The Capital from Zagreb Cathedral , ca. 1200 – A Unique Witness of a Cultural Change

Ovaj rad bavi se kapitelom s ptičjim glavama iz Hrvatskog povijesnog muzeja koji se na temelju gotovo identičnog kapitela iz kraljevskog dvora u Esztergomu može datirati oko 1200. Kapitel je jedinstveni svjedok velike kulturne promjene koja se desila u južnoj Panoniji tijekom prve polovice 13. st., posebice \u27\u27minirenesanse\u27\u27 Hercega Kolomana i Biskupa Sjepana II. Romanička je skulptura kontinentalne Hrvatske u 12. stoljeću niz nepovezanih radova, odraz tvrde i divlje šumske i močvarne zemlje, u koju oko 1200. visoka kultura ugarske kraljevske domene ulazi na velika vrata, kako to pokazuju i spomenici Gore, Topuskog, Zagreba, Medvedgrada i Čazme. Imajući na umu nizak stupanj očuvanosti materijala, ovaj kapitel ima izvanrednu važnost svjedoka ključne promjene kulturnog pejsaža kontinentalne Hrvatske početkom 13. stoljeća.One of the most intriguing pieces in the Museum of Croatian History in Zagreb is a capital with animal heads dated to ca. 1200, most likely from the Romanesque Cathedral of Zagreb. The capital is constructed in three layers. At the lowermost one, the core of the capital transforms itself from a circle into a square. The corners bear animal heads (most likely birds, possibly eagles) sitting on the tips of the leaves decorating the lowermost zone and curving away from the body of the capital. This clash of light and dark, open and closed, fluid and static is what makes the capital a very satisfying work of art. The most important project in the medieval Continental Croatia was certainly Zagreb Cathedral. Most important, but also until the second half of the 13th ct., the most mysterious one. The Romanesque cathedral was dedicated in 1217, and seriously damaged, in 1242 during the Tartar invasion. Count Kulmer, the owner of Medvedgrad and Šestine, donated the capital to the National Museum so it was assumed that the capital came from the Medvedgrad fortress. The Hungarian scholar, Tibor Rostas was the first to state that the capital may have belonged to the Cathedral. An identical capital is built into one of the walls of a chamber in the royal castle at Esztergom. One must underline that both \u27\u27twins\u27\u27 are very high quality pieces, harmonious products of a royal workshop. There are analogies also with a number of vegetal capitals from Esztergom sharing detail with the twins, and obviously products of the same workshop, as well as similarities with some other sites, e.g., the vegetal capitals from Pilisszentkereszt. A capital from Óbuda should be added to the group. Given the dating of the Hungarian examples all those works, the capital from Zagreb included, could be dated around 1200 as fine works of the Late Romanesque/Early Gothic art practiced in the Royal Domain, and by the workshops connected to it throughout the Kingdom. In all those terms the capital assumes an importance out of proportion with its role as a fragment of architectural sculpture. It is a beacon of a cultural change which was instituted by building of the Esztergom Cathedral by King Bela III and Archbishop Hiob, where the new \u27\u27transitional style\u27\u27 was introduced in the second half of the 12th ct. The great building site of Esztergom Cathedral (1190 and later) became the polygon for creating and spreading the art of the Court workshops throughout the Kingdom, an art not any more Romanesque, not yet Gothic, yet fresh and fascinating in its adherence to the genius loci. After the conflict between King Emerik and his brother Andrija, this cultural upsurge resumes under the patronage of the latter as he became Andrija II, and his sons Bela IV and Bela’s brother, Herceg Koloman. Together with the bishop of Zagreb, Stjepan II, Herceg Koloman is to be credited with a true \u27\u27mini-Renaissance\u27\u27 in Southern Pannonia, the key monuments of which are Zagreb, Medvedgrad and Čazma. The capital in question is one, if not the one, among the beacons of this immense cultural change in Southern Pannonia, its southwestern section, the Pannonia Savia, in particular – a decisive step in defining the land’s new cultural landscape. Thus even an isolated monument may shed an important light on the history and activity of royal workshops in Pannonia Savia, which, in terms of the entire cultural picture means a closer adherence to what was happening in the culture of the central lands of the kingdom. Figural stone sculpture requires good stone, capable masters and a lot of time. Briefly, it is very expensive. The stone in Continental Croatia is mostly mealy sandstone, very bad for carving. This is one of the reasons why the examples of Romanesque figure sculpture appear as membra disiecta, difficult to classify and date. Autarchy and poor communications mean also depending on local traditions – pre-Historic, Roman, Roman provincial, migration period. In vain would we look for anything like \u27\u27Romanesque Humanism\u27\u27, i.e., figuration that may be stylized and subject to the rules of ornament and architectural frame, but still recognizable as human and narrative, or even reflecting the humanist approach of classical sculpture. Such needs milieus open to new ideas and foreign masters. And this, Continental Croatia before ca. 1200, is not. The only exceptions are the \u27\u27classicist\u27\u27 Stone from Belec, and the two heads from Gora. The sculpture of Rudina, as expressive and as attractive as it may be to some that like the frank primitivism of rural milieus, verges on nightmarish grotesque although some of its pieces (e.g., the \u27\u27Little Girl\u27\u27) breath a deeply felt naive humanity. This deep involvement with the wilderness remains even when sculptors work for a respectable foreign patron, such as the Canons of the Holy Sepulcher in Glogovnica. The 12th ct. Romanesque figuration in Continental Croatia is an art of a wild, hard land, ruled by autarchy and lack of communications, being slowly led toward civilization. Hardly anywhere else is the Romanesque so typically local and steeped in local tradition of small units of human life lost in endless eternal forests. In all that, figuration very appropriately underlines the hard nature of the land and people that created it. As the roads cut through the woods and the hills, as the settlements grow bigger and easier to reach, as connections improved, as some of the inhabitants got \u27\u27out of the woods,\u27\u27 and closer to the \u27\u27big white world\u27\u27, the sculpture, so also the figure one, opens up. This is witnessed by the achievements of the Savian \u27\u27mini-Renaissance\u27\u27 of the first half of the 13th ct. and its more \u27\u27humanized\u27\u27 monuments of Zagreb, Medvedgrad, and Čazma. As the strange creatures of the capital from Zagreb, modeled on a capital from Esztergom, testify, the artist has not given up Romanesque type of stylization, but it has been regularized, methodized, divested of its earlier randomness. Romanesque figural sculpture of Continental Croatia before the Tartar could be on one hand seen as a bunch of scattered fragments with only one larger whole – Rudina — about which it is very hard to speak in terms of quality, sources and influences. Yet, in general, it seems that figuration in the Romanesque sculpture of Continental Croatia goes hand in hand with the cultural landscape of the 12th and the 13th centuries. Do artistic styles and practices change gradually or suddenly? Evolution or revolution? Probably both, plus innumerable possibilities in between. The art history has never been fully capable of explaining such phenomena as Giotto, Masaccio, Caravaggio, or similar changes ex nihilo perpetrated by a flash of genius of a great individual. Our capital from Zagreb is certainly not a revolutionary piece in terms of art history of South Central Europe; it is a good quality piece of almost mass production. But its sudden appearance, given that it represents a family of like objects that have disappeared, is an incredibly graphic indication of the change under way around 1200

The Capital from Zagreb Cathedral , ca. 1200 – A Unique Witness of a Cultural Change

Ovaj rad bavi se kapitelom s ptičjim glavama iz Hrvatskog povijesnog muzeja koji se na temelju gotovo identičnog kapitela iz kraljevskog dvora u Esztergomu može datirati oko 1200. Kapitel je jedinstveni svjedok velike kulturne promjene koja se desila u južnoj Panoniji tijekom prve polovice 13. st., posebice \u27\u27minirenesanse\u27\u27 Hercega Kolomana i Biskupa Sjepana II. Romanička je skulptura kontinentalne Hrvatske u 12. stoljeću niz nepovezanih radova, odraz tvrde i divlje šumske i močvarne zemlje, u koju oko 1200. visoka kultura ugarske kraljevske domene ulazi na velika vrata, kako to pokazuju i spomenici Gore, Topuskog, Zagreba, Medvedgrada i Čazme. Imajući na umu nizak stupanj očuvanosti materijala, ovaj kapitel ima izvanrednu važnost svjedoka ključne promjene kulturnog pejsaža kontinentalne Hrvatske početkom 13. stoljeća.One of the most intriguing pieces in the Museum of Croatian History in Zagreb is a capital with animal heads dated to ca. 1200, most likely from the Romanesque Cathedral of Zagreb. The capital is constructed in three layers. At the lowermost one, the core of the capital transforms itself from a circle into a square. The corners bear animal heads (most likely birds, possibly eagles) sitting on the tips of the leaves decorating the lowermost zone and curving away from the body of the capital. This clash of light and dark, open and closed, fluid and static is what makes the capital a very satisfying work of art. The most important project in the medieval Continental Croatia was certainly Zagreb Cathedral. Most important, but also until the second half of the 13th ct., the most mysterious one. The Romanesque cathedral was dedicated in 1217, and seriously damaged, in 1242 during the Tartar invasion. Count Kulmer, the owner of Medvedgrad and Šestine, donated the capital to the National Museum so it was assumed that the capital came from the Medvedgrad fortress. The Hungarian scholar, Tibor Rostas was the first to state that the capital may have belonged to the Cathedral. An identical capital is built into one of the walls of a chamber in the royal castle at Esztergom. One must underline that both \u27\u27twins\u27\u27 are very high quality pieces, harmonious products of a royal workshop. There are analogies also with a number of vegetal capitals from Esztergom sharing detail with the twins, and obviously products of the same workshop, as well as similarities with some other sites, e.g., the vegetal capitals from Pilisszentkereszt. A capital from Óbuda should be added to the group. Given the dating of the Hungarian examples all those works, the capital from Zagreb included, could be dated around 1200 as fine works of the Late Romanesque/Early Gothic art practiced in the Royal Domain, and by the workshops connected to it throughout the Kingdom. In all those terms the capital assumes an importance out of proportion with its role as a fragment of architectural sculpture. It is a beacon of a cultural change which was instituted by building of the Esztergom Cathedral by King Bela III and Archbishop Hiob, where the new \u27\u27transitional style\u27\u27 was introduced in the second half of the 12th ct. The great building site of Esztergom Cathedral (1190 and later) became the polygon for creating and spreading the art of the Court workshops throughout the Kingdom, an art not any more Romanesque, not yet Gothic, yet fresh and fascinating in its adherence to the genius loci. After the conflict between King Emerik and his brother Andrija, this cultural upsurge resumes under the patronage of the latter as he became Andrija II, and his sons Bela IV and Bela’s brother, Herceg Koloman. Together with the bishop of Zagreb, Stjepan II, Herceg Koloman is to be credited with a true \u27\u27mini-Renaissance\u27\u27 in Southern Pannonia, the key monuments of which are Zagreb, Medvedgrad and Čazma. The capital in question is one, if not the one, among the beacons of this immense cultural change in Southern Pannonia, its southwestern section, the Pannonia Savia, in particular – a decisive step in defining the land’s new cultural landscape. Thus even an isolated monument may shed an important light on the history and activity of royal workshops in Pannonia Savia, which, in terms of the entire cultural picture means a closer adherence to what was happening in the culture of the central lands of the kingdom. Figural stone sculpture requires good stone, capable masters and a lot of time. Briefly, it is very expensive. The stone in Continental Croatia is mostly mealy sandstone, very bad for carving. This is one of the reasons why the examples of Romanesque figure sculpture appear as membra disiecta, difficult to classify and date. Autarchy and poor communications mean also depending on local traditions – pre-Historic, Roman, Roman provincial, migration period. In vain would we look for anything like \u27\u27Romanesque Humanism\u27\u27, i.e., figuration that may be stylized and subject to the rules of ornament and architectural frame, but still recognizable as human and narrative, or even reflecting the humanist approach of classical sculpture. Such needs milieus open to new ideas and foreign masters. And this, Continental Croatia before ca. 1200, is not. The only exceptions are the \u27\u27classicist\u27\u27 Stone from Belec, and the two heads from Gora. The sculpture of Rudina, as expressive and as attractive as it may be to some that like the frank primitivism of rural milieus, verges on nightmarish grotesque although some of its pieces (e.g., the \u27\u27Little Girl\u27\u27) breath a deeply felt naive humanity. This deep involvement with the wilderness remains even when sculptors work for a respectable foreign patron, such as the Canons of the Holy Sepulcher in Glogovnica. The 12th ct. Romanesque figuration in Continental Croatia is an art of a wild, hard land, ruled by autarchy and lack of communications, being slowly led toward civilization. Hardly anywhere else is the Romanesque so typically local and steeped in local tradition of small units of human life lost in endless eternal forests. In all that, figuration very appropriately underlines the hard nature of the land and people that created it. As the roads cut through the woods and the hills, as the settlements grow bigger and easier to reach, as connections improved, as some of the inhabitants got \u27\u27out of the woods,\u27\u27 and closer to the \u27\u27big white world\u27\u27, the sculpture, so also the figure one, opens up. This is witnessed by the achievements of the Savian \u27\u27mini-Renaissance\u27\u27 of the first half of the 13th ct. and its more \u27\u27humanized\u27\u27 monuments of Zagreb, Medvedgrad, and Čazma. As the strange creatures of the capital from Zagreb, modeled on a capital from Esztergom, testify, the artist has not given up Romanesque type of stylization, but it has been regularized, methodized, divested of its earlier randomness. Romanesque figural sculpture of Continental Croatia before the Tartar could be on one hand seen as a bunch of scattered fragments with only one larger whole – Rudina — about which it is very hard to speak in terms of quality, sources and influences. Yet, in general, it seems that figuration in the Romanesque sculpture of Continental Croatia goes hand in hand with the cultural landscape of the 12th and the 13th centuries. Do artistic styles and practices change gradually or suddenly? Evolution or revolution? Probably both, plus innumerable possibilities in between. The art history has never been fully capable of explaining such phenomena as Giotto, Masaccio, Caravaggio, or similar changes ex nihilo perpetrated by a flash of genius of a great individual. Our capital from Zagreb is certainly not a revolutionary piece in terms of art history of South Central Europe; it is a good quality piece of almost mass production. But its sudden appearance, given that it represents a family of like objects that have disappeared, is an incredibly graphic indication of the change under way around 1200

POVEZANOST IZMEĐU STAVOVA I NAVIKA U ISHRANI I SERUMSKOG FOSFORA U BOLESNIKA NA HEMODIJALIZI

Nutritional problems in hemodialysis (HD) patients are frequently associated with poor control of serum phosphorus what may lead to chronic kidney disease-metabolic bone disease. Hyperphosphatemia is an important risk factor for extraskeletal and vascular calcifications and is associated with cardiovascular morbidity and mortality. Increased ingestion of phosphorus is an important factor in development of hyperphosphatemia. We investigated nutritional habits and attitudes of HD patients and determined their correlation with serum phosphate levels in 57 patients treated in Clinical centre Montenegro. Twenty-two patients were male (38.6%), with average age 57 (range, 30-73 years). Statistically significant correlation was found between red meat or milk ingestion and serum phosphate, as well as between educational level and serum phosphate. In our population, socioeconomic level was directly correlated with serum phosphate. Conclusion: a serum phosphate level is determined by socioeconomic level, ingestion of red meat and milk, and depends on educational level in HD population of the capital of Montenegro.Poremećaj uhranjenosti bolesnika kojima se bubrežna funkcija nadomješta hemodijalizom (HD) često je povezan s lošom kontrolom serumskog fosfora, što može dovesti do poremećaja metabolizma kosti s posljedičnim razvojem sekundarnog hiperparatireoidizma i poremećajem mineralo-koštanog metabolizma. Hiperfosfatemija je značajan čimbenik rizika za razvoj kalcifikacija mekih tkiva, kao i za pobolijevanje i smrtnost od srčano-žilnih bolesti. Povećan unos hrane bogate fosforom značajan je čimbenik koji dovodi do hiperfosfatemije. Istraživanje ima za cilj ispitati prehrambene navike i stavove bolesnika liječenih HD i utvrditi njihovu povezanost s razinama serumskog fosfora. Istraživanje je provedeno u ožujku 2015. u Centru za hemodijalizu, Kliničkog centra Crne Gore. Istraživanje je provedeno na 57 bolesnika koji su na redovitom programu intermitentne hemodijalize. Muškaraca je bilo 22 (38,6 %). Prosječna dob bolesnika bila je 57 godina (raspon 30-73 godine). Pronađena je statistički značajna povezanost između vrste hrane, osobito crvenog mesa ili konzumiranja mlijeka i mliječnih proizvoda i serumske razine fosfora, kao i između razine obrazovanja ispitanika i razine serumskog fosfora. U našoj je populaciji serumska razina fosfora bila direktno povezana sa socioekonomskim statusom bolesnika. Zaključujemo da je: koncentracija fosfata u serumu određena socijalno–ekonomskom razinom društva, kao i običajem da se u prehrani koriste meso i mlijeko. Nadalje, u konkretnom slučaju vezana je uz prosvjećenost bolesnika koji se dijaliziraju u glavnom gradu Crne Gore

POVEZANOST IZMEĐU STAVOVA I NAVIKA U ISHRANI I SERUMSKOG FOSFORA U BOLESNIKA NA HEMODIJALIZI

Nutritional problems in hemodialysis (HD) patients are frequently associated with poor control of serum phosphorus what may lead to chronic kidney disease-metabolic bone disease. Hyperphosphatemia is an important risk factor for extraskeletal and vascular calcifications and is associated with cardiovascular morbidity and mortality. Increased ingestion of phosphorus is an important factor in development of hyperphosphatemia. We investigated nutritional habits and attitudes of HD patients and determined their correlation with serum phosphate levels in 57 patients treated in Clinical centre Montenegro. Twenty-two patients were male (38.6%), with average age 57 (range, 30-73 years). Statistically significant correlation was found between red meat or milk ingestion and serum phosphate, as well as between educational level and serum phosphate. In our population, socioeconomic level was directly correlated with serum phosphate. Conclusion: a serum phosphate level is determined by socioeconomic level, ingestion of red meat and milk, and depends on educational level in HD population of the capital of Montenegro.Poremećaj uhranjenosti bolesnika kojima se bubrežna funkcija nadomješta hemodijalizom (HD) često je povezan s lošom kontrolom serumskog fosfora, što može dovesti do poremećaja metabolizma kosti s posljedičnim razvojem sekundarnog hiperparatireoidizma i poremećajem mineralo-koštanog metabolizma. Hiperfosfatemija je značajan čimbenik rizika za razvoj kalcifikacija mekih tkiva, kao i za pobolijevanje i smrtnost od srčano-žilnih bolesti. Povećan unos hrane bogate fosforom značajan je čimbenik koji dovodi do hiperfosfatemije. Istraživanje ima za cilj ispitati prehrambene navike i stavove bolesnika liječenih HD i utvrditi njihovu povezanost s razinama serumskog fosfora. Istraživanje je provedeno u ožujku 2015. u Centru za hemodijalizu, Kliničkog centra Crne Gore. Istraživanje je provedeno na 57 bolesnika koji su na redovitom programu intermitentne hemodijalize. Muškaraca je bilo 22 (38,6 %). Prosječna dob bolesnika bila je 57 godina (raspon 30-73 godine). Pronađena je statistički značajna povezanost između vrste hrane, osobito crvenog mesa ili konzumiranja mlijeka i mliječnih proizvoda i serumske razine fosfora, kao i između razine obrazovanja ispitanika i razine serumskog fosfora. U našoj je populaciji serumska razina fosfora bila direktno povezana sa socioekonomskim statusom bolesnika. Zaključujemo da je: koncentracija fosfata u serumu određena socijalno–ekonomskom razinom društva, kao i običajem da se u prehrani koriste meso i mlijeko. Nadalje, u konkretnom slučaju vezana je uz prosvjećenost bolesnika koji se dijaliziraju u glavnom gradu Crne Gore

Using Knowledge of the Polyphenolic Profile of Croatian Wines for Marketing Purposes

Umjerena i redovita konzumacija vina povezana je s brojnim blagotvornim učincima vina na zdravlje čovjeka. Ti učinci su povezani s polifenolnim supstancijama iz vina koje imaju najsnažniji utjecaj na bolesti srca i krvnih žila. Polifenolne sastavnice vina su također zaslužne za antikancerogeno, neuroprotektivno i antidijabetičko djelovanje. Na temelju toga vino se, posebice crno, može smatrati funkcionalnom hranom koja ima i dokazano farmakološko djelovanje. Hrvatska obiluje vinorodnim područjima i kvalitetnim vinima, ali su te činjenice slabo iskorištene u marketinške svrhe. Crna vina iz Srednje i Južne Dalmacije imaju najveći sadržaj polifenola, što se pripisuje povoljnijim klimatskim uvjetima koji uvelike utječu na formiranje tih tvari u grožđu tijekom zriobe. Međutim, neka vina iz kontinentalne Hrvatske svojom kvalitetom ne zaostaju za dalmatinskim vinima. Naša se vina moraju istaknuti iz mase stranih, uvoznih vina koja su mahom jeftinija, ali ne nužno i slabije kvalitete od hrvatskih te privući kupca i u našoj zemlji, a posebice u inozemstvu. Navedene činjenice treba maksimalno iskoristiti u strategiji prodaje, distribucije, promocije i marketinga hrvatskih vina.Regular moderate wine consumption has been associated with numerous health benefits. These effects are associated with polyphenolic compounds found in wine that have the strongest influence on cardiovascular diseases. Polyphenols also exhibit anti-cancerogenic, neuroprotective, and anti-diabetic effects. Hence, wine, and especially red wine, may be considered as functional food with confirmed pharmacological effects. Croatia abounds with vineyards and high-quality wine, but these facts are insufficiently used in marketing. Red wine sorts from Central and South Dalmatia have the highest polyphenolic content that is attributed to favourable climatic conditions, which greatly determine the formation of these compounds during the ripening of grapes. Several wine sorts from continental Croatia, owing to their quality, are, however, not at all inferior to Dalmatian wine. Hence, our wine should be propounded from the bulk of cheap and lower-quality imported wine, as well as attract customers both at home and abroad. Given facts should be maximally used in the strategy of the selling, distribution, promotion and marketing of Croatian wine

Die Zeitschrift Kineziologija ist dreißig Jahre jung (1971 - 2000) und zehn Jahre alt (1990 - 1999)

Three anniversaries concerning the publication of the journal Kinesiology are addressed in the paper: (a) thirty years from the first issue publication in 1971, (b) since the Journal was revived in 1992, ten volumes (1990-1999) have appeared, and (c) the Journal was recognized as international in 1995. Certain bibliometric data, regarding the editing and publishing details, and the content reviews are presented.Dieser Artikel befasst sich mit drei Jahrestagen bezüglich des Herausbringens von der Zeitschrift Kineziologija: a) dreißig Jahre seit der ersten Herausgabe im Jahre 1971, b) es wurden, seit der Wiederherausgabe im Jahre 1992, zehn Hefte (1990 - 1999) veröffentlicht, und c) die Zeitschrift wurde im Jahre 1995 als international anerkannt. Es wurden in diesem Artikel auch bestimmte bibliometrische Daten bezüglich des Edierens zusammen mit dem Überblick von Inhalten der bisher in der Zeitschrift ver6ffentlichten Artikel dargestellt

Die Zeitschrift Kineziologija ist dreißig Jahre jung (1971 - 2000) und zehn Jahre alt (1990 - 1999)

Three anniversaries concerning the publication of the journal Kinesiology are addressed in the paper: (a) thirty years from the first issue publication in 1971, (b) since the Journal was revived in 1992, ten volumes (1990-1999) have appeared, and (c) the Journal was recognized as international in 1995. Certain bibliometric data, regarding the editing and publishing details, and the content reviews are presented.Dieser Artikel befasst sich mit drei Jahrestagen bezüglich des Herausbringens von der Zeitschrift Kineziologija: a) dreißig Jahre seit der ersten Herausgabe im Jahre 1971, b) es wurden, seit der Wiederherausgabe im Jahre 1992, zehn Hefte (1990 - 1999) veröffentlicht, und c) die Zeitschrift wurde im Jahre 1995 als international anerkannt. Es wurden in diesem Artikel auch bestimmte bibliometrische Daten bezüglich des Edierens zusammen mit dem Überblick von Inhalten der bisher in der Zeitschrift ver6ffentlichten Artikel dargestellt

BIOMETRIC ASSESSMENT OF SOME AMPELOTECHNICAL MEASURES SIGNIFICANCE ON CV. ZWEIGELT (VITIS VINIFERA L.) IN THE FERIČANCI VINEYARDS

U trogodišnjem pokusu ispitivani su pojedinačni i združeni učinci ampelotehničkih tretmana na količinu šećera i ukupnu kiselost u moštu kultivara Zweigelt. Istraživanja su provedena na proizvodnim površinama FeraVina d.o.o. Feričanci tijekom razdoblja 2006.-2008. godine. Pokus je postavljen po planu podijeljenih parcela (split-plot) u četiri ponavljanja. Za glavni čimbenik određeno je svojstvo «opterećenje trsa» u tri razine (24, 18 i 12 pupova po trsu), a kao podčimbenik «djelomična kasna ručna defolijacija» u dvije razine (ostavljeni i uklonjeni listovi u zoni grožđa). Količina šećera u moštu nije zavisila niti o jednome ispitivanome ampelotehničkome zahvatu, već isključivo o godini, kao najvećem i statistički visoko značajnome izvoru varijabiliteta. Učinci godine i djelomične kasne defolijacije statistički su visoko značajno (P≤0,01) utjecali na smanjenje ukupne kiselosti mošta u odnosu na tretman s ostavljenim lišćem u zoni grožđa.The individual and combined effects of ampelotechnical treatments on the amount of sugar and total acidity of Zweigelt variety were examined by the three-year experiment. The investigations were carried out in the Feravino Ltd Feričanci production areas from 2006 to 2008. The experiment was set up by split plot plan with four replications. The main factor was determined by the crop load in three levels (24, 18 and 12 buds per vine), and factor by late hand partial defoliation at two levels (left and removed leaves in the zone of grapes). The amount of sugar in the must did not depend on any ampelotechnical treatments tested but only on the year as the largest and statistically significant sources of variability. The effects of the late and partial defoliation were statistically highly significant (P<0.01) in decreasing the total acidity of must compared to the treatment with abandoned leaves in the grapes zone

COMPOSITION AND CORRELATION AMONG THE FATTY ACIDS IN SUNFLOWER SEED OIL OF VARIOUS INBRED LINES

Za određivanje sastava masnih kiselina u plodu suncokreta upotrebljene su 44 muško-fertilne linije suncokreta u različitim stupnjevima samooplodnje, stvorene na poljoprivrednom institutu u Osijeku. Masne kiseline određene na plinskom kromatografu tvrtke Perkin-Elmer primjenom metode unutrašnje normalizacije površina. Na temelju dobivenih podataka izračunate su aritmetičke sredine, mjere dispezije, koeficijenti linearne korelacije i koeficijent determinacije. Cilj je rada bio prikazati oblik međusobne ovisnosti udjela oleinske palmitinske, stearinske i linolne kiseline. Intenzitet korelacije je određen prema Roemer-Orphalovoj klasifikaciji. Linearne regresila je pokazala negativnu i srednju korelaciju između palmitinske i oleinske kiseline (r=-0.43). Veza između oleinske i linolne kiseline bila je negativna i potpuna (r=-0.97). Pozitivna i slaba veza ustanovljena je između stearinske i oleinske kiseline (r=0.30). Prema izračunatom koeficijentu determinacije (R²=0.99) samo je 1% od zbroja ukupnih odstupanja nedefinirano vezom između ispitivanih varijabli.For determination of the composition nof fatty acids of sunflower seed oil were used 44 mare-fertile sunflower lines in various degrees of inbreding, being the creations of the Osijek Agricultural Institute. Fatty acids were determined by Perkin-Elmer gas chromatography and the gas method of internal normalization of surfaces. The obtained data were used to calculate the aritmetic means, values of dispersion, coefficients of linear correlation and coefficient of determination. The objective of this research was to demonstrate the form of interactions among the ratios i.e., correlation of the oleic, parmitic, stearic and linoleic acids. The correlation intensity was determined according to the Roemer-Orphal classification. Linear regressions showed negative and mean correlation between the parmitic and oleic acid (r=-0.43). The correlation between the oleic and linoleic acid was negative and complete (r=-0.97). The positive and weak correlation was established between the stearic and oleic acid (r=0.30). According to the coefficient of determination (R²=0.99) only 1% of the sum of the total deviations remained undefined by the correlation of the variables tested