THE CHOIR OF SPLIT CATHEDRAL

Povodom nedavno dovršenih radova temeljite obnove kora splitske katedrale donose se nedovoljno poznati detalji vezani uz gradnju , arhitektonska analiza i vrednovanje te dugo za nemarene i podcijenjene građevine. Objavljuje se niz starijih kamenih i mramornih ulomaka, pronađenih tijekom sanacije. Od njih su najznačajniji dijel ovi crkvenog namještaja kojima se upotpunjuju saznanja o srednjovjekovnim transformacijama katedrale. Uređenjem unutrašnjosti kora ponovo su došle do punog izražaja vrijednosti te značajne umjetničke cjeline. Pri tome su vraćene korske klupe u položaj koji su imale u 17. stoljeću i tako ponovo usklađene s baroknom arhitekturom koja im je bila prilagođena.The main reason for the construction of the choir of Split Cathedral was the lack of room in the ancient building, which had over the course of years become increasingly cramped. The apostolic visitor of 1579 Agostino Valier found that laymen and canons sat squeezed cheek by jowl on the choir stalls in the narrow space before the main altar, and ordered that the church be enlarged. When in 1615 Archbishop Marco Antonio de Dominis finally built a new choir and placed the old stalls in it, he at the same time realised the ancient wish for the expansion of the cathedral and completed the long process of opening up the presbytery, that is, bringing the Eucharistic sacrament closer to the commons in the nave. De Dominis managed with very modest resources to build a new choir, although at the beginning of the 17th century the economic state of affairs in the town and in the archdiocese was crippling, the plague epidemic of 1608 having almost wiped out the population. This is a situation that certainly has to be borne in mind when assessing the value of this Baroque building. So far it has usually been repeated that it is modest, unprepossessing, even ugly, and the whole operation described as inconsiderate damage to and uglification of valuable ancient architecture. Here we shall attempt to show that the Baroque choir of Split Cathedral is not only significant in an architectural and artistic sense, but that the builders, in the given circumstances, certainly paid a great deal of attention to the values they found already present. Archbishop Markantun de Dominis had to fit into the new building of his choir the wooden backs of the choir stalls, in the form in which in the 15th century they had already been set up in the presbytery. The architecture of the Baroque choir was thus adjusted to the old choir stalls, and the lower part of the walls is completely plain and unrelieved, the level of the first stone cornice being determined by the height of the stalls. On the same wooden dais between the two wings of the stalls, in the centre of the eastern wall, very likely during the time of Archbishop Sforza Ponzoni, a wooden throne was set up, the work of a Venetian workshop. The central zone of the walls of the choir is relieved with stone pilasters featuring Ionian capitals, between which flat fields were left for the accommodation of large paintings with scenes from the life and martyrdom of St Domnius [Dujam] painted in 1683-1685 by Pietro Ferrari according to a commission by the then archbishop, Stefano Cosmi. In the western bays of the side walls there were balconies supported on stone corbels, as documented in the drawings of V. Andric (1582) and E. Hebrard (1912). The floors of the balconies made of great stone slabs were placed on these corbels, slabs which had been obtained by sawing the architraves in part of the peristyle of Diocletian\u27s Mausoleum, from which the colonnade had been removed when the choir was built on. On a southern balcony the choir sang on very solemn occasions, and on the northern balcony an organ might have been placed. In the upper part of the choir\u27s walls were nine oval windows bordered with stone frames that had been carved out of the slabs of the stone coffered ceiling of the peristyle, which is shown from the remains of the shallow moulding visible on 303 the external sides of the windows. The Baroque wooden gilt chandelier is extant, and above it, on a chain, a wooden relief of the dove of the Holy Spirit is affixed to the ceiling. The interior of the choir is as a whole fairly modest, with a simple volume, and relieved with a restrained classical architectural vocabulary. However, while judging the artistic value of the architecture, we nevertheless have to bear in mind the very difficult conditions in which it was created, which meant that it was built entirely of material to hand (stone from parts of the Mausoleum and the houses knocked down where the choir was built). The builder of the choir, within the slender opportunities available to him, coped very well, and thus we can point to the confidently proportioned volume of the whole and individual walls, based on the square and the golden section rectangle. The choir is adeptly fitted into the tissue of the buildings that already stood. Since it was surrounded on all sides with houses, it was raised far enough above them for the oval windows to be opened up in the upper zone of the walls, thus obtaining the necessary daylight. In this manner a large wall surface was left untouched for the placing of paintings, and the typical Baroque lighting from above was obtained. On the northern fa9ade, a drawing incised in the plaster is retained, the ground for a painting from the 17th century that shows a trompe l\u27oeil architectural composition. After the fire of the old archbishop\u27s palace in 1924 and its demolition, a view was opened up onto the choir that was not originally provided for and led substantially to its aesthetic downgrading. Archbishops and canons were buried in the choir. The central tomb, facing the archiepiscopal throne, was commissioned by Sforza Ponzoni, the same archbishop that completed the arrangement of the choir. In research at the end of 1998 a coffin was found with a complete skeleton and below it the commingled bones of at least five more archbishops. After that, in archaeological probes of the pavement of the choir, a part of the front side of an antique stone sarcophagus was discovered, with an inscription and a depiction of a dolphin, a fragment of a limestone beam decorated with interwoven arcades of two stranded bands and three marble items of medieval church furnishings- two slabs and one beam of the choir screen. The slabs have characteristic ornamentation of two crosses, each under an arch, flanked with palmettes and rosettes. Because of the absence of any interlacing decoration they can be dated early, to the 81h and 91h centuries. The beam has a carved inscription mentioning St John the Baptist, and it can be assumed that it came into the choir from the nearby baptistery. Stone fragments have been found in the walls: a large Corinthian capital from one of the ancient columns of the peristyle, parts of the door and window frames from houses or ruins that stood where the choir now is, and two fragments of stone pre-Romanesque ecclesiastical furnishing- a small roughly worked stylised Corinthian capital of a pilaster and part of the ciborium of an altar with a relief of stylised birds. North east of the choir, on the site of the demolished archbishop\u27s palace complex, a Roman mosaic has been discovered; in 1968-1972 archaeological revision work was carried out. After this the foundations of the choir were not conserved and subsequently gave way because water penetrated behind them, forcing the banked material outwards. This seriously compromised the structural stability of the choir, which was anyway constructed of relatively poor material. The walls 304 of the choir are founded partly on the firm footing of the massive base of the peristyle of the mausoleum, and partially on a substrate of heterogeneous material. All this led to the subsidence of the foundations and the cracking of the walls. In conservation works started in 1999, the foundations of the choir were injected, and then through the dozen metres long horizontal boreholes below the choir, steel rods were inserted to pull the foundation walls together. The walls were grouted with a lime-based mixture, and the most damaged portions were rebuilt. Tie rods were placed at three levels. The dilapidated roof construction was replaced with a new one, and the floor of the attic was made with three layers of boards, providing a brace against earthquakes. The remains of the one-time fresco on the northern wall was made good by mortar filleting and grouting, and the remains of the drawing incised into the plaster, previously hardly visible, were picked out with lime mortar, and now can be seen from a distance. The Baroque gilt wooden chandelier was restored. The restored wooden archiepiscopal throne was put back in the choir, as well as two of the six large paintings by Ferrari. The Gothic crucifix was put back above the throne and thus the composition of the eastern wall of the choir was rounded off. In the western bays of the longitudinal walls, which were empty after the suspended balcony of a recent date had been removed; six Ponzoni\u27s paintings have been hung. The choir stalls were restored to their 17th century form. The fragments of medieval church furnishing found during the conservation works were placed on the free part of the northern wall of the choir. Here a kind of little stone collection has been created, bearing witness to the complex history of the cathedral and the many vicissitudes experienced by its interior

Magnetic and charge order in cuprate superconductors

Glavna tema rada je magnetski odziv itinerantnih fermiona u nekoliko modela vodljivih ravnina u kupratnim visokotemperaturnim supravodičima. Poseban naglasak stavljamo na razlike u spektrima ispod i iznad temperature otvaranja pseudoprocjepa. Na početku predstavljamo kuprate i njihov poprilično složen fazni dijagram. U fazi sa pseudoprocjepom, koja se javlja ispod karakteristične temperature T*, samo dio Fermijeve plohe je u procjepu, a u njoj se pronalazi i mnoštvo različitih magnetskih i nabojnih uređenja. Postoje dvije osnovne vrste magnetskih spektara u kupratima: prvi koji nalikuje pješčanom satu, s dvije grane sa suprotnim disperzijama, i drugi sa samo jednom granom na visokim frekvencijama, karakterističan za živin kuprat Hg1201. Eksperimenti upućuju na moguće magnetsko porijeklo pseudoprocjepa, pa pretpostavljamo da on nastaje kondenzacijom neke vrste magnetskih fluktuacija s plauzibilnom disperzijom koja odgovara gornjoj grani opaženoj u eksperimentima. Takav dinamički otvoreni pseudoprocjep parametriziramo konstantnim statičkim procjepom na valnom vektoru q = QAF. Eksplicitna k-ovisnost procjepa nije potrebna za reprodukciju eksperimentalnih ARPES spektara, no gušenje procesa raspršenja elektrona na magnonima mora rasti s temperaturom. Pokazujemo kako modeli bez međudjelovanja predviđaju i nekomenzurabilne magnetske faze, u suprotnosti s eksperimentima neutronskog raspršenja u kojima su opaženi signali samo na komenzurabilnom vektoru QAF na temperaturama blizu T*. Uvođenje korelacija, uzrokovanih jakim kulonskim odbijanjem na bakrovim orbitalama, razrješava ovu nekonzistentnost i predviđa isključivo komenzurabilno AF uređenje na visokim temperaturama. Procjep oko vH točaka bilo kojeg porijekla, otvoren na QAF ispod T* dovodi do stvaranja potrebnog procjepa u magnetskom spektru. Gornju granu pobuđenja, točno iznad tog procjepa, stoga pripisujemo čestično-šupljinskim pobuđenjima, a ne nekom kolektivnom modu, što je uobičajeno u literaturi. Pokušaj interpretacije faze s pseudoprocjepom kao pravog AF prijelaza, rješavanjem Dysonove jednadžbe, kvari ove rezultate i udaljava ih od eksperimentalnog režima. Ovo je sukladno pretpostavci da pseudoprocjep nije fazni prijelaz, već postupni prijelaz. Isti procjep predviđa i korektnu vrijednost valnog vektora nabojnih uređenja, koja je viša od one u modelima bez međudjelovanja. Pitanje nabojnog uređenja koje se u nekim kupratima poput Bi2201 javlja blizu T* ostaje otvoreno.The main focus of the thesis are magnetic responses of itinerant fermions in several models relevant for the CuO2 plane in cuprate superconductors. In particular, we study the changes in magnetic spectra on passing through the pseudogap phase. First we introduce the cuprate superconductors and their rather complicated phase diagram. The pseudogap phase, appearing below a characteristic temperature T*, features a partially gapped Fermi surface and the coexistence of several fluctuating spin and charge density waves. Magnetic spectra can be divided into two groups: one shaped like the hourglass, with two branches, and the other with only one, high energy branch (in the mercury cuprate Hg1201). As suggested by experiments, this phase is most likely magnetic, so we assume it is brought on by a condensation of some magnetic mode with a plausible dispersion conforming with the upper branch of the magnetic excitations. The dynamically opened pseudogap is parametrised as a static gap at q = QAF and no explicit k-dependence is required to describe the gap shape measured in ARPES. The damping rate of this electron-magnon scattering, used here as a parameter, is required to increase with temperature. Non-interacting metallic models are shown to predict incommensurate phases, in sharp contrast with neutron scattering experiments which observe only commensurate signals at QAF at very high temperatures, close to T*. Introducing strong correlations, caused by a strong Coulomb repulsion on the copper orbitals, resolves this inconsistency and recovers the tendency towards commensurate AF order at high temperatures. A gap of any origin, opening around the antinodal parts of the Fermi surface below T* around QAF opens a spin gap in the magnetic spectrum. The part of the upper branch of magnetic excitations, just above the gap, is therefore identified as interband particle-hole excitations, rather than the usual collective modes of some ordered state. Attempts to interpret the low-temperature response as a real phase transition, by solving the Dyson equation for an AF state, result in magnetic spectra differing greatly from the experimental ones. This is consistent with the assumption that the pseudogap phase boundary is a crossover rather than real phase transition. The same constant gap function reproduces the correct wave vector for the low-temperature charge density wave order, which is higher than the antinodal nesting of the non-ineracting models. The bismuth cuprate Bi2201 may, however, feature a CDW gap opening at the antinode already at T*, therefore leaving open the question of the correct nesting vector for this class of cuprates

THE MANNERIST ARNERI PALACE IN KORČULA

The complex of the Arneri palace in Korčula was agglomerated through buying and marriage during several centuries. It composes a whole block extending from the western edge of the town to the main town square. The east facade of the complex was modified because of the regulation of the square. The small building in the north-east corner of the complex recieved its new facade in the late sixteenth or early seventeenth century. Its designer faced the difficult task of creating a •rich facade within a very narrow space. The facade has the form of a double square and is sudbivided into rectangles of, or derived from, the golden section. The use of the Classical method of proportioning in a new way gave a very complex system of interdependent geometrical forms. That, as well as the whole compositional procedure that becomes clear after a thorough formal analysis, points to a Mannerist way of thinking. The architect very well understood the Classical principles of composition, but he very consciously and systematically avoided them: the openings are not set on the same vertical axes; on the ground floor the smallest window is placed in the middle, where one could expect to find the main portal. The formal integrity of the architectural elements is consciously violated: window and door lintels on the ground floor are fused into a unified cornice just like the window sills on the middle storey. The monolithic stone jamb between the right doo1• and the window on the ground floor is particularly interesting: its entire upper half and the right half of its lower part are moulded so that it functions at the same time as a window and a door jamb. We have seen that the difficulties presented by the unusual conditions at the site were put to use in carrying out the architectural conception which we designate as Mannerist. It even seems that this way of thinking requires external factors that would »justify« the illogicalities (in a classical sense) of such a »negative» design process which we could term the principle of compensation. Because of a clear and conscious stepping aside from a “Classical” approach this principle represents a Mannerist stylistic quality. In the composition of the facade this principle has been carried out in several ways. The static quality of the basic double-square shape is compensated for by a very complicated subdivision system consisting of a series of very dynamic and interdependent rectangles of the golden section family. Apart from the above mentioned avoiding of composition axes, to diminish the negative effect of the upward movement the architect has also used pronounced horizontal elements : prominent cornices, a balcony running the whole width of the facade and a solid horizontal wall surface. The distance between the cornices does not correspond to the interior storey height, but is exclusively dependent on the geometrical and proportional system, i. e. one completely visual conception of the facade. In the “Classical« design system usually the number (or the size) of the openings increases going from the ground floor to upper storeys. For the design of our facade the procedure was just reverse; “the visual weight« (the ratio between the size of solid and hollow surfaces) increases with height, just like “the visual density« (the ratio between moulded and smooth surfaces). All these analyses point to a true Mannerist architect. A question naturally arises: who could have ordered such a design, and especially which de-signer could have so boldly opposed the traditional architectural procedures in such a very conservative provincial milieu? Did a foreigner display the up- to-date European artistic principles to the Korčulans, right on their main town square, or perhaps a native master wanted to show off what he had learned abroad? In the course of the rehabilitation of this small Arneri palace it will be necessary to re-establish the integrity of its stylistically consistent, visually and proportionally refined facade. The original conception of the unity of the metrological, proportional and stylistic systems has to be respected, The upper contour should be closed by a stone cornice-gutter. Especially important will be the restauration of the balcony because of its essential role in the facade\u27s complex system of geometrical, proportional, psychological (visual-perceptive) and functional values. We hope that the forthcoming reconstruction will bring back dignity to this architecture, which it really deserves by its artistic value and by the importance of the site

NEW CONTRIBUTIONS TO HEKTOROVIĆ’S TVRDALJ

Autor donosi nove podatke o izgledu središnjeg dijela Tvrdalja u vrijeme Petra Hektorovića. Analizom rezultata konzervatorskih istraživanja za potrebe rekonstrukcije identificirane su pojedine faze gradnje i vrednovan njihov doprinos u razvoju ovog složenog arhitektonskog sklopa.The article, bearin on the subject-matter of the recently published study by Miće Gamulin on the Tvrdalj, fortified summer residence of the renaissance poet Petar Hektorović at Stari Grad, brings out some fresh data which emerged during the course of the exploration of the central part of the complex carried out for the purposes of the renewal project currently under way. The most significant elements of the old environment have been conserved in the central part of the Tvrdalj. It would be difficult to give anything like an accurate reconstruction of its appearance during Hektorović’s life on basis of historical sources alone (Petar’s verses, his will and some later documents) without relying on the material remnants from different phases of its construction still extant on the building. Based on these traces, it is submitted that the poet built only the fish pond and the small tower-devecote surmounting it, while the stronghold crowned with an embattled parapet (crenels), the fortified courtyard and the porch topped on its south side by an open passageway belong to an older structure. The stone vaulting of the porch has recently been reconstructed on basis of the traces in situ, while the renewal of the small tower which Hektorović built over the western termination of the porch is currently under way. The tower never had a defensive function; its first floor served as a dovecot, while the second floor was used as a sparrow-house. It originally possessed a hip roof, while presentday terminal terrace may well date from the 19th century when the surrounding houses were raised to a greater height and the top of the tower coalesced with their roofs. The tower-dovecot lies exactly on the transversal axis of the fish pond. On all four sides Hektorović had the fish pond’s boundary wall embedded with symbolic reliefs and inscriptions. Originally this wall was two courses of stone higher than it is today, save for its east side where the fish pond was flanked by a porch with stone pylons and arcades. In the Baroque the porch was extended on the other three sides of the pond as well, and the construction material was brought from the south rampart of the Tvrdalj once the Turkish and pirate menace had passed. The new regulation of the fish pond represents the most valuable change and the most picturesque detail brought about in the Baroque. In the remaining part of the complex the process of partitioning started as early as the Baroque period, when Hektorović’s heirs divided the building among themselves, unifying the compartmentalized spaces of the original whole, and continued in the 19th century. Unfortunately this process of degradation of the original structure has not been stopped even in our times. Therefore the conservation works currently under way are aiming at the preservation and renewal of the original appearance of the most valuable parts of the Tvrdalj

Magnetic and charge order in cuprate superconductors

Glavna tema rada je magnetski odziv itinerantnih fermiona u nekoliko modela vodljivih ravnina u kupratnim visokotemperaturnim supravodičima. Poseban naglasak stavljamo na razlike u spektrima ispod i iznad temperature otvaranja pseudoprocjepa. Na početku predstavljamo kuprate i njihov poprilično složen fazni dijagram. U fazi sa pseudoprocjepom, koja se javlja ispod karakteristične temperature T*, samo dio Fermijeve plohe je u procjepu, a u njoj se pronalazi i mnoštvo različitih magnetskih i nabojnih uređenja. Postoje dvije osnovne vrste magnetskih spektara u kupratima: prvi koji nalikuje pješčanom satu, s dvije grane sa suprotnim disperzijama, i drugi sa samo jednom granom na visokim frekvencijama, karakterističan za živin kuprat Hg1201. Eksperimenti upućuju na moguće magnetsko porijeklo pseudoprocjepa, pa pretpostavljamo da on nastaje kondenzacijom neke vrste magnetskih fluktuacija s plauzibilnom disperzijom koja odgovara gornjoj grani opaženoj u eksperimentima. Takav dinamički otvoreni pseudoprocjep parametriziramo konstantnim statičkim procjepom na valnom vektoru q = QAF. Eksplicitna k-ovisnost procjepa nije potrebna za reprodukciju eksperimentalnih ARPES spektara, no gušenje procesa raspršenja elektrona na magnonima mora rasti s temperaturom. Pokazujemo kako modeli bez međudjelovanja predviđaju i nekomenzurabilne magnetske faze, u suprotnosti s eksperimentima neutronskog raspršenja u kojima su opaženi signali samo na komenzurabilnom vektoru QAF na temperaturama blizu T*. Uvođenje korelacija, uzrokovanih jakim kulonskim odbijanjem na bakrovim orbitalama, razrješava ovu nekonzistentnost i predviđa isključivo komenzurabilno AF uređenje na visokim temperaturama. Procjep oko vH točaka bilo kojeg porijekla, otvoren na QAF ispod T* dovodi do stvaranja potrebnog procjepa u magnetskom spektru. Gornju granu pobuđenja, točno iznad tog procjepa, stoga pripisujemo čestično-šupljinskim pobuđenjima, a ne nekom kolektivnom modu, što je uobičajeno u literaturi. Pokušaj interpretacije faze s pseudoprocjepom kao pravog AF prijelaza, rješavanjem Dysonove jednadžbe, kvari ove rezultate i udaljava ih od eksperimentalnog režima. Ovo je sukladno pretpostavci da pseudoprocjep nije fazni prijelaz, već postupni prijelaz. Isti procjep predviđa i korektnu vrijednost valnog vektora nabojnih uređenja, koja je viša od one u modelima bez međudjelovanja. Pitanje nabojnog uređenja koje se u nekim kupratima poput Bi2201 javlja blizu T* ostaje otvoreno.The main focus of the thesis are magnetic responses of itinerant fermions in several models relevant for the CuO2 plane in cuprate superconductors. In particular, we study the changes in magnetic spectra on passing through the pseudogap phase. First we introduce the cuprate superconductors and their rather complicated phase diagram. The pseudogap phase, appearing below a characteristic temperature T*, features a partially gapped Fermi surface and the coexistence of several fluctuating spin and charge density waves. Magnetic spectra can be divided into two groups: one shaped like the hourglass, with two branches, and the other with only one, high energy branch (in the mercury cuprate Hg1201). As suggested by experiments, this phase is most likely magnetic, so we assume it is brought on by a condensation of some magnetic mode with a plausible dispersion conforming with the upper branch of the magnetic excitations. The dynamically opened pseudogap is parametrised as a static gap at q = QAF and no explicit k-dependence is required to describe the gap shape measured in ARPES. The damping rate of this electron-magnon scattering, used here as a parameter, is required to increase with temperature. Non-interacting metallic models are shown to predict incommensurate phases, in sharp contrast with neutron scattering experiments which observe only commensurate signals at QAF at very high temperatures, close to T*. Introducing strong correlations, caused by a strong Coulomb repulsion on the copper orbitals, resolves this inconsistency and recovers the tendency towards commensurate AF order at high temperatures. A gap of any origin, opening around the antinodal parts of the Fermi surface below T* around QAF opens a spin gap in the magnetic spectrum. The part of the upper branch of magnetic excitations, just above the gap, is therefore identified as interband particle-hole excitations, rather than the usual collective modes of some ordered state. Attempts to interpret the low-temperature response as a real phase transition, by solving the Dyson equation for an AF state, result in magnetic spectra differing greatly from the experimental ones. This is consistent with the assumption that the pseudogap phase boundary is a crossover rather than real phase transition. The same constant gap function reproduces the correct wave vector for the low-temperature charge density wave order, which is higher than the antinodal nesting of the non-ineracting models. The bismuth cuprate Bi2201 may, however, feature a CDW gap opening at the antinode already at T*, therefore leaving open the question of the correct nesting vector for this class of cuprates

Ciborium by Marko Andrijić in Korčula Cathedral: A Study of the Original Appearance

Kameni ciborij iznad glavnog oltara korčulanske katedrale je remek-djelo najvećega korčulanskog klesara i graditelja Marka Andrijića, s proporcijama zlatnog reza i elementima pravog renesansnog stila. Potkraj 18. stoljeća četvrti, završni kat krova ciborija je uklonjen, a neki dijelovi su nestali. Donji dio ciborija je besprijekorno isklesan, dok je osmerostrani krov izrađen znatno lošije, s brojnim nedovršenostima, pogreškama, preklesavanjima i skraćivanjima. Na temelju detaljne analize tragova klesarskog alata i promjena geometrije kamenih elemenata, te studije izvornog ugovora o gradnji, donesen je zaključak da je donji dio ciborija izradio Marko Andrijić sa svojom radionicom, a gornji dio klesari koji nisu razumjeli njegov nacrt, odnosno konvenciju prikazivanja projekcije kosih površina u skraćenju. Srećom, iako je radi ispravka klesarske pogreške gornji dio ciborija malo sužen i snižen, ukupna proporcija nije se zbog toga bitno promijenila, pa je nakon restauracije izvornog stanja to najbolje djelo korčulanske renesanse ponovo zasjalo izvornim sjajem.The most prominent member of a large family of stonemasons, and certainly the greatest stonemason and builder from Korčula, Marko Andrijić learned his trade not only in the workshop of his father, the famous stonemason Andrija Marković, but also working on numerous commissions throughout Dalmatia and all the way to Italy. In his home town of Korčula, he gained fame by working on the modernization of the city fortifications and the cathedral, which is why the Venetian government appointed him lifelong protomaster of all public buildings. His work on the completion of the bell tower on the Cathedral of St. Mark stands out, because he did it in an unprecedented way, combining an octagonal loggia with a dome, lantern and promenade surrounded with a balustrade that served as an observatory. In addition to the bell tower, Andrijić transformed the entire cathedral: he placed vaults above the side aisles and galleries above them, raised the nave, and decorated the upper part of the façade with richly carved stonework. He added a sacristy to the cathedral, a ciborium over the main altar, and a bridge over the street towards the bishop\u27s court, and built a tomb for Bishop Malumbra. In 1486, Andrijić agreed to design and build a magnificent ciborium above the main altar of the cathedral. The extraordinary proportions and brilliantly executed details of the ciborium, combining the Gothic and Renaissance styles, surpass local significance. This was the first time that a classical pillar with entasis and genuine Corinthian capitals, as well as composite capitals with dolphin and siren motifs, had appeared in Croatian art. The ciborium\u27s appearance was significantly changed during the complete redesign of the cathedral’s interior in the Baroque style, undertaken by Bishop Josip Kosirić at the end of the 18th century. In order for a sculpture of the Risen Christ to be placed on top, the upper tier of the ciborium roof was replaced with awkward, curved stone elements that belonged to older church furniture and had been re-carved to fit the ciborium. Joško Belamarić found the final tier of Andrijić\u27s ciborium roof in the lapidary of the abbey collection, turned upside down and converted into a baptismal font. This discovery made it possible to make an ideal reconstruction of the original appearance by completing the natural sequence of four openings in the surface of the first-tier of the ciborium roof to one opening the surface of the fourth-tier. In order to re-establish the integrity of Andrijić\u27s masterpiece, and taking into account the angle of parts of the roof on the ciborium and its proportions, a draft was made with the reconstructed missing elements: eight segments of the third-tier roof and the small dome. After the upper part of the ciborium was disassembled to preserve the stone and consolidate the structure, all the stone elements, holes for fixing metal joints, traces of masonry tools, damage, re-carving and shortening were inspected and analysed in detail. A stonemason\u27s mark was found on the upper surface of the architrave, which determined the position of the elements of the first tier of the roof, which, according to the original design, should have been about 9 cm wider on all sides. It was concluded that the perfectly carved lower part of the ciborium was made by Marko Andrijić in his workshop, and the inferior roof was made by stonemasons who did not understand his design. In order to understand what exactly happened and to be able to make the right conservation decision on how to restore the ciborium, it was necessary to return to the original construction contract, kept in the Zadar State Archives. A complete transcription and translation of the contract, with the payments written in the margins, was made. Master Marko Andrijić committed to carving a ciborium of stone from Vrnik and based on the design he had made, in the following two years for the price of one hundred and fifteen ducats. If he failed to complete the ciborium within the agreed time, the master had to pay a fine, but he was allowed to let other master stonemasons complete the work in that case. Judging by the recorded payments, the construction of the ciborium took six years instead of two, and Marko did not pay a fine, and he even received about seven ducats more than the agreed price. The excess payment probably relates to the statues of the Annunciation, which had to be contracted subsequently with an annex that has not yet been found. After about two-thirds of the ciborium was complete, the work was stopped, and after more than two years, work was continued, probably by one of Marko\u27s brothers, but he was not up to the task. Due to an error in transferring the dimensions and angle of inclination of the roof surfaces from the draft, the replacement masters had to re-carve the already-executed elements of the first-tier roof and improvise to fill the resulting cavities. As a result of these errors, the roof of the ciborium was narrowed and lowered. However, viewed as a whole, the proportional system of the ciborium, consisting of four rectangles of the golden ratio placed one above the other, is not significantly affected by a small but proportional reduction in the dimensions of the roof. Between 2014 and 2019, the Croatian Conservation Institute repaired the damaged elements, carved the missing parts, and re-assembled and connected the upper part of the ciborium with metal clamps filled with lead, with all the necessary reinforcement of the structure. After more than two centuries, the best work of Korčula\u27s architectural and stoneworking art was once again made whole

A CONTRIBUTION TO THE ARCHITECTURE OF DIOCLETIAN`S MAUSOLEUM AND THE RESTORATION OF THE SPLIT CATHEDRAL IN THE THIRTEENTH CENTURY

Iako je Dioklecijanov mauzolej građen u najboljoj rimskoj graditeljskoj tradiciji, graditelji su pogriješili kad su radi povezivanja kamenih blokova upotrijebili željezne kopce od kojih je veliki broj vremenom zarđao i oštetio kamen na pročeljima. Kupola je izvedena previsoko u odnosu na vanjski završni vijenac, krov je bio prestrm pa je crijep klizao. U trinaestom stoljecu, za vrijeme velike rekonstrukcije unutrašnjosti splitske katedrale i početka gradnje zvonika, izmijenjen je izgled krova. Smanjen mu je nagib, nad rimski vijenac nadograđena je atika i na vrhu krova postavljen akroterij. Pri tome je za pokrov upotrijebljen rimski crijep prikupljen s mauzoleja i s ruševnih zgrada unutar Dioklecijanove palače.Diocletian\u27s mausoleum is a very sturdy building, built according to the highest standards of Roman construction. Massive stone walls were erected in the opus isodomum technique. However, the builders made a mistake when they used iron cramps to join together individual blocks of stone. A number of these cramps have rusted and damaged the face of the stone walls. The dome was built with bricks laid in an intricate fish-scale pattern, which enabled the construction without centering or heavy scaffolding. The dome was made too high above the top cornice of the facades, the pitch of the roof was too steep and over the centuries the tiles were sliding down. In the thirteenth century, at the time of the great reconstruction of the interior of the Cathedral and at the start of the construction of the bell-tower, the form of the roof was changed. The pitch of the roof was lowered, an attic wall was built above the Roman cornice, and a finnial was put on the top. The roof was then covered with Roman tiles collected from the mausoleum itself and from ruined buildings within Diocletian\u27s palace

MARKO ANDRIJIĆ IN KORČULA AND HVAR

Izvanredan značaj opusa Marka Andrijića za razvoj dalmatinske umjetnosti prikazan je njegovim najvećim ostvarenjima: ciborijem nad glavnim oltarom i završnim katom zvonika korčulanske katedrale kojim je, zajedno sa svoji m posljednjim djelom, zvonikom franjevačke crkve u Hvaru, stvorio prototip čitavog niza dalmatinskih renesansnih i baroknih zvonika. Autor također Andrijiću pripisuje dva do sada neprepoznata djela iz korčulanske katedrale: sakristiju i grobnicu biskupa Malumbre.The article tries to explain the extraordinary importance for Dalmatian art in general, and for architecture in particular, of Marko Andrijić, the greatest of all the master builders and sculptors of Korčula. He left his best achievements in the cathedral of his home town: the ciborium above the high altar and the top storey of the bell tower which, together with Marko\u27s last work, the campanile of the Franciscan church in Hvar, became the model for a whole series of Dalmatian Renaissance and baroque church towers. A few architectural and sculptural works in the cathedral of Korčula which have not been recognized as works of Andrijić are ascribed to his opus. The construction of the campanile of the cathedral in Korčula dragged on through the whole first half of the fifteenth century, when the work stopped until the completion of the church. The sturdy lower part of the tower was built in the romanesque tradition. On 13 February 1481 Marko Andrijić signed a contract for the construction of the top part of the campanile. It was a combination of three basic architectural elements: -The main element is the octagonal loggia with pillars which carry the dome consisting of thin stone slabs grooved into diagonal stone ribs. -A narrow passage with a stone balustrade which Marko succeeded in creating around the loggia, above the 70 centimetres wide wall. -A lantern on top of the dome with eight slender pillars which continue the lines of the ribs. The structure of the top section of the Korčula belfry is particularly interesting. It is essentially a gothic skeletal structure in which each element has a clearly determined function. Also gothic is the requirement that the structure should be as light as possible. The profile of specific elements should be the smallest possible, utilizing the fabric almost to the ultimate limit of strength. However, because well-known elements were used in a completely new manner, we can define the structure as being in the mixed gothic-Renaissance style, which is usually used to describe Dalmatian decorative sculpture of this period. The dome is smooth within, while on the outside rounded ribs mark the edges. The segments of the dome consist of thin slabs (only 8 centimetres thick!) which are joggled together, and tongued and grooved into the ribs. Individual elements are so thin that they needed to be additionally fastened by means of copper cramps. These cramps, which tie together all the slabs and all the segments of the ribs, ensure the behaviour of the dome as a three-dimensional shell. Metal cramps take all tensile stresses, stone is loaded only in compression (which means that its bearing capacity is used to the maximum), and only vertical load is transmitted to the structural elements below the dome. A very satisfactory structural action of the loggia is thus achieved. We can go so far as to say that Marko, besides the knowledge acquired in his father\u27s workshop, from his own experience as stone cutter and master builder, and from his study of buildings in his homeland and in Italy (his work in Venice was documented in 1473 and 1474, and in Mantua in 1478), was inspired by 223 Korčula\u27s shipbuilding tradition. In the upper part of Andrijić\u27s campanile there are a great number of carpentry-style joints between stone elements. ***** The dome of the Korčula campanile, built between 1481 and 1483, and the dome of the cathedral of Šibenik which was erected a little later by Nicolo di Giovanni Fiorentino to the design of his predecessor Juraj Dalmatinac (Giorgio da Sebenico ), have a very similar basic structural concept: a combination of stone ribs tongued and grooved with thin slabs. Because we cannot evaluate exactly the responsibility of each of the two master builders for the structural idea, because the activity of Marko Andrijić falls between theirs, and because we know that Juraj and Nicolo came to Korčula to purchase stone for the building of Šibenik cathedral, it is to be supposed that the builders of Korčula and of Šibenik influenced each other. A comparison of the two buildings leads to the conclusion that Andrijić resolved most of formal and structural problems more successfully than Nicolo Fiorentino. Andrijić achieved the transition from the square to the octagonal plan by the use of a balustrade which "softens" the clash of the two geometrical forms. In Šibenik the change from the cubic base to the octagonal drum is straightforward. In Korčula the octagonal structural plan was followed through systematically: the eight pillars of the loggia continue into the eight ribs of the dome, and into the eight columns of the lantern. In Šibenik, on the other hand, each side of the drum is composed of two bays, so that only the angle pilasters have the logical structural continuation in the dome ribs, while those in the middle carry only the cornice. The lantern of the campanile in Korčula is a more successful crown to the composition than the finial on top of the dome in Šibenik, where a lantern could be expected both for formal and functional reasons - to let in light and air. The slabs of the dome in Korčula are joggled in such a way that the thickness of the dome is the same throughout, and its surface smooth within and without, while in Sibenik the joints are emphasized by the thicker lower edges of the slabs, a detail which added to the complexity of the construction. In the structural system of the dome in Korčula two kinds of stress - compression and tension - are opposed by two adequate materials: stone (slabs and ribs) and copper (cramps). In Šibenik the same material - stone- resists both kinds of stress. This can be described as structural "integrity", but it created a number of difficulties which were resolved by the use of a sophisticated system of grooves and stone wedges in the ribs. ***** Although there are some campanili with elements similar to those in Korčula, we find the distinctive combination of an octagonal domed loggia with a passageway and a stone balustrade only in the small Apulian town of Soleto. The tower, with the later parish church next to it, was built at the end of the fourteenth century by Francesco Colaci, but the upper section received its present shape only during its baroque restoration, when it was completely remodelled. The closest we can get to the campanile in Korčula is in two .Renaissance imaginary views kept in the Galleria degli Uffizi in Florence. The first of these is an engraving dated about 1475 and attributed to Bramante, while the authorship 224 of a drawing dated somewhat later has previously been ascribed to Peruzzi and more recently to Vasari. For the time being the question of whether the campanili depicted in these two vedute were real or imaginary "ideal" buildings remains open. ***** About twenty years after having built the campanile in Korčula, Marko erected the tower of the Franciscan church in Hvar. This time he was able to make the design for the complete building, not only for the upper part. Although he repeated the traditional concept of a square prism , lightened by the use of openings which increase towards the top, Andrijić articulated the mass of the building in a new way. Apart from the common string courses between the storeys, he introduced them also at the level of the capitals of the columns in the bays. The height of the storeys increases towards the top, which adds to the slenderness of the tower. It seems natural that at the beginning of the sixteenth century Andrijić abandoned the abundant gothic decoration which covered his campanile in Korčula. On the tower in Hvar he introduced Renaissance details, like the balustrade of classical simplicity and the attic below the dome. Apart from the gradual opening up of the wall mass, the slenderness and the visual ascent of the campanile were achieved by the increase in height of the storeys, which was carried out in a very subtle way. The proportions of individual storeys were derived from the square ( 1: 1 ), from the golden section rectangle (0 = [ J s+t l I 2 ) and from descendant rectangles (2 I 0 , 2 I 3 0 , 3 I 4 0 , 4 I 50). the proportions of the lesser elements (bays, division of storeys by string courses) also belong to the same family. The relation between the proportions of the storeys, i. e. the increase in height of each single storey was obtained in a different way. The starting proportions are those of a square. The height of the second storey is achieved by the addition of the thickness of the string course to the height of the first storey, and the height of the third storey by adding to the second storey the thickness of two string courses. The height of the fourth storey is again obtained by the addition of the thickness of only one string course. In this way the increase in height of storeys is very slow, almost imperceptible, and the string courses are involved in the proportional scheme of the whole. We can say that the architect borrowed the method used by a sculptor who takes into consideration the view from below and elongates the upper parts of his sculpture to counterbalance perspective shortenings. The Franciscan bell tower is the first in the line of four campanili in Hvar which were erected in the same style. It seems quite certain that Andrijić\u27s tower of the Franciscan church was the model for the builders of the cathedral belfry, and that it indirectly influenced the design of the campanili of the churches of St Mark and of St Veneranda. The construction of the belfry of the cathedral of St Step hen came shortly after the completion of the Franciscan campanile, at the beginning of the third decade of the sixteenth century. The "excessive" height of the cathedral campanile is due primarily to its position within the town. Only the top storey of the tower can be seen from the sea, and its shallow hipped roof can hardly be distinguished among other roofs. One would expect an upper loggia which would clearly draw attention to the position of the cathedral within the town. The comparison with Andrijić\u27s bell towers of the cathedral in Korčula and of the Franciscan church in Hvar clearly indicates that the campanile of St Stephen\u27s should have terminated with a loggia. The design of the cathedral belfry closely follows that of the Franciscan campanile which obviously served as the model. Therefore, an octagonal loggia above it is quite naturally expected. There is material proof of this: at the top of the walls in the interior, in each corner of the tower, there is a triangular stone block- probably the rudiments of a "squinch", akin to those on the two earlier campanili. It is likely that the loggia was planned to have a dome, and probably a stone balustrade. The builders of the cathedral did not strictly copy the Franciscan bell tower, and they could not replicate its dimensions because the cathedral tower is wider by .I I 8 . Nevertheless, they reproduced the system of proportions so accurately that it seems quite certain that they were familiar with Andrijić\u27s design method. The area of the facade of the first storey is a square, just as on the Franciscan campanile; the proportions of the second storey were obtained by adding the thickness of two string courses to the height of the lower storey; and the height of the third storey by adding to that below the thickness of one string course. However, the fourth storey with its proportions of I :..f2 does not fit into the same proportional scheme. lt is possible that near the end of the construction the builders were changed, or that it was the result of the modification of the design for the top of the tower in abandoning the idea of a loggia. The campanile of the Dominican church of St Mark, which was built in the second half of the sixteenth century, is the third in the series of bell towers of Hvar. It certainly had its paragon in the Franciscan tower, but the whole composition and the details show the decline of building skills and the misreading of Andrijić\u27s model. Although the body of the belfry of St Mark\u27s is similar in its proportions to the two older campanili in Hvar, it gives an impression of clumsiness because the string courses are doubled and the profuse architectural decoration has lost its functional clarity. In contrast to the body of the tower, the slender bays and pillars of the loggia are rendered even more slender by the absence of a balustrade. An intermediate member is missing at the junction of the loggia and the lower part of the campanile. The master builder did not recognize the problem of transition from square to octagonal plan, or maybe a stone balustrade was planned, but given up because of the intricacy of execution. Perhaps for the same reason, instead of a dome an octagonal steeple was erected on top of this bell tower. The dimensions of the Dominican campanile are equal to those of the cathedral belfry. It seems that the builders of the bell tower of St Mark\u27s carefully copied the measurements of the campanile of St Stephen\u27s, which was perhaps stipulated in the contract. With the introduction of double instead of single string courses between the storeys the system of proportions was upset, and the idea underlying the increase in height, i. e. the firm relationship between the proportions of the individual storeys, was lost. In the nineteenth century the upper part of the campanile was damaged by lightning and successfully restored by the famous Viennese architect and conservator Alois Hauser. He used his experience from Hvar in his later work in Dalmatia, and especially during the restoration of the belfry of the cathedral of St Domnius in Split. The previous termination of the tower of St Domnius\u27 has not attracted enough attention by specialists . It was erected in a pure Renaissance style, probably during the first half of the sixteenth century. Unfortunately, Hauser was not aware that the completion of the campanile in Split with an octagon was in direct succession to that of the gothic-Renaissance bell towers in Korčula and Hvar, and he replaced it with a deceptive, but supposedly more suitable neoromanesque loggia. Today, the old Renaissance loggia is the missing link in the chain that leads from Andrijić\u27s prototype in Korčula to Dalmatian baroque campanili. The fourth bell tower of Hvar, that of St Veneranda, was built in the second half of the seventeenth century, and the loggia on top of it with a baroque dome was finished at the beginning of the eighteenth century. A panoramic view from 1829 shows the campanile before its destruction in 1831. It is obvious that the Franciscan belfry was here again the model, but double string courses and decoration concentrated above the bays of the top storey indicate that the tower of St Mark\u27s was closer to the baroque taste of the builders of St Veneranda. The lower part, which still survives, displays a total lack of understanding of proportions. Instead of growing, the respective heights of the first three storeys diminish from the ground floor upwards. The prototype offered by the upper part of the campanile by Marko Andrijić served as the model for a number of church towers in and around Korčula. In the monastery of St Mary of the Angels above Orebić the church and the campanile were built at the end of the fifteenth century. The loggia on top of the tower had a dome. In Korčula itself, next to the Dominican church a bell tower was erected with an octagonal loggia at the top. Its decorative elements recall the campanili in Hvar, and the loggia clumsily imitates its model by Andrijić at the top of Korčula\u27s cathedral tower. The same model was more successfully followed in the baroque loggia of the belfry of St Martin\u27s parish church in Žrnovo. On the island of Vis, another baroque campanile was directly inspired by Andrijić\u27s model - the tower in the monastery of St Nicholas above Komiža. Although it was built in a truly provincial baroque spirit, it repeats all the main elements of its model: an octagonal loggia surrounded by a balustrade and a dome with a lantern. ***** After having impressed his fellow citizens by his masterpiece, Marko Andrijić was proclaimed in 1485 master builder for all public works in Korčula because he excelled as "egregius et prudens magister in building works on the church and on the campanile of the same church and on the walls and towers of the city". "On the church" perhaps relates to the completion of the façade of the cathedral, to the bridge between the bishop\u27s palace and the south aisle, and most probably to the sacristy. The long bishopric (from 1463 until 1513) of Thomas Malumbra roughly corresponds to the working period of Marko Andrijić. It is quite natural that between those two extraordinary individuals there should have developed a relationship of confidence and that the bishop entrusted the best available master with all the important tasks in the building and decorating of his cathedral. From a study of the proportions of Andrijić\u27s ciborium above the high altar of the cathedral, it can be established that here the master also used the "mixed" style, employing the traditional medieval procedure ad quadratum and the Renaissance proportional system using the golden section. We can also point out the connection between the ciborium and the upper part of the campanile. In both cases the architect gave himself the task of achieving the transition from a square to an octagonal plan. On the belfry the balustrade functions as a "buffer" between the two geometrical forms, and on the baldacchino the same role is given to the sculptures of the Annunciation at the corners, above the two front columns. Although he had prototypes in traditional Apulian and Dalmatian ciboria, in which the roof is a stepped octagonal pyramid, Andrijić could not resist quoting himself in the top of the baldacchino. Here again he set himself a problem of transition between two geometrical forms, this time from an octagonal to a circular plan. The small cupola on top of the ciborium is an equally successful solution of that problem as the domed lantern on the tower. ***** It is appropriate to round off this survey of Andrijić\u27s work in the cathedral of Korčula with an addition to his sculptural opus. The venerated bishop Thomas Malumbra in the evening of his life managed to obtain papal consent to appoint Nikola Nikoničić, a knowledgeable and talented priest from Korčula, as his coadjutor and heir to the bishop\u27s throne. In April 1504 Nikoničić accepted the post, and as a mark of gratitude he ordered a monument to be erected on the south wall in the interior of the cathedral. It has a stone sarcophagus with an effigy of the dead Malumbra carved on its lid. Earlier literature has mentioned the similarity of the style of the monument to that of Marko Andrijić, but the work was never ascribed to his opus, because Marko died in 1507, six years before Malumbra. Nevertheless, bearing in mind that Nikoničić had accepted the rank of bishop already in 1504, and that according to Farlati, Mal umbra was buried in a solemn funeral in the cathedral, where his remains were laid in a sarcophagus which had been prepared earlier, it becomes clear that Marko Andrijić did have time during the few years before his death to carve and erect the monument, which can be described as his homage (perhaps even more than that of Nikoničić) to the bishop with whom he had collaborated during the entire length of his working period

A CONTRIBUTION TO THE ARCHITECTURE OF DIOCLETIAN`S MAUSOLEUM AND THE RESTORATION OF THE SPLIT CATHEDRAL IN THE THIRTEENTH CENTURY

Iako je Dioklecijanov mauzolej građen u najboljoj rimskoj graditeljskoj tradiciji, graditelji su pogriješili kad su radi povezivanja kamenih blokova upotrijebili željezne kopce od kojih je veliki broj vremenom zarđao i oštetio kamen na pročeljima. Kupola je izvedena previsoko u odnosu na vanjski završni vijenac, krov je bio prestrm pa je crijep klizao. U trinaestom stoljecu, za vrijeme velike rekonstrukcije unutrašnjosti splitske katedrale i početka gradnje zvonika, izmijenjen je izgled krova. Smanjen mu je nagib, nad rimski vijenac nadograđena je atika i na vrhu krova postavljen akroterij. Pri tome je za pokrov upotrijebljen rimski crijep prikupljen s mauzoleja i s ruševnih zgrada unutar Dioklecijanove palače.Diocletian\u27s mausoleum is a very sturdy building, built according to the highest standards of Roman construction. Massive stone walls were erected in the opus isodomum technique. However, the builders made a mistake when they used iron cramps to join together individual blocks of stone. A number of these cramps have rusted and damaged the face of the stone walls. The dome was built with bricks laid in an intricate fish-scale pattern, which enabled the construction without centering or heavy scaffolding. The dome was made too high above the top cornice of the facades, the pitch of the roof was too steep and over the centuries the tiles were sliding down. In the thirteenth century, at the time of the great reconstruction of the interior of the Cathedral and at the start of the construction of the bell-tower, the form of the roof was changed. The pitch of the roof was lowered, an attic wall was built above the Roman cornice, and a finnial was put on the top. The roof was then covered with Roman tiles collected from the mausoleum itself and from ruined buildings within Diocletian\u27s palace