Suchergebnisse

Riječ je o tri kipa koje je grof Laval Nugent u vremenu od 1817. do 1819. godine dao iskopati u Traettu (Minturnae), u Laciju, nedaleko Napulja. Neki od tada iskopanih kipova prvo su djelomično restaurirani u mramoru u napuljskom Arheološkome muzeju. Približno 1820. g. cijeli Nugentov muzej prenesen je u Palazzo Pisani di Santo Stefano u Mletke, a nakon 1831. na Trsat. Još u Mlecima restauracija kipova povjerena je Giacomu Paronuzziju koji ih je nadopunjavao u gipsu. Tako i kip Silena s malim Bakhom, kako su onda smatrali, a u biti skupinu od tri kipa, Apolona i Marsije te muze Kaliope. Smatrajući gipsane nadomjestke lošima, Josip Brunšmid dao ih je odstraniti. ; This paper deals with three statues, excavated together with many other statues, statuettes and reliefs on behalf of Count Laval Nugent of Westmeath between 1817 and 1819 at Traetto/Minturno, in Latium, near Naples. Some of the statues were already partly restored in marble at the Naples Archaeological Museum. In approximately 1820 the entire Nugent collection was transported to Venice to his vast Palazzo Pisani di Santo Stefano, and after 1831 to his Trsat Castle above Rijeka. Still in Venice, the young sculptor Giacomo Paronuzzi was entrusted with the reconstruction of the statues, which he did in plaster. Thus he reconstructed the large statue of Silenus (as it was thought to be at the time, later to be recognized as Marsyas), holding little Bacchus, as well as that of Ariadne (later identified as the Muse Calliope). Much later these two statues, as well as the preserved head of Apollo, were identified as the three statues forming the group of Marsyas, Calliope and Apollo. Paronuzzi's reconstruction can be seen only on a Major Mijat Sabljar's drawing preserved in the Archives of the Zagreb Archaeological Museum. There are also some older descriptions. Unfortunately, there is no photograph of the reconstructed statues, before the removal of the plaster parts. It is possible that the plaster parts had already suffered at Trsat Castle from the rain entering the tower where the statues were stored. Judging these reconstructions as bad Josip Brunšmid had them removed. The preserved height of Marsyas' statue is 1.73 m. Only the nose remained of Paronuzzi's reconstructions, as well as the right knee and other retouches on the legs and the tree-trunk. Of Apollo's statue belonging to the same group only the head is preserved in Zagreb, its height being 0.32 m. Paronuzzi's intervention consisted of the flattening the break of the nose, drilling a hole and fastening a reconstructed nose with an iron peg. Also this reconstruction was removed in Zagreb. The head is slightly turned to the left, looking at Marsyas, who was looking to the right, i.e. towards Apollo. The third statue, that of the Muse Calliope, previously considered to be Ariadne, preserved to the height of 1.17 m, was the most reconstructed one in plaster from the waist upwards: the breasts, shoulders, head, right arm, feet and parts of drapery. These statues were already described in some texts published in the 19th c. the Royal Territorial Government of Croatia, Slavonia and Dalmatia acquired some parts of the Nugent Museum and brought them to Zagreb to the Archaeological Department of the Croatian National Museum. Josip Brunšmid published the final description of the entire group in 1903. In conclusion, to sum up this review of the Marsyas group from Minturno, and leaving aside how many more statues formed the entire scene, the central group consisted of Marsyas standing left, looking to the right and holding the aulos. In the centre sat the Muse Calliope holding a diptych, while on the right stood Apollo, slightly looking to the left and holding a cithara. The very similar scene can be seen on a marble sarcophagus relief from Dogana del Chiarone in Tuscany (Ma 2347), dated to the late 3rd c. A. D. now in the Louvre (Clarac 1820: 275, 732; Daremberg-Saglio-Pottier IV, 3, 1908-1909: 1100, Fig. 6138). Giacomo Paronuzzi in his time could certainly not have known what mythological scene these marble statues represented.

Autor u kratkim crtama daje pregled razvitka umjetnosti medalje na području priobalne Hrvatske od 15. st. do druge austrijske dominacije. Materijal je grupi ran u sljedeće skupine: Istra, Mletačka Dalmacija, Dubrovnik, Napoleonovo doba, Prva austrijska vlast, svetačke medaljice. Sam katalog sadrži 52 komada medalja, poznatih bilo iz zbirki, bilo iz stručne literature. ; Among the older Istrian medals there is one of Francesco Biondi, a Florentine monk, bishop of Capodistria (Justinopolis, Kopar), made in 1448. Other Istrian medals of interest are a rough cast-bronze one from 1693, made for a corporate body for the distribution of hay in Pula and a small cast bronze medal, made in Rome on the occasion of the renewal of St. Euphemia's church in Rovinj in 1756. Of course, there is also a modest medal presented by the Poreč community to the last Venetian podesta in 1797. Speaking of Dalmatian medals, one ought to mention two of the great names of the Renaissance, who excelled in the art of the medal: Paolo de Ragusa and Francesco Laurana. Several famous Dalmatians who lived abroad in the 16th c. were depicted on medals: Jacobus Banisius, Francesco Niconizio and Antonio Veranzio. One of the earliest Dalmatian medals is the one made in 1600 for the Procuratori dell' Area di S. Simeone in Zadar. There is also a medal struck on the occasion of the liberation of Castelnuovo (Hercegnovi) in 1687. The Scuola Dalmata in Venice also hat its own small silver medals depicting S. George and S. Tripone. The numerous Dalmatian magistrates' medals from the 17th and 18th c. are usually of little artistic value, having been made by local gold or silversmiths, according to the wishes of the local nobility, who wanted to honour a departing provveditore generale or conte (various provveditori generali of Dalmatia and Albania, podesta of Poreč, counts of Korčula, Split, Šibenik and Zadar, provveditori of Imotski, Makarska and Sinj). Speaking about medals of the ancient Republic of Dubrovnik one ought to mention that only trace left there by Paolo de Ragusio are the delicate copper follari. Matteo de' Pasti made a medal of Timoteo Maffei, the archbishop of Ragusa. Three 16th c. Ragusan patricians: Giovanni Nale-Nalješković, Domenico Ragnina and Luca Cerva-Crijević were depicted on medals. A medal by St. Urbain was dedicated to Giorgio Baglivi, a Ragusan surgeon. The first medal was struck in Dubrovnik on the occasion of the reconstruction of St. Blaise's church in 1707. In 1771 the relics of St. Stephen King of Hungary were presented by the Ragusan Senate to Emperor Joseph Il. and Empress Maria Theresia; the event was marked by a medal. The other two remarkable medals of Dubrovnik were the one to commemorate the death of the rector Orsat Gozze Gučetić, 1798; Gioacchino Hamerani's 1803 Luigi Alvise Mozzi medal. Napoleon Bonaparte's Marshal Marmont dissolved the government of the reverend and feeble Republic of Ragusa on January 31. 1808. Napoleon's massive numismatic propaganda was very well organized. An entire team of artists worked for Napoleon in Paris, but there were also many medallists elsewhere producing medals, in order to celebrate his victories, thus for instance the 1806 medal commemorating the conquests of Dalmatia, of Istria, and of Illyricum. Several of the Dalmatian Napoleonic medals have not been attributed to any of the known medallists, thus for instance the rare Zaratine Lycaeum medal from 1809. A more rudely made medal was presented by the inhabitants of Sinj to Pierre Bouillerot, a French surgeon, in 1811 . During the first Austrian rule, in 1801 a decoration by I. N. Wirt was distributed, with the bust of Emperor Franc is II. on the obverse and the inscription DALMATAE BEN EMERENTI/ 1801 on the reverse . One of the earliest Austrian medals struck for Dalmatia was the Zara tine medal of 1804 by Luigi Ferrari, which commemorated the Dalmatian nobility paying respect to Emperor Franc is II. (1792- 1806-1 835), represented by Count Peter von Goess, Governor of Dalmatia between 1802 and 1805. One should not forget the most popular of all medals: the saints' medals and tokens, which were struck, cast or engraved in very large quantities and were cheap and therefore accessible to the masses of pilgrims. The most popular were those of Madonna of Trsat, made chiefly after 1715, when the Madonna was solemnly crowned .