Solin na akvarelima Edmunda Misere

U radu se objavljuju četiri akvarela Edmunda Misere, slikara amatera, a odnose se na Solin. Tri su nastala godine 1880., a jedan 1896. Akvareli su zanimljivi kao svjedočanstvo o nekadašnjoj slikovitosti krajolika i nekim detaljima iz solinske prošlosti kao što su stari željeznički most preko Jadra, vađenje tupine u Vranjicu i naziv Bistrica za rijeku Jadro. Osim toga daju poticaj i za razmišljanja vezana uz crkvicu sv. Mojsija iznad izvora Jadra

Bibliography for 2008

Knjige, članci i recenzije o arheologiji, povijesti i povijesti umjetnosti Dalmacije do 12. stoljeća za godinu 2008.Books, articles and reviews on the archaeology, history and art history of Dalmatia up to the twelfth century for 200

The Founding of the Library of the Archaeological Museum in Split

Do sada se nije točno znalo kada je osnovana knjižnica Arheološkog muzeja u Splitu. U radu se, na temelju arhivskih podataka, utvrđuje da su prve knjige kupljene potkraj 1845. pa je to godina osnivanja knjižnice. Zasluga za to pripada tadašnjem ravnatelju Francescu Carrari koji je do kraja svog mandata 1853. za Muzej nabavio 47 tiskanih djela i dva časopisa u ukupno 102 sveska. Osim toga, Carrara je kupio ormare za knjige, a neka djela dao je i uvezati. U radu se daje osvrt i na Carrarinu osobnu knjižnicu, a na kraju se donosi popis svih knjiga nabavljenih za Muzej između 1845. i 1853. godine.In the specialised literature, in surveys and statistical reports, the year of the founding of the library of the Archaeological Museum in Split is usually given as 1820 or 1821, while 1827 is mentioned once. However, analysing of museum and other documents shows that the museum was not founded until 1845. When the Museum was founded in 1820, its purpose was to excavate and look after ancient monuments from Salona, not to study or publish them. Accordingly, no funds were provided for the purchase of books, but only for the excavations and related costs. In October 1842, the management of the Museum was taken over by Francesco Carrara, who, full of élan and ardour, wanted to revive this moribund institution. The next year he wrote to the Court chancellery and said that the Museum had not a single book, and, aware of the importance of professional literature for the processing of monuments and the publication of accounts of them, on June 14, 1845, Carrara sought permission to buy the most essential furnishing, including two glazed cupboards and twenty or so books and the purchase of archaeological objects. At the end of 1845, Carrara bought in Vienna the first books, and so this was the year of the foundation of the Museum’s library. If we sum up the facts adduced, then we can conclude that from 1845 to 1853, the Museum procured 47 printed works and two journals, totalling 102 volumes, seven of them being accounted for by periodicals. Reading the titles of the books obtained then, we will note that thirteen referred to numismatics, four to epigraphy, and the rest to archaeology, history and art history, two to travelogues and there was one dictionary. This reflects both Carrara’s interests and his considered views about the books that were necessary for museological and scholarly work. As for the manner in which buying took place, most of them were bought from the Viennese booksellers Franz Gräffer, Ignaz Klang and Carlo Geroldo; also providing books were H. F. Favargero from Trieste, the Split booksellers Giovanni Lucatello and Bernardo Piperata, the preparator of animals and antiquarian Luigi Bonfico of Split and a certain Montfaucon. At the beginning the books were housed in two wooden glazed cabinets, together with small archaeological objects, in a small room to the right of the entrance into the high school, which was alongside the eastern wall of Diocletian’s Palace, on the outer side of which was the building of the Museum with some stone monuments. As the number of books rose, and of small objects too, in 1850 Carrara bought some shelving. He was concerned not only with the purchase of books, but also with their protection and housing, and had some of them bound into hard covers (Lavallée–Cassas, Winckelmann). By the end of his management of the Museum, Carrara had increased the number of books and formed a sound foundation on which future directors, Francesco Lanza, Mihovil Glavinić and, in particular, Frane Bulić were to continue to develop the Museum’s library and put it on a proper footing not only in archaeology but also in history and art history. Apart from that, the Archaeological Museum is the third oldest institution in Split to have a continuous history of activity in Split, after the Archiepiscopal Seminary, founded 1700, and the Classics High School, founded 1816, and the beginnings of its library accordingly require an article to themselves, the more so that many Croatian and foreign scholars have worked in it

The Church of St. John the Evangelist on Marjan Hill, Split

Na temelju terenskih notesa Luke Jelića utvrđeni su točniji podaci o nalazima kamenog namještaja koji se vezuju uz crkvu sv. Mihovila na Bambinoj glavici, na južnoj strani Marjana. Također su obrađeni podaci koji se odnose na ubikaciju crkve sv. Ivana Evanđelista istočno od Bambine glavice, koja je podignuta u starokršćansko doba, a zatim obnovljena u ranom srednjem vijeku, kada je dobila nove nadvratnike, od kojih jedan s natpisom.Based on the field notebook of Luka Jelić, more accurate data have been ascertained concerning the stone furnishing finds associated with the Church of St. Michael at Bambina glavica, on the southern side of Marjan Hill. Also analyzed were data pertaining to the precise location of the Church of St. John the Evangelist east of Bambina glavica, which was built in the Early Christian era, and then renovated in the Early Middle Ages, when it acquired new architraves, of which one bears an inscription

Cartographic Rules and Differences in Nautical Data Visualization on Paper and Electronic Nautical Charts

Ovim se člankom nastoje prikazati kartografska pravila za izradu papirnate i elektroničke pomorske karte i najva.nije razlike u sastavljanju, vizualizaciji i prikazivanju nautičkih podataka. Glavna je razlika između papirnate pomorske karte i elektroničke pomorske karte u vizualizaciji nautičkih podataka: miješanje boja, razlučivost prikazanih nautičkih objekata, korisnička kontrola prikaza na zaslonu, fontovi i signature te sadržaj karte.This paper aims to present cartographic rules for the production of paper and electronic navigational charts and main differences in compilation, visualisation and representation of nautical information. Major differences between paper nautical charts and ENC are visualisation of nautical data: colour mixing, resolution of represented nautical objects, human control of display representation and fonts and signatures and chart content are described. It is concluded that electronic navigational charts have many advantages and few shortcomings to paper navigational charts

Kartografska pravila i razlike u vizualizaciji nautičkih podataka na papirnatoj i elektroničkoj navigacijskoj karti

This paper aims to present cartographic rules for the production of paper and electronic navigational charts and main differences in compilation, visualisation and representation of nautical information. Major differences between paper nautical charts and ENC are visualisation of nautical data: colour mixing, resolution of represented nautical objects, human control of display representation and fonts and signatures and chart content are described. It is concluded that electronic navigational charts have many advantages and few shortcomings to paper navigational charts.Ovim se člankom nastoje prikazati kartografska pravila za izradu papirnate i elektroničke pomorske karte i najva.nije razlike u sastavljanju, vizualizaciji i prikazivanju nautičkih podataka. Glavna je razlika između papirnate pomorske karte i elektroničke pomorske karte u vizualizaciji nautičkih podataka: miješanje boja, razlučivost prikazanih nautičkih objekata, korisnička kontrola prikaza na zaslonu, fontovi i signature te sadržaj karte.

B, Bs -> K form factors: an update of light-cone sum rule results

We present an improved QCD light-cone sum rule (LCSR) calculation of the B -> K and Bs -> K form factors, by including SU(3)-symmetry breaking corrections. We use recently updated K-meson distribution amplitudes which incorporate the complete SU(3)-breaking structure. By applying the method of the direct integration in the complex plane, which is presented in a detail, the analytical extraction of the imaginary parts of LCSR hard-scattering amplitudes becomes unnecessary and therefore the complexity of the calculation is greatly reduced. The values obtained for the relevant B_{(s)} -> K form factors are as follows: f^+_{BK}(0)= 0.36^{+0.05}_{-0.04}, f^+_{B_sK}(0)= 0.30^{+0.04}_{-0.03} and f^T_{BK}(0)= 0.38\pm 0.05, f^T_{B_sK}(0)= 0.30\pm 0.05. By comparing with the B -> pi form factors extracted recently by the same method, we find the following SU(3) violation among the B -> light form factors: f^+_{BK}(0)/f^+_{B\pi}(0) = 1.38^{+0.11}_{-0.10}, f^+_{B_sK}(0)/f^+_{B\pi}(0) = 1.15^{+0.17}_{-0.09}, f^T_{BK}(0)/f^T_{B\pi}(0) = 1.49^{+0.18}_{-0.06} and f^T_{B_sK}(0)/f^T_{B\pi}(0) = 1.17^{+0.15}_{-0.11}.Comment: 14 pages, 9 figures, some figures and discussions added; version to appear in PR

Opća metoda svođenja za NLO račune u pQCD-u

We discuss a generally applicable and systematic method to represent an arbitrary tensor one-loop Feynman integral, with N external lines and massless propagators, in terms of a basic set of eight scalar Feynman integrals with 2, 3 and 4 external lines. To demonstrate the practicality of the method, we calculate one of the one-loop Feynman diagrams with 6 external lines, which contribute to the hardscattering amplitude of the process γ γ → π + π − at high momentum transfer in the context of pQCD.Raspravljamo sistematičnu metodu koja se može općenito primijeniti za svođenje proizvoljnih tenzorskih Feynmanovih integrala s jednom petljom, na osnovni skup od osam skalarnih Feynmanovih integrala s 2, 3 i 4 vanjske linije. Da bismo objasnili pogodnost ove metode, računamo jedan od Feynmanovih dijagrama s jednom petljom i 6 vanjskih linija koji doprinose amplitudi tvrdog raspršenja procesa γ γ → π + π − za velike prijenose impulsa i u okviru pQCD-a