Suchergebnisse

Zagrebački Botanički vrt Prirodoslovno-matematičkog fakulteta sačuvan je u urbanističko-arhitektonskoj koncepciji u gotovo izvornom obliku, kako je izgrađen 1892. godine. Članak donosi sažeti prikaz specifične povijesne arhitekture koja je dio Vrta. Građevine su opisane na temelju istraživanja arhivske građe, analize sačuvanih prvotnih i novijih projekata te izvedenih građevina od nastanka Vrta. Obuhvaćene su sve za Botanički vrt značajne građevine: izložbeni staklenici, vrtlarska kuća, izložbeni paviljon, fiziološki laboratorij, javni zahod te bazeni s "vodometom", uresna ograda, mostić, sjenice i vodosprema. Vrijedna povijesna arhitektura postupno se obnavlja pod konzervatorskim nadzorom nadležne službe za zaštitu kulturnih dobara od 1998. godine do danas. ; Almost the entire original layout of the urban and architectural concept of the Zagreb Botanical Garden of the Faculty of Science has been preserved as it was conceived in 1889 by its founder, Prof. Antun Heinz, a professor of botany at the University of Zagreb. The Garden was designed and built in accordance with contemporary European standards for the design of botanical gardens. From its foundation until today, the Garden has retained its multiple purposes. As an integral part of the Faculty of Science of the University of Zagreb for more than a century, the Garden has played an extremely important role in university teaching and scientific research in the field of botany, as well as education of the general public. The Garden also has cultural, historical and touristic value for the city of Zagreb and the Republic of Croatia. Since it was founded, it has remained open to the public free of charge, providing visitors with numerous educational and popular activities. It is part of the Green Horseshoe in Donji grad, a cultural good inscribed in the Register of Cultural Goods of the Republic of Croatia as an original architectural achievement, and as a completed, urbanistic, architectural space in the form of a park in the centre of Zagreb, and also as a horticultural monument in the botanical-garden category. In the first decades after its foundation, a series of functional buildings and structures of park architecture, such as a gazebo, a lookout and small bridges on the lake, shelters and similar elements in various historic styles, were built in the Botanical Garden. As a permanent residence for gardeners, a garden house was built in 1890 in the west part of the Garden, in the direction of Savska cesta. Later, greenhouses were erected and the pavilion was transported from the Second Jubilee Exhibition of Economy and Forestry held in Zagreb in 1891. A rare example of a communal building, a public toilet for parks, based on the 1905 project by Milan Lenuci, has been preserved. The last two buildings were designed by professors from the Faculty of Architecture. In 1933, in the south part of the Garden, Prof. Juraj Denzler built the well of the City Water Supply Network, used by the Garden to this day; and, in 1942, along with the already-built physiological laboratory, Prof. Zvonimir Vrkljan started building the Division of Botany. Buildings, park architecture, parterre and installation network were reconstructed and renovated over the past twenty years in accordance with the defined priorities and conservation guidelines, projects and supervision of the City Institute for the Conservation of Cultural and Natural Heritage. Several selected examples present recent projects and renovations. Industrial development in the late 18th and early 19th centuries, and new materials – iron and glass – enabled the construction of large halls illuminated from above. Constructors applied this type of knowledge to build greenhouses, essential for the successful cultivation of tropical, subtropical and Mediterranean plants in botanical gardens. Often, this type of old greenhouse is a valuable example of specific architectural heritage. A unique historical structure of this type is preserved in the Botanical Garden of the Faculty of Science in Croatia. Professor Dr. Antun Heinz took a sabbatical in 1889 and visited European botanical gardens in order to gather experience and the latest ideas he needed for the design and construction of the Botanical Garden of the University of Zagreb. He chose a situational solution, a combination of geometric and landscape style. He decided to design the largest part of the Garden in the landscape – or socalled English – style, with randomly planted groups of trees and shrubs, and curving paths. Only the parterre (ornamental flower beds), located in the west part of the Garden, was built in the French style, with a strict geometric and symmetrical ground plan. Around the long central axis, a conception typical of Baroque park heritage of the 17th and 18th centuries, he placed the main building of the Garden and the greenhouses with a geometric floral parterre with two symmetrical paths on each side, and most of that open surface is a free composition of the parterre with high and low greenery. The original shape of the exhibition greenhouses built at the end of the 19th century was preserved, but they were in very bad condition. Therefore, renovation was planned and is underway in order to restore the original condition of the complex of exhibition greenhouses. Fence around the Botanical Garden was gradually added as the city in the immediate vicinity of the Garden developed. In 1900, after the construction of the new street (today's Mihanović Street), the north fence of the Garden was built with the main entrance portal based on a design by the Royal Building Department of the Land Government, and then the east and west fence were built. Since the aesthetically shaped southern fence did not exist, it was designed as a public walkway with a pergola, and the construction began in 2018. The oldest fair building in Croatia was preserved in the Botanical Garden of the Department of Biology, Faculty of Science in Zagreb, and restored in 2007. The wooden pavilion was presented at the international exhibition in Vienna in 1890, and in Zagreb in 1891. In 1892, it was moved to the Garden as a building where plants susceptible to frost were kept during winter. Over time, the domes and façade were removed. However, the roof structure and the volume of the building were preserved, and all characteristic elements of the lining were found before the 2005 reconstruction. Based on sufficient data and archival photographs, it was possible to restore the exhibition pavilion to its original form. Reconstruction and renovation of the Botanical Garden complex and functional historic buildings will continue and contribute to the preservation of the complete historical architectural heritage in the park section of the Green Horseshoe of Zagreb Donji Grad.

The source of the four centuries of controversies surrounding Althusius's Politics is not the work itself but its interpretations. The author argues that Althusius's political teaching is not controversial; further, its methodical nature is highly conducive to a theoretical debate about the political/theoretical & cultural tradition of thought in general. The author first identifies the fundamental concepts of Althusius's political thought, & the logic of his exposition in Politics. He shows that Althusius's work is a systematic -- methodically presented -- study of politics, defined as a way in which people unite to have a good life by means of the communicatio of things, services & rights. Consequently, political science deals with the real or ideal ways of this association & its results. Althusius was the first author who explicitly said that only a people as a whole may be sovereign. He also created a theoretical concept of popular sovereignty. That part of his teaching is Althusius's greatest & largely undisputed contribution to political thought. In the second part, the debate about the interpretation of the "controversial" fundamental tenets of Althusius's teaching is reviewed, the tenets that refer to the essence of human community & the character of its political organization. The author concludes that Althusius's work is a type of junction of the then "defeated," but today increasingly popular, ideas: communitarianism (vs individualism) & social solidarity (vs the one-sided maximalization of individual benefit), a kind of matrix-type structure of the social system (vs political-pyramidal), ie, the autonomy of its parts (vs the monolith centralist-state system). In the dawn of a new era, the elements of those traditions that were soon to be (temporarily) defeated, were systematically depicted in Althusius's epochal opus, whose internal potential is increasingly recognized as one of the most relevant provenances of modern political thought. 25 References. Adapted from the source document.

The speech given by Stjepan Mcsic, President of the Republic of Croatia, at the conference "15 Years of Croatian Democracy" held at the Faculty of Political Science of the University of Zagreb on 11 November 2005 gives an account of the evolution of democracy in Croatia. The importance of the role of the Croatian parliament (Sabor) is analyzed. The Croatian Sabor has not only been the institutional state/legal expression of the sovereignty of the Croatian people within various state & national entities (apart from the period between 1918 & 1941) but also an expression of communality as a manifestation of the freedom of speech, assembly & agreement -- in short, the ultimate expression of the popular democratic spirit. In this speech, various aspects of the democratic development in Croatia since 1990 are analyzed. It is pointed out that in the last fifteen years Croatia has witnessed social & political protests & conflicts on a variety of occasions & for a variety of reasons, proving that it is capable of coping with ideological, social & political antagonisms & discords. Adapted from the source document.

Nowadays, three most popular citation databases are Web of Science (WoS), Scopus and Google Scholar (GS). In contrast to WoS and Scopus, GS is freely accessible. Comparing the three citation databases, WoS and Scopus have precisely defined and published criteria for selection of sources and papers from these sources. Google's policy is quite non-transparent. In recent times, however, scientists have been increasingly citing data from GS in addition to data on presence and citations in databases WoS and Scopus. In the conclusion of a comparative analysis of number of citations of papers published in the Croatian Medical Journal in 2005 and 2006 according to the three citation databases, it is emphasized that GS may serve as an alternative bibliometric measure of citation frequency (Šember et al. 2010). An investigation of the number of citations for scientists from the fields of library and information sciences for the period 1996–2005, according to the three mentioned citation databases, has shown, among other things, that citations collected by GS are very useful. They are not of the same quality and significance as those from WoS and Scopus, but they point at a broader international echo of the cited papers than results obtained using WoS and Scopus (Meho, Yang 2007). ; Tri su najpopularnije citatne baze podataka danas Web of Science (WoS), Scopus i Google Scholar (GS). GS je za razliku od WoS-a i Scopusa slobodno dostupan. Uspoređujući te tri citatne baze podataka treba reći da WoS i Scopus imaju precizne i objavljene kriterije odabira izvora i radova iz tih izvora, a Googleova politika odabira prilično je netransparentna. Međutim, u posljednje doba znanstvenici sve češće uz podatke o zastupljenosti i citiranosti, npr. pojedinih časopisa, u bazama podataka WoS i Scopus navode podatke i za GS. U zaključku usporedne analize citiranosti članaka objavljenih 2005. i 2006. u časopisu Croatian Medical Journal prema tri navedene citatne baze ističe se da GS može služiti kao alternativni bibliometrijski alat za orijentacijski uvid u citiranost (Šember i dr. 2010). Istraživanje citiranosti znanstvenika iz područja knjižničarske i informacijske znanosti prema tri navedene citatne baze podataka za razdoblje 1996–2005. pokazalo je, između ostaloga, da iako citati koje prikuplja GS nisu iste kvalitete i težine kao oni u WoS-u i Scopusu, vrlo su korisni jer pokazuju širi međunarodni odjek citiranih radova od onog koji se dobiva preko WoS-a i Scopusa (Meho, Yang 2007).

Autor pokazuje kako se stil Božidarevićeva slikarstva može analizirati kao reprezentativna građa za povijest dubrovačkog društva1500-tih godina, premda se Nikola ustezao od prodornijeg promatranja svog unutarnjeg svijeta i onog vanjskog koji ga je okruživao, dočim se moglo očekivati (obzirom na njegov temperament i budući da je radio po narudžbi kapetana i trgovaca globe-trottera) da mu slike budu proviđene s više detalja onodobne vidljive stvarnosti. ; He signed himself in brush strokes only twice as: Nicolaus Rhagusinus, Nicolo Raguseo- Nikola of Dubrovnik - once in a marble medallion under the arm of Gabriel in the middle of the Annunciation, which he painted in 1513 forthe Đorđić family, the second time at the foot of the Virgin's throne on the main altar retable in the Church of Our Lady of Dance, his last work (1517). This name, until the archival discovery of his Croatian family name, fired the imagination of those researching Dubrovnik Renaissance art and even became a kind of myth. To call himself Rhagusinus in the middle of Dubrovnik undoubtedly meant a self-confident declaration vis a vis his artistic contemporaries- especially Mihajlo Hamzić and Vicko, the son of Lovro Dobričević,and even perhaps in relation to his own father whose workshop he had just left. When we stand today in front of polyptychs of this kind (which, when preserved in full, amaze us by the perfect balance of their general composition) we rarely think that they were created as bricolage. Immediately after Nikola's return from Italy he, and his father Božidar Vlatković received several very large orders. In 1495 they were given a contract for the retable of the main altar of the Franciscan church in Cavtat. The church authorities required that the central composition and figures on the left side should be composed according to the pattern of a polyptych executed almost half a century earlier by Matko Junčić in the church of the Minorite Friars in Dubrovnik, while figures on the right side were to be done according to the pattern of another altar in the same church. The saints in the upper part of the polyptych, shown down to the waist, were to be done after Junčić also, and only the central Pieta according to an earlier painting by Božidarević. The same is true of their style. Experts have very easily "reduced" Božidarević's work into the style and themes found in the Crivelli brothers and Vittore Carpaccio. But Božidarević obviously also knew the fresco paintings of Perugino and Pinturichio in the Vatican palace (Appartamento Borgia)and elsewhere in Rome where his brush may, according to Vladimir Marković, have indeed been involved. The form of a polyptych (like the form of a sonnet) helps in the construction of a figural composition, in a rationally and symmetrically balanced composition. It equalizes lighting, concentrates sight and attention: even when its constructional elements are removed, which make the composition of a polyptych, it continues to make an invisible effect for a long time. By 1500 the form of the polyptych which the "Dubrovnik School of Painting" retained until the end had become a Procrustean bed. It did not allow figures to be shown in a natural context, to be enlivened by being shown with real appurtenances, nor for any relaxation of stiff postures, or any easier breathing. Thus in Božidarević's paintings the representation of real life and the movement of the real world is only found in miniatures, on the borders of polypthychs, in "footnotes" on individual articles or when we study details "microscopically". In fact it is drapery which is the most convincing and arresting and almost tactile element of Božidarević's painting. Just as we perceive the bustle of the harbour on the model of Dubrovnik held by St Blasius so too he was fully aware of the richness of the materials which were produced at this time in Dubrovnik. Cloth was as important as salt for the trade of Dubrovnik and was a very tangible asset in the consciousness of the city. It may be paradoxical but it is accurate to say that Božidarević did not paint portraits (using patterns of characters) but portrayed materials in which his saints were clothed. It is of significance in this context that the most outstanding assistant in his workshop for which in 1507 he rented a whole floor in one of the mansions on Placa, suitable because of its good light - was Marin Kriješić who is recorded in one of the archives as "pictor sive coltrarius", painter of pictures, curtains, covers and cloth. When we consider Božidarević's landscapes we also notice a paradox. The endless journeys of the Dubrovnikians, constantly involving the sea, did not give rise to the desire to extend the picture to include real landscape even in those ordered by ship's captains, merchants, or globe-trotters. But it would have been unrealistic to expect Nikola Božidarević to show the Annunciation in Kolendić's Lopud landscape. Instead he presents the stereotyped picture of the humanists' idea of Arcadia but omitting Bellini's ploughmen and donkeys. This is no bucolic Virgilian landscape as created in the circle surrounding Giorgione - no mundane Utopia in which we might like to live. Behind Gabriel the landscape is wild and rough, behind Our Lady it is cultivated, these are more symbolic, antithetical rather than any true mise-en scene. When we first come to Božidarević's paintings we may be surprised by the fact that in spite of the very real situation within which they developed, there is a lack of any penetrating observation of either inner or outer worlds. Where details appear they largely represent a sanctified aspect of reality: spiritualiasub metaphoris corporalium, as Thomas Aquinus would say. The political, diplomatic, commercial realism of the people of Dubrovnik was, surprisingly enough, very late reflected in an art which served symbolic ends. Considered from this angle the architectural presentation of the city has something in common with butterflies which have great black eyes on their wings in order to make an impression on their surroundings and themselves. Thus in Božidarević and his predecessors we shall find no dark allegory, as measured by today's art critics, but a clear and balanced representation of the Bible message. These polyptychs provide a view of many kinds of fear (of heaven, of the sea, of plague, of Turks of all kinds, of oneself), and also of much hope. The four paintings by Božidarević which have come down to us are typologically different. This only shows us how impoverished we are not to have his entire opus. All four of Božidarević' surviving paintings were private votive offerings. Their subject must therefore be read according to the wishes of the person who ordered them. It is often considered, taking into account their formal superioriy that the Sacra conversazione of the Đođic painting and the Annunciation done for Captain Marko Kolendić are the "measure" of Božidarević's painting. If the former is his first example of a particularly popular Renaissance composition in Croatian art history, the second is his first independent central altar painting. Private orders in Dubrovnik of the time continued to demand the traditional religious, especially votive themes. But in the wider sphere new, more secular, opportunities presented themselves. A study by Vladimir Marković shows this programme to have arisen out of a combination between political intentions and the moral principles of the patrician oligarchy which coincided and were identified with the Renaissance view of Christian and especially with the classical Roman exempla. Božidarević was the contemporary of poets Džore Držić and ŠiškoMenčetić, of Mavro Vetranović. Marin Držić, the most successful writer of Dubrovnik's "Golden Age" was born when Nikola was in prison for the ribald songs. But we cannot but feel that the painter's temper remains hidden behind the porcelain surface and perfect outer symmetry of his compositions. The Dubrovnik context did not provide opportunities for the expression of strong passions. The demands for caution and order were unremitting. There might be considerable personal pride but there must never be bragging. It was not a setting for great philosophy or poetry, nor for tragedy, but for the natural sciences, economics and- along with them- comedies. Unfortunately Dubrovnik painting was fated to disappear almost unnoticed, with no fanfares or real apogee, to be drowned in the import of baroque art from the other side of the Adriatic. When we talk about Dubrovnik, the Renaissance is our first association, but the Renaissance in Croatian painting never managed fully to develop. Indeed Gothic was never fully relinquished but, rather, gradually disintegrated. Its place was taken by the counter Reformation, together with a whole packet of ready-made solutions, before the Renaissance had managed to achieve full definition. We cannot experience Nikola's paintings as Renaissance building blocks cut out from the reality of their own day. We may rather consider them as tables bearing rich fabric. His saints, enveloped in brocade, standing before an azure sky, are sunk in timeless melancholy. They are depicted in an indeterminate context as they appeared to the eye of the painter - without any later addition of colour. They did not attain the position of an academic standard for the Dubrovnik painting of the period that followed. Božidarević went ad patraim paradisi the same time as Mihajlo Hamzić, son of the German immigrant Hans, a "bombardiere" from Cologne, and Vicko Lovrin, son of Dobričević. The sudden and complete change of generations coincided with a fundamental change in the taste of the rich commercial class when it began to turn to the artists of the Bellini and Titian circle. The colours of Božidarević's painting are the most harmonious chords of Dubrovnik's "Golden Age". Of the one hundred and fifty polyptychs registered at the time of Sormano's apostolic visitation in 1573 less than one tenth remain. The Dubrovnik archives record seventeen works by Božidarević but only four have come down to us. In old cities such as Dubrovnik - colour, like everything else except stone, is recessive. What we have today is an idealized impression of what was once reality.