstu prodolska crkva važan primjer koji svjedoči o iznimno bogatom kulturnom i povijesnom pejzažu Labinštine te dokaz heterogenog likovnog jezika u Istri na početku 15. stoljeća, kad je još bio osjetan utjecaj akvilejskog patrijarha prije političke i umjetničke dominacije Venecije. ; Conservation work undertaken from 2005 to 2013 in the church of St. Matthew in Prodol initiated a revalorization of this small country church, whose architectural simplicity is complemented by elaborate wall paintings from the early–15th century that testify to the diversity of styles in the Istrian region in the period predating the rule of the Serenissima. Our knowledge so far of this building, published only as a travel report by Branko Fučić some sixty years ago, is supplemented with new insights and analyses of the building's history, iconography, and style characteristics of the wall paintings. The article features a description of work carried out on the building by the Croatian Conservation Institute.

Drvena kapela sv. Martina u Starom Brodu rijedak je primjer tradicionalnog narodnog graditeljstva s cjelovito očuvanim oslikanim baroknim interijerom. Njezino je očuvanje iznimno važno za lokalnu zajednicu jer je kapela glavno okupljalište seljana u vrijeme pogreba i proštenja, a zbog svoje starosti snažan je simbol višestoljetnog opstanka sela unatoč ratovima i poplavama. Stoga se njezina obnova temeljila na vrednovanju cjelovite strukture građevine i njezinih povijesnih oblikovnih vrijednosti te je povezala sve aspekte kulturnog dobra u cjelinu, što se podjednako odnosi na građevinu, oslikanu unutrašnjost i oltar, kao i na primjenu tradicionalnih tehnika gradnje i uključivanje lokalne zajednice u projekt. Zbog toga je u svibnju 2017. godine Hrvatskom restauratorskom zavodu uručeno najviše europsko priznanje na području zaštite i očuvanja kulturne baštine – Nagrada Europske unije za kulturnu baštinu / Nagrada Europe Nostre u kategoriji zaštite baštine. ; The wooden chapel of St. Martin in Stari Brod is a rare example of traditional, vernacular architecture with a preserved Baroque interior. Over the centuries it has played an important part in the everyday life of villagers as a gathering place for worship and a powerful symbol of the village's survival. Archival records mention the chapel for the frst time in 1699. Originally, it was laid out as a single-nave chapel with a polygonal sanctuary and a small atrium on top of which stood a bell tower. Its present form originated when the atrium was incorporated to form a vestibule in 1736. It was built using a traditional technology of construction with oak planks laid over stone and brick foundations and interlocked without the use of brackets (socalled dovetail joint). What is particular about the chapel is its interior design: all the walls, the ceiling over the nave and the sanctuary vault are lined with a vividly painted wainscoting made of 88 wooden panels framed with decorative laths. The panels depict motifs of intertwined symmetrical ribbons with hanging acanthus leaves, rose flowers, tulips, carnations, peonies and grape vines, painted in vivid colours in the mid-18th century. The main altar with the altarpiece of St. Martin was installed in 1743. By the end of the 20th century, the chapel was rather neglected and had a dilapidated roof. As the roof covering was damaged, the interior was exposed to rainfall, which caused severe damage to the wooden support and the paintwork. An earlier replacement of the roof covering with beavertail tiles instead of shingles led to static displacements and deformations of the building material and caused further damage to the wainscoting panels. The main altar was removed from the chapel in 1991 during a war-time evacuation. Renovation work on the chapel of St. Martin started with an architectural survey of the existing condition and conservation research of the painted wainscoting. The wainscoting was then dismantled, and construction repair of the chapel ensued, which lasted from 2007 to 2012. During the course of it, the entire chapel was disassembled in order for the foundations to be repaired and the damaged or rotted parts of the building replaced. Damaged parts of the roof construction were also repaired and the beavertail tiles replaced with oak shingles, modelled after the original covering. On the dismantled elements of the wainscoting, necessary restoration treatments were carried out, which involved a mechanical removal of dirt from the back of the panels, gamma-ray disinsection, fxing of blistering portions of the polychromy to the support, consolidation of the support, joining and fxating of the panels, and a reconstruction and retouch of the painted layer. With the conservation work completed, the wainscoting panels were returned to the chapel. The Baroque altar of St. Martin was put on display at the 1994 exhibition Sveti trag [Holy Trail], after which it was stored in the Croatian Conservation Institute's depot in Ludbreg. Because of inappropriate microclimatic conditions, damage occurred in places where the wooden elements were joined, and layers of the polychromy and gilding partially detached from the wooden support. The damage was repaired in 2015, just before the altar was returned to the chapel. Despite having been left without the altar in 1991 and the painted wainscoting in 2002, the chapel continued to be used for funerals and on the Feast Day of St. Martin. Only during the construction repair, when it was dismantled, was it out of function. With the renovation completed, the restored wainscoting mounted and the main altar installed, not only was its physical and visual integrity recovered, but a symbolic and spiritual component important to the local community was reinstated as the chapel was returned to function. Albeit important in art-historical terms, as a rare surviving example of Baroque wooden architecture, its true value lies in the symbolism of survival of a community that gathers around it, in spite of all the wars and floods to which it was exposed over the course of history. On the other hand, the comprehensiveness and complexity of the conservation work carried out, while applying the principle of renovation in accordance with professional guidelines, represent a model of how to approach the renovation and presentation of similar monuments of culture. All the aforementioned components constitute the reason why the renovation of the chapel of St. Martin in Stari Brod earned a Europa Nostra Award, a European Union Prize for Cultural Heritage in the category of conservation, with which it was presented in the May of 2017.

U crkvi sv. Kaja u Solinu nalazi se rimski "sarkofag" s prikazom Heraklovih djela, izvorno isklesan u litici unutar male spilje. Spomenik u obliku sanduka u neposrednoj blizini zapadne salonitanske nekropole bio je presudan da se u dosadašnjoj literaturi protumači kao antički sarkofag. Budući da je podzemni potok izvirao u spilji, a voda se skupljala u kamenom recipijentu s Heraklovim reljefima, odakle je otjecala, autorica prepoznaje Heraklovo svetište u prirodi. Tradicija o posvećenoj vodi sačuvana je do danas štovanjem Sv. Kaja pape, potvrđujući važnost antičkog izvora posvećenog Heraklu. ; During the visit of Austrian Emperor Francis I to Dalmatia as well as to the monuments of Salona, in a little cave, what was called a sarcophagus with depictions of the labours of Heracles was discovered. Carved out of the living rock, it was protected first of all by the building of a chapel, and then of a church dedicated to St Caius the Pope, in which it served as an altar. The labours of the very popular deified hero of the antique world, the Greek Heracles, or the Roman Hercules, were shown in high relief. These are individual scenes of his life, particularly of the well-known cycle of the 12 Labours performed for the king of Mycenae: Heracles and Cerberus, Heracles taking Alcestis from the underground, Heracles and the Stymphalian birds, and the apples of the gardens of the Hesperides. Since the reliefs are carved on a stone chest the appearance of which recalls a sarcophagus, and since it lies in the immediate vicinity of the western Salona necropolis, this was crucial for the monument in the literature to date having been interpreted as an antique sarcophagus. This was contributed to by its identification with the tomb of St Caius Pope and Martyr, since it was used as altar in the sanctuary of the church dedicated to him. However the very existence of a spring and of the water that collected in the stone chest, a recipient, with the reliefs of Heracles, from which it flowed out as if consecrated, rules out the possibility of interpreting the monument as antique sarcophagus. It is very likely a shrine to Heracles placed in nature. The tradition about the holy water has been preserved down to this very day through the cult and reverence for St Caius the Pope, confirming the importance of the ancient spring dedicated to Heracles. The monument, of a very high artistic quality, the stone of which is polished until it resembles marble, was created by the local craftsmen of the Salona workshops according to models of imported plastics, which figured a lot in Salona. Heracles's shrine in nature with a spring in the rocks of a cliff from which reliefs with the exploits of Heracles were carved out is an outstanding example of a cult of a deified ancient hero. According to finds to date, reverence for Heracles was extremely widely distributed in the Roman province of Dalmatia, particularly in the capital and environs. The placing of a sculpture in the city forum of the Roman colony of the meritorious military veterans in Aequum or in some private settings, as N. Cambi considers with respect to two Salona sculptures found in the channels of the Jadro River, that is, by the Five Bridges or in the nearby ancient quarries, confirms the places and context of the Heracles cult. From this point of view, the cult of Heracles at a spring, as shrine in nature - perhaps once a Iucus Herculis, today the Church of St Caius, is an exceptional example, which considerably enriches our understanding of the cult of Heracles in the capital of the Roman province of Dalmatia. According to the examples in Pula of Heracles shrines in nature directly linked with sources and watercourses, something similar can be assumed with respect to the cult and the reverence for it in Salona. That is, the find of a sculpture of Heracles with the Apples of the Hesperides by the Five Bridges, where the 48 channel of the Jadro flowed , and the spolia of a relief of Heracles in battle with the Nemean lion in the floor of the cathedral in the immediate vicinity perhaps belonged to the same shrine of Heracles, also alongside a watercourse. We do not know the precise place of the Roman copy of the Lysippus statue the so-called Weary Heracles found in a channel of the river of the eastern part of the town. For this reason in Urbs Orientalis, where many channels and springs were discovered in archaeological research, the reverence for the cult of Heracles was discovered, and precisely perhaps as a patron of water. In this context, the shrine in nature in St Caius's harmonises very well, however, with the topic of Heracles as patron of springs and the underworld, which shows the reverence for the most popular hero of the ancient world in Roman Dalmatia in a very new light.