CANTHAROS MOTIF ON EARLY CHRISTIAN MOSAICS FROM SALONITAN WORKSHOPS

U ovom članku ukazuje se na postojanje dva tipa kantarosa koji se kao motiv najčešće javlja na ranokršćanskim podnim mozaicima salonitanske radionice. Njegovo postojanje potvrđuju i najnovija otkrića figuralnih podnih mozaika u Starom Gradu na Hvaru, u južnoj bazilici ranokršćanskog episkopalnog kompleksa, na današnjem lokalitetu Sv. Ivana.Cantharos is one of the most frequent motifs that appear on Early Christian mosaics made in Salonitan workshops. Several very fine representations of cantharos have been preserved in the mosaic floor of the southern main congregational church in the Episcopal complex in Stari Grad on the Island of Hvar. A medallion with doves drinking water from a cantharos and a mosaic with peacocks near another cantharos were discovered. To the north and south of the peacocks a smaller mosaic carpets were found. Each has the same cantharos from which ivy tendrils spring. So far three figural compositions are known on the Croatian coast. First is a famous,but unfortunately missing representation of a deer from the consignatorium of the Episcopal centre in Salona. Then, deers on a mosaic in the Zadar Cathedral, and only a fragment of a destroyed composition from Salona with the head of a deer licking dew from the treeof life.Frist type has a funnel-like neck and characteristic fluted belly with three or more flutes topped by a wide funnel-like neck with a large mouth. From the mouth start S shaped handles and rest on the ribs of the vase. The knob connects the belly with a triangular or more rarely rectangular foot. To this type belong two cantharoi from the consignatorium of the episcopal centre in Salona and that found in the complex of the Zadar Cathedral. The cantharos with peacocks from Stari Grad and that from the basilica at Kapljuč in Salona, are creative variations of this same type.The cantharos with doves from the mosaic medalion and those to the north and southof the peacock motif, from Stari Grad, belong to the second type. This type has a narrow neck, disproportionately narrower than the mouth and handles which spring from the belly to be perfectly fused with the mouth. There are often variants of this type as well. All mentioned cantharoi, regardless of the type were produced by craftsmen from thesame school-workshop whose centre was in Salona. Its impact spread wherever Salona\u27s influence as the main Early Christian centre was felt

CANTHAROS MOTIF ON EARLY CHRISTIAN MOSAICS FROM SALONITAN WORKSHOPS

U ovom članku ukazuje se na postojanje dva tipa kantarosa koji se kao motiv najčešće javlja na ranokršćanskim podnim mozaicima salonitanske radionice. Njegovo postojanje potvrđuju i najnovija otkrića figuralnih podnih mozaika u Starom Gradu na Hvaru, u južnoj bazilici ranokršćanskog episkopalnog kompleksa, na današnjem lokalitetu Sv. Ivana.Cantharos is one of the most frequent motifs that appear on Early Christian mosaics made in Salonitan workshops. Several very fine representations of cantharos have been preserved in the mosaic floor of the southern main congregational church in the Episcopal complex in Stari Grad on the Island of Hvar. A medallion with doves drinking water from a cantharos and a mosaic with peacocks near another cantharos were discovered. To the north and south of the peacocks a smaller mosaic carpets were found. Each has the same cantharos from which ivy tendrils spring. So far three figural compositions are known on the Croatian coast. First is a famous,but unfortunately missing representation of a deer from the consignatorium of the Episcopal centre in Salona. Then, deers on a mosaic in the Zadar Cathedral, and only a fragment of a destroyed composition from Salona with the head of a deer licking dew from the treeof life.Frist type has a funnel-like neck and characteristic fluted belly with three or more flutes topped by a wide funnel-like neck with a large mouth. From the mouth start S shaped handles and rest on the ribs of the vase. The knob connects the belly with a triangular or more rarely rectangular foot. To this type belong two cantharoi from the consignatorium of the episcopal centre in Salona and that found in the complex of the Zadar Cathedral. The cantharos with peacocks from Stari Grad and that from the basilica at Kapljuč in Salona, are creative variations of this same type.The cantharos with doves from the mosaic medalion and those to the north and southof the peacock motif, from Stari Grad, belong to the second type. This type has a narrow neck, disproportionately narrower than the mouth and handles which spring from the belly to be perfectly fused with the mouth. There are often variants of this type as well. All mentioned cantharoi, regardless of the type were produced by craftsmen from thesame school-workshop whose centre was in Salona. Its impact spread wherever Salona\u27s influence as the main Early Christian centre was felt

FLOOR MOSAICS FROM THE BATHS NEAR THE SALONA HARBOUR

Bogatstvu umjetničkoga mozaičkog stvaralaštva salonitanskih mozaičara nesumnjivo doprinose i podni mozaici termi otkrivenih na položaju Jankovače u blizini luke antičke Salone. Premda su i danas in situ u nepoznatu stanju, na temelju dokumentacije istraživanja tridesetih godina 20. st. možemo ih svrstati u ponajbolje primjerke klasičnoga rimskog mozaičkog višebojnog fi guralnog slikarstva salonitanske škole-radionice mozaika. Katalogizacija te grupe mozaika prilog je proučavanju korpusa antičkih mozaika provincije Dalmacije.The richness of the mosaic artistic creativity of Salona’s mosaicists is certainly enhanced by the floor mosaics in the baths discovered at the Jankovače site near the harbour of ancient Salona. Although even today they are in situ and their condition unknown, based on the documentation from research conducted in the 1930s, they can be classifi ed among the finest examples of classical Roman multicoloured figural mosaic art of the Salona mosaic school/ workshop. Cataloguing this mosaic group constitute a contribution to the study of the body of Classical era mosaics of the province of Dalmatia

Međuodnosi mozaičnih uzoraka i inačica X. Italske regije i provincije Dalmacije

Poredbenom analizom inačica pojedinih uzoraka mozaičnih vrpca i sastavnica između X. italske regije i provincije Dalmacije, te drugih dijelova Carstva, sintetiziraju se jasne odrednice utjecaja, nastanka i razvoja mozaičnoga stvaralaštva u Dalmaciji

Indukcija urokinaznog tipa plazminogenskog aktivatora i njegova inhibitora etopozidom u glioblastomskoj staničnoj liniji A1235

Urokinase plasminogen activator (uPA) and its inhibitors (PAI) are elements of plasminogen activation system, a proteolytic system involved in many physiological and patological processes. In this paper their induction by etoposide, a topoisomerase II inhibitor, in A1235 glioblastoma cell strain is described. Etoposide induced uPA and PAI production, in a dose- and time-dependent manner. Induction was based on the activation of their promoters and extracellular proteolysis was dependent on their equilibrium. Etoposide caused p53 activation and p21 and gadd45 induction, which could be responsible for the cell growth arrest. Our data indicate that several pathways could be involved in the uPA and PAI induction.Urokinazni tip plazminogenskog aktivatora (uPA) i njegovi inhibitori (PAI) dijelovi su plazminogenskog aktivacijskog sustava, proteolitičkog sustava uključenog u mnoge fiziološke i patološke procese. U ovom je radu opisana njihova indukcija etopozidom, inhibitorom topoizomeraze II, u stanicama glioblastoma A1235. Etopozid je inducirao uPA i PAI ovisno o koncentraciji i vremenu inkubacije. Indukcija je ovisila o aktivaciji njihova promotora, a ekstracelularna proteoliza o njihovoj ravnoteži. Etopozid je uzrokovao aktivaciju p53, kao i indukciju p21 i gadd45, te bi oni mogli biti odgovorni za zaustavljanje staničnog rasta. Rezultati upućuju da bi nekoliko signalnih puteva moglo sudjelovati u indukciji uPA i PAI

RESTORATION OF THE CEILING PAINTING IN THE CENTRAL SALON OF THE FIRST FLOOR OF THE BAJAMONTI-DEŠKOVIĆ PALACE

U tijeku je jedan od najsloženijih zaštitnih zahvata na stropnim oslicima u središnjem salonu prvoga kata palače Bajamonti - Dešković. Skidanje stropnih oslika s izvornog mjesta i njihovo vraćanje nakon provedenih zaštitnih radova postupci su koji iziskuju dobru procjenu, planiranje i organizaciju svih segmenata zaštitnih zahvata, koji su značajni jednako kao i osigurana sredstva za njihovo provođenje.The apartment of late Liljana Dešković née Mikačić on the first floor of the Bajamonti-Dešković Palace at Franje Tuđmana Square at Splitska obala houses painted ceilings with a gross surface of 100 m2. Having bought the property at Šperun at auction, Dr Antonio Bajamonti, mayor of the time, had the Bajamonti palace built in 1858. The first floor of the palace housed his residential apartment whose ceilings were most probably painted by Antonio Zuccaro (1825-1892), a reputable painter from Trieste who worked a lot in Dalmatia. The paintings were assessed to be greatly damaged. In several places the mortar was completely separated from the bearing basis that came off and is falling into many larger and smaller pieces that were, on that occasion, gathered and arranged on the floor of one of the rooms. The ceiling showed in some places large lacunas through which the structure of the bearing part of the paintings was visible. More than 50% of the ceiling was more or less separated from the reed frame fixed onto the beam structure with a tendency of increasing the damage. Some parts of the mortar - painting gradually fell off. In the course of time the painted layer became blurry due to accumulation of dust and soot, partly to pulverization and alteration, while the greatest damages on the painted layer were caused by the water flooding from the upper floors. From the point of view of conservation and restoration, the protection program carried out ranks among the several most complex interventions that an expert can encounter. At the end of 2004 and intensively during 2005 and 2006 research, documentation, consolidation, cleaning and protection of the painting were carried out. Following research results, a study was made envisaging the segmented removal of the painting from its original place, repair and consolidation of mortar and the painted layer. The project of restoring is based on conceiving a new self-supporting construction on which the hanging restored ceiling would be isolated from the static movements of the surrounding walls and would thus enable independent existence within the grid of burdening mechanical forces

SKOČIBUČIĆ-LUKARIS PALACE – CONSERVATION-RESTAURATION WORK ON THE EAST PORTION OF THE FAÇADE PLASTER

Konzervatorsko-restauratorski zahvati izvođeni tijekom 2006. i 2007. godine na Peristilu, između ostalog, obuhvatili su i cjelovitu obnovu i prezentaciju istočnog pročelja palače Skočibučić- Lukaris. U članku se daje iscrpni pregled svih zaštitnih zahvata provedenih na žbukanim oblogama koje svojom povijesnom slojevitošću i tehnološko-tehničkim izvedbenim svojstvima obogaćuju graditeljsku baštinu stare splitske jezgre i daju nove spoznaje o funkciji i karakteristikama žbuka u Dalmaciji.The Skočibučić-Lukaris Palace is situated in the very heart of Split, on the south-east corner of the Peristil. Like many other palaces in Split, the palace is neither a work of a single author nor was it built in a particular period of time: it was gradually created through centuries assimilating elements from different artistic periods. Therefore the Palace is not a mere reflection of a particular style: its construction relfects both ancient and more contemporary influences. Structural complexity is not only accentuated through interpolation of the façade into the colonnade and the arches of the Peristil, but through its partially plastered east portion of the façade. Although these multiple layers of plaster bear no artistic significance, it is yet important to study their construction, quality and methods of application, in order to define their significance in the broader context of building heritage. The stone and plaster surfaces of the Skočibučić – Lukaris Palace façade, prior to conservation-restauration work, reflected signs of deterioration that occured in the course of time, such as thick films, impurities, discolorations and layers of biological growths. The surface of the outer wall of the palace was covered with layers of plaster simulating the original stone construction of the colonnade of the Diocletian’s peristyle. The original portions of the façade plaster emulate joint pattern of the ancient stone blocks. The analysis of both plaster layers from the façade surface and the ancient stone block joints reveals high quality granulated lime plaster. The plaster is pigmented with darker shade of ocher, which, due to damaging chemical processes over the course of time, gradually faded into the shades of grey. Specific façade finish, reflected in the original pigmentation of the façade plaster, gives the palace its unique character and adds to its visual perception. Altered pigmentation and discoloration of the finish base was successfully removed by various methods of chemical cleaning, which both preserved and restored the original light ocher shade of the façade and its portions that were under atmospheric influences. Using the specific method of desalinization, that is, the clay compresses and cellulose pulp, the traces of salt were successfully removed from the inner and outer layers of plaster. All portions of the façade detached from its base, as well as the critical zones around fissures, were stabilized using the method of injection. Reconstruction plaster, possessing the quality of granular calibration and filler similar to the original one, successfully served its primary purpose. Having successfully replaced the original, it also created the authentic copy good enough to meet visual aesthetic and artistic criteria

SKOČIBUČIĆ-LUKARIS PALACE – CONSERVATION-RESTAURATION WORK ON THE EAST PORTION OF THE FAÇADE PLASTER

Konzervatorsko-restauratorski zahvati izvođeni tijekom 2006. i 2007. godine na Peristilu, između ostalog, obuhvatili su i cjelovitu obnovu i prezentaciju istočnog pročelja palače Skočibučić- Lukaris. U članku se daje iscrpni pregled svih zaštitnih zahvata provedenih na žbukanim oblogama koje svojom povijesnom slojevitošću i tehnološko-tehničkim izvedbenim svojstvima obogaćuju graditeljsku baštinu stare splitske jezgre i daju nove spoznaje o funkciji i karakteristikama žbuka u Dalmaciji.The Skočibučić-Lukaris Palace is situated in the very heart of Split, on the south-east corner of the Peristil. Like many other palaces in Split, the palace is neither a work of a single author nor was it built in a particular period of time: it was gradually created through centuries assimilating elements from different artistic periods. Therefore the Palace is not a mere reflection of a particular style: its construction relfects both ancient and more contemporary influences. Structural complexity is not only accentuated through interpolation of the façade into the colonnade and the arches of the Peristil, but through its partially plastered east portion of the façade. Although these multiple layers of plaster bear no artistic significance, it is yet important to study their construction, quality and methods of application, in order to define their significance in the broader context of building heritage. The stone and plaster surfaces of the Skočibučić – Lukaris Palace façade, prior to conservation-restauration work, reflected signs of deterioration that occured in the course of time, such as thick films, impurities, discolorations and layers of biological growths. The surface of the outer wall of the palace was covered with layers of plaster simulating the original stone construction of the colonnade of the Diocletian’s peristyle. The original portions of the façade plaster emulate joint pattern of the ancient stone blocks. The analysis of both plaster layers from the façade surface and the ancient stone block joints reveals high quality granulated lime plaster. The plaster is pigmented with darker shade of ocher, which, due to damaging chemical processes over the course of time, gradually faded into the shades of grey. Specific façade finish, reflected in the original pigmentation of the façade plaster, gives the palace its unique character and adds to its visual perception. Altered pigmentation and discoloration of the finish base was successfully removed by various methods of chemical cleaning, which both preserved and restored the original light ocher shade of the façade and its portions that were under atmospheric influences. Using the specific method of desalinization, that is, the clay compresses and cellulose pulp, the traces of salt were successfully removed from the inner and outer layers of plaster. All portions of the façade detached from its base, as well as the critical zones around fissures, were stabilized using the method of injection. Reconstruction plaster, possessing the quality of granular calibration and filler similar to the original one, successfully served its primary purpose. Having successfully replaced the original, it also created the authentic copy good enough to meet visual aesthetic and artistic criteria