Arpadian Royal Cult in the Zagreb Cathedral: From Gothic to Baroque

The paper focuses on the problem of continuity and development of iconographical solutions related to some prominent elements of historical furnishing in the Zagreb cathedral (tabernacle, St Ladislas’ altar in the north apse), observing their changes over a longer time span: from the late 15th to the early 18th century. A monumental gothic tabernacle (Sakramentshaus) that originally stood in the north of the sanctuary was probably erected during the embellishment of the cathedral presbytery, carried out by Bishop Osvald Thuz (1466–1499). According to later historical descriptions, its high stone structure comprised statues of the holy Hungarian kings Stephen and Ladislas, Prince St Emeric and St Martin of Tours, and was topped by angels and a pelican (symbol of the Eucharist). The tabernacle was removed during the redecoration of the sanctuary around 1800, but it could arguably be connected to a sandstone fragment preserved at the Croatian History Museum, which depicts a crowned head of an old man (identified as St Stephen). When, in 1701, the new marble tabernacle was placed upon the high altar, it once more featured the Arpadian saints. Unfortunately, it was also destroyed and dispersed during the 19th century, but the already known sculptures of St Stephen and St Ladislas have now been related to a small marble statue of St Emeric from the Arts and Crafts Museum in Zagreb. An interesting example of specific iconographical development can, furthermore, be observed in two painted cycles with St Ladislas’ legend, which once adorned the saint’ s altars from the 15th and 17th centuries. Departing from the ingrained medieval hagiographical sources, the later cycle arguably reflects the 17th-century development in Croatian political and historiographic ideas by introducing some new iconographical motives as well as re-using some of the old ones

From Juraj Ratkaj to Gustáv Kazimír Zechenter: A Hall of Fame from the Gubernatorial Palace in Varaždin

In the depot of the Zagreb Museum of Arts and Crafts there lie deposited eight paintings representing historical Croatian rulers, saints and the blessed ones, designated in Latin inscriptions as Ostroilo—the King of Croatian Dalmatia and Bosnia; Selimir—the King of Croatia and Dalmatia; Polislav—the King of Dalmatia, Croatia, and Slavonia; Godeskalk—the King of Slavonia and a Martyr; Jelena the Beautiful—the Queen of Dalmatia, Croatia, and Slavonia; St. Quirinus—the Bishop of Siscia; St. John—the Son of Croatian King Gostumil and Blessed Augustin Kažotić—the Bishop of Zagreb. The allegedly first mention of these paintings might be found in the travelling notes, Zlomki z d\u27enňíka cestovat\u27ela po Horvátskej, by the Slovak writer Gustáv Kazimír Zechenter Laskomerský published in 1846. Zechenter saw paintings in their original site, in the hall of the Gubernatorial palace in Varaždin, a city deeply immersed in the fervor of the Croatian national revival. Their unknown author—most likely due to the requests of the commissioners—used in his choice of characters and iconographic solutions a well-established but in the nineteenth-century already a somewhat outdated literary and pictorial source. The choice of protagonists of the Varaždin cycle is strongly marked by Juraj Ratkaj\u27s historiographic work (Memorial of the Kings and Viceroys of the Kingdom of Dalmatia, Croatia and Slavonia) published in Vienna in 1652, and his formal solutions build upon those applied by Juraj Šubarić, a Viennese illustrator of Croatian descent, on the title illustration of the same book

Arhitektura za rat i mir

Recenzija, prikaz izložbe "Arte et marte: Knjige o arhitekturi u Zriniani", Nacionalna i sveučilišna knjižnica, Zagreb, 2012

From Juraj Ratkaj to Gustáv Kazimír Zechenter: A Hall of Fame from the Gubernatorial Palace in Varaždin

In the depot of the Zagreb Museum of Arts and Crafts there lie deposited eight paintings representing historical Croatian rulers, saints and the blessed ones, designated in Latin inscriptions as Ostroilo—the King of Croatian Dalmatia and Bosnia; Selimir—the King of Croatia and Dalmatia; Polislav—the King of Dalmatia, Croatia, and Slavonia; Godeskalk—the King of Slavonia and a Martyr; Jelena the Beautiful—the Queen of Dalmatia, Croatia, and Slavonia; St. Quirinus—the Bishop of Siscia; St. John—the Son of Croatian King Gostumil and Blessed Augustin Kažotić—the Bishop of Zagreb. The allegedly first mention of these paintings might be found in the travelling notes, Zlomki z d\u27enňíka cestovat\u27ela po Horvátskej, by the Slovak writer Gustáv Kazimír Zechenter Laskomerský published in 1846. Zechenter saw paintings in their original site, in the hall of the Gubernatorial palace in Varaždin, a city deeply immersed in the fervor of the Croatian national revival. Their unknown author—most likely due to the requests of the commissioners—used in his choice of characters and iconographic solutions a well-established but in the nineteenth-century already a somewhat outdated literary and pictorial source. The choice of protagonists of the Varaždin cycle is strongly marked by Juraj Ratkaj\u27s historiographic work (Memorial of the Kings and Viceroys of the Kingdom of Dalmatia, Croatia and Slavonia) published in Vienna in 1652, and his formal solutions build upon those applied by Juraj Šubarić, a Viennese illustrator of Croatian descent, on the title illustration of the same book

PEDESETI BROJ ČASOPISA PERISTIL

Prikaz jubilarnog, pedesetog broja časopisa Peristil s osvrtom na promjene i konstante uredničkog koncepta u 54 godine izlaženja, sa sažetim pregledima radova objavljenih u ovome broju. Velik broj radova obrađuje teme iz domaće povijesti umjetnosti u širokom vremenskom rasponu od ranog srednjeg vijeka do 20. stoljeća. Časopis se kroz pola stoljeća izlaženja profilirao u važan čimbenik razvitka i formiranja stručne i znanstvene misli u hrvatskoj povijesti umjetnosti

Bolognese fame of Arpadian King: Krčelić, Zaniboni, Manelli and the Compendio in rime della vita, e di alcuni miracoli di S. Ladislao re d' Ungheria

In 1738 the Illyrian-hungarian College of Bologna published a booklet with Italian verses cintaining episodes of life of the holy Hungarian king Ladislas. It was, in a way, a product of cultural collaboration presented by a College alumnus Baltazar Adam Krčelić - the future Zagreb canon and famous historian - and Bolognese poet Antonio Zaniboni, founder of the Accademia de' Nascosti. The edition was adorned with an engraving by Bolognese artist Sante Manelli, representing the holy ruler on horseback, lacerating a rock with his lance and miraculously unsealing a hidden spring. The iconographical solution, as well as the composition of Manelli's engraving, shows interesting connections with several Central European examples, confirming College's role in bidirectional cultural mediation.Nel 1738 il Collegio illirico-ungarico di Bologna pubblicò un opuscolo in versi in lingua italiana contenente episodi di vita di San Ladislao, re d'Ungheria. In un certo senso si trattava di un prodotto di collaborazione culturale presentato da Baltazar Adam Krčelić, allievo del collegio, futuro canonico di Zagabria e famoso storico, e dal poeta bolognese Antonio Zaniboni, fondatore dell'Accademia de' Nascosti. L'edizione era adornata con un'incisione dell'artista bolognese Sante Manelli, che rappresentava il santo sovrano a cavallo, in atto di percuotere una roccia con la sua lancia, facendo miracolosamente sgorgare una sorgente nascosta. La soluzione iconografica, così come la composizione dell'incisione di Manelli, mostrano interessanti collegamenti con numerosi esempi dell'Europa centrale, confermando il ruolo di mediatore culturale rivestito dal Collegio bolognese