VINICA MUNICIPALITY CULTURAL HERITAGE/ PARTICIPATION OF THE VINICA MUNICIPALITY IN THE “RURAL DETOXICATION BY LEARNING ABOUT THE ABUNDANCE OF CULTURAL HERITAGE DETOX SLO-HR 98” IMPLEMENTED UNDER THE CROSS-BORDER COOPERATION PROGRAM “INTERREG V-A SLOVENIA – CROATIA”

Područje Općine Vinica karakterizira bogata povijest s mnoštvom očuvane kulturne i prirodne baštine, a cilj ovog rada je predstaviti ove bogate kulturne slojeve kao i sudjelovanje Općine Vinica u projektu „Ruralna detoksikacija upoznavanjem bogatstva kulturne baštine DETOX SLO-HR 98“ koji se provodi u okviru programa prekogranične suradnje INTERREG V-A Slovenija - Hrvatska 2014-2020. U srednjovjekovnom razdoblju Vinica je bila važno trgovište s utvrdom castrum Vinica koja se spominje u 14. stoljeću i crkvom svetog Marka. Na području Općine Vinica u kasnijim je razdobljima izgrađeno nekoliko dvoraca, kurija te drugih građevina svjetovnog karaktera. Među njima se ističu ostatci dvorca Opeka, oko kojeg nastaje i vrijedan perivoj danas poznat kao arboretum Opeka. Značajne građevine su: kurija Patačić, kurija Mattačić-Dolansky, kurija Köröskeny-Rupčić te dvorac Bajnski Dvori s perivojem i kapelicom. Posebno je vrijedan kameni spomenik „Pranger“ nekadašnja mjera za žito i sramotni kamen, jedinstveni takav primjer očuvan na području sjeverozapadne Hrvatske. Od očuvane baštine viničkog kraja valja spomenuti barokni pil sv. Benedikta te barokni zdenac s kipom sv. Ivana Nepomuka. Tradicijska graditeljska baština na području Općine Vinica obilježena je očuvanim stambenim i gospodarskim građevinama koje su građene od kamena vinicita. Kamen vinicit vadio se u prošlosti, a također se vadi još i danas u kamenolomu Marčan na području Općine Vinica. Većina stambenih i gospodarskih građevina ovoga kraja građena je upravo od kamena vinicita. U sklopu INTERREG Programa DETOX SLO-HR 98 kao jedan od partnera sudjelovala je Općina Vinica. Na području Općine Vinica kroz ovaj je program obnovljena i uređena tradicijska vinička kuća građena od kamena vinicita, izrađena je replika nekadašnjeg viničkog sramotnog stupa i kamene mjere tzv. Prangera te je obnovljen barokni kip sv. Ivana Nepomuka.The Vinica municipality area is characteristic for its rich history with an abundance of preserved cultural and natural heritage, and the goal of this paper is to present these rich cultural layers, as well as the participation of Vinica municipality in the project “Rural detoxication by means of learning about the abundance of cultural heritage DETOX SLO-HR 98“ implemented under the cross-border cooperation program “INTERREG V-A Slovenia – Croatia 2014 – 2020”. In the middle ages Vinica was an important trade point with the Vinica castrum fort mentioned in the 14th century and St. Mark’s church. In subsequent periods several palaces, manors and other structures of secular character were built in the Vinica municipality area. The Opeka manor remains are distinguished among them, around which a valuable public garden was established, known today as the Opeka Arboretum. The following buildings are also significant: the Patačić mansion, the Mattačić-Dolansky mansion, the Koroskeny-Rupčoć mansion and the Bajnski Dvori castle with an arboretum and chapel. The Pranger stone monument is of special value; the former measure for wheat and the pillar of shame, a unique example preserved in northwest Croatia. Other examples of preserved heritage in the Vinica area that should be mentioned are: the St. Benedict baroque monument, and the baroque fountain with the monument of St. John Nepomuk. The traditional architectural heritage is characteristic for its preserved family houses and estates built with Vinicit stone. In past times as well as today, Vinicit stone was exploited from the Vinica municipality’s Marčan quarry. The majority of family houses and estates in the area were built with Vinicit stone. Vinica municipality participated in the “INTERREG Program DETOX SLO-HR 98” as one of the partners. A traditional Vinica house of Vinicit stone was restored and decorated in the Vinica municipality as part of the mentioned program, a replica was made of the former Vinica pillory and stone measure, the so-called Pranger, and the baroque monument of St. John Nepomuk was restored

Topography of the stone sculptures from the Middle Ages in the area of north-western Croatia

Disertacija sadrži pregled svih dosad poznatih spoznaja, tvrdnji i zaključaka, vezanih uz proučavanje figuralne kamene plastike na području sjeverozapadne Hrvatske, a nastala je na temelju ranijih istraživanja koja se provode od sredine XIX. stoljeća do danas te novih spoznaja temeljenih na istraživanjima koja je autorica rada provela tijekom posljednjih nekoliko godina istražujući i izučavajući očuvanu figuralnu kamenu plastiku na području sjeverozapadne Hrvatske. Sva građa prezentirana je i analizirana kroz katalošku obradu, a osim toga, metodološki pristup uključivao je i morfološku analizu te komparaciju sa sličnim kiparskim djelima očuvanim na širem području sjeverozapadne Hrvatske i Europe. Ovaj proces rezultirao je datacijom i atribucijom nekih kiparskih djela koja dosad nisu bila na taj način determinirana. Prilikom istraživanja provedenih za ovaj rad pronađena su i neka nova djela figuralne kamene plastike iz razdoblja srednjeg vijeka, koja su upotpunila raniju sliku. Također, izrađen je topografski pregled svih lokaliteta s kojih potječu očuvana djela figuralne kamene plastike te tipološko-kronološka klasifikacija figuralne kamene plastike. U uvodnom dijelu disertacije prezentiran je prostorno-vremenski okvir istraživanja te cilj rada, a nakon toga slijedi poglavlje u kojem su obrazloženi metodološki postupci i način znanstveno-istraživačkog rada. Potom slijedi poglavlje u kojem je iznesen pregled prethodno objavljenih izvora koji su se bavili tematikom srednjeg vijeka na području sjeverozapadne Hrvatske s posebnim osvrtom na literaturu koja se bavi kamenom plastikom. Nakon pregleda literature slijedi poglavlje u kojem autorica donosi povijesni pregled sjeverozapadne Hrvatske, odnosno društveni i politički okvir u kojem nastaju djela figuralne kamene plastike obrađena u ovom radu. Sljedeća cjelina bavi se srednjovjekovnim kulturnim krajolikom. Zatim je iznijet uvod u istraživanje kulturnih slojeva u Međimurju. Nakon toga slijedi poglavlje u kojem autorica iznosi topografski pregled lokaliteta na kojima su očuvana djela kamene plastike na području sjeverozapadne Hrvatske. Spoznaje iznesene u tom poglavlju nastale su na temelju istraživanja pojedinih lokaliteta kao i figuralne kamene plastike koja je očuvana na lokalitetima ili potječe s određenih lokaliteta. Ovdje se iznosi sažeta deskripcija lokaliteta i kiparskih djela na način da je svako djelo kamene plastike pojedinačno obrađeno i datirano te stilski valorizirano i ikonološki interpretirano. Obrađena je i građevina na kojoj se djela kamene plastike nalaze ili su se originalno nalazila kako bi se shvatio kontekst i sama funkcija figuralne plastike. Istraživanja predstavljena u ovom poglavlju znanstveno su obrađena u zaključku. Tako u ovom poglavlju autorica iznosi vlastita istraživanja na sljedećim lokalitetima i figuralnoj kamenoj plastici koja je na njima očuvana ili pronađena; Belec - crkva sv. Juraja i crkva sv. Marije Snježne, Cirkovljan - crkva sv. Lovre, Čakovec - Buzovec (Muzej Međimurja Čakovec), Donja Glogovnica - crkva Uznesenja Blažene Djevice Marije, župni dvor, kuća Gornja Glogovnica 61, Gornji Kneginec - crkva sv. Marije Magdalene, Ivanec - crkva sv. Marije Magdalene, Križovljan - crkva sv. Križa, Konjščina - crkva sv. Dominika, Lepoglava - crkva Bezgrešnog Začeća Blažene Djevice Marije, Macinec - crkva Pohoda Blažene Djevice Marije, Mađarevo (Gradski muzej Varaždin), Mihovljan - crkva sv. Mihovila (Muzej Međimurja Čakovec), Nedelišće - crkva Presvetog Trojstva, Očura - crkva sv. Jakova /sv. Marije, Podturen - crkva sv. Martina, Sveti Martin na Muri - crkva sv. Martina, Tuhovec (Zavičajni muzej Varaždinske Toplice), Štrigova - crkva sv. Marije Magdalene, Varaždin - crkva sv. Nikole, Gradski muzej Varaždin, Vinica/Marčan - crkva sv. Marka, Visoko - crkva Sv. Trojstva, Vukovoj - crkva sv. Wolfganga, Zajezda - burg Milengrad. Autorica zatim donosi i kratki pregled ostalih srednjovjekovnih lokaliteta na području sjeverozapadne Hrvatske. Nakon toga slijedi zaključak u kojem autorica iznosi nove spoznaje koje dopunjuju dosadašnje poznavanje figuralne kamene plastike na području sjeverozapadne Hrvatske. Uz dosad stručnoj javnosti poznatu figuralnu kamenu plastiku po prvi su put u ovom radu predstavljena neka kiparska djela, poput kamenih ulomaka iz Buzovca koji se nalaze u Muzeju Međimurja Čakovec, a koji nisu dosad bili predmetom stručnih istraživanja niti su obrađeni u literaturi. Također, prilikom istraživanja koja je autorica provela tijekom proteklih nekoliko godina, pronađena su neka dosad nepoznata vrlo značajna djela figuralne kamene plastike, poput zaglavnog kamena pronađenog u kripti crkve sv. Nikole u Varaždinu te ulomka s prikazom muške glave iz Kneginca (ova istraživanja autorica je provela zajedno s Ivanom Peškan). Neka djela koja do sada nisu bila predmetom stručnih istraživanja, poput zaglavnog kamenja iz crkve sv. Juraja u Belcu na kojima su reljefni prikazi ljudskih glava, zatim konzola iz crkve u Macincu, konzola iz crkve u Podturenu, kustodija očuvanih u Vinici, Podturenu i Svetom Martinu na Muri, u ovome su radu istražena i prezentirana te sagledana u novom kontekstu. Ovim radom predstavljena je detaljna povijesno-umjetnička obrada svih očuvanih djela figuralne kamene plastike srednjovjekovnog umjetničkog izričaja na području sjeverozapadne Hrvatske, na temelju današnjeg stupnja istraženosti i njihov topografski smještaj. Također, ovim radom omogućit će se i izrada smjernica za obnovu i prezentaciju figuralne kamene plastike iz razdoblja srednjeg vijeka. Nadalje, prezentiran je topografsko-stilsko-kronološki raster trenutačnog stanja istraženosti ove tematike u smislu izrade potke za buduća istraživanja.The dissertation contains an overview of all of the known notions, claims and conclusions, related to the study of the figural stone sculpture in Northwestern Croatia. This review has been made on the basis of earlier research, conducted since the mid-19th century up to now, and it is also based on the new discoveries and researches that the author of this paper has done over the last few years, exploring and studying preserved figural stone sculpture in the northwestern part of Croatia. All of the material is presented and analyzed through the catalogue. The methodological approach includes morphological analysis and comparisons with similar examples preserved in the wider area of northwestern Croatia as well as in Europe. This process resulted in determination and attribution of some of the figural stone sculpture that have so far not been analyzed in this way. During the research carried out for this work, some new fragments have completed the earlier picture of the figural stone sculpture from the Middle Ages. Also, in this disertation, a topographic survey of all the sites from which the preserved figural stone sculpture originate is done. The typological-chronological classification of figural stone sculpture was also made. In the introductory part of the dissertation, the spatial-time frame of research and the goal of the work is presented. In the following section, system and methodology of the scientific research are elaborated. The next chapter introduces a review of previously published literature with the studies of the theme of the Middle Ages in northwestern Croatia, with a special reference to the literature dealing with stone sculpture. After the review of the literature, follows a chapter in which the author brings a historical overview of northwestern Croatia, that is, the social and political framework in which figural stone sculptures elaborated in this paper are formed. The following part deals with the medieval cultural landscape and an introduction to the study of cultural layers in Međimurje follows. Subsequently, follows a chapter in which the author presents a topographic overview of the sites where preserved stone figural sculptures from the northwestern part of Croatia originate. The findings presented in this chapter are based on the research of individual localities as well as figural stone sculpture preserved at localities or originating from certain sites. Each fragment of stone sculpture is individually analyzed and dated, and is stylistically valorized and iconologically interpreted. The structure on which the sclupture is located or originally was found, was also studied in order to understand the context and function of figural stone sculpture. The researches presented in this chapter are scientifically studied in the conclusion. Thus, in this chapter, the author presents her own research on the following localities and the figural stone sculpture preserved or found on them: Belec - Church of St. Juraj and the church of St. Marije Snježne, Cirkovljan - Church of St. Lovro, Čakovec - Buzovec (Museum of Međimurje Čakovec), Donja Glogovnica - Church of the Assumption of the Blessed Virgin Mary, parish house, house Gornja Glogovnica 61, Gornji Kneginec - Church of St. Mary Magdalene, Ivanec - Church of St. Mary Magdalene, Križovljan - Church of St. Križ, Konjščina - church of St. Dominic, Lepoglava - Church of the Immaculate Conception of the Blessed Virgin Mary, Macinec - Church of the Blessed Virgin Mary, Mađarevo (Varaždin City Museum), Mihovljan - church of St. Mihovil (Museum of Međimurje Čakovec), Nedelišće - Church of the Holy Trinity, Očura - St. James's Church / sv. Marija, Podturen - Church of St. Martin, Sveti Martin na Muri - Church of St. Martin, Tuhovec (Varaždinske Toplice Native Museum), Štrigova - Church of St. Mary Magdalene, Varaždin - Church of St. Nikolaus, the City Museum of Varaždin, Vinica / Marčan - the church of St. Mark, Visoko - Church of St. Trinity, Vukovoj - Church of St. Wolfgang, Zajezda - fortress Milengrad. In the conclusion the author introduces new findings, supplementing the knowledge of figural stone sculpture in the northwestern Croatia. Some fragments of figural sculpture are presented in this paper for the first time, for example the stone fragments from Buzovec, which are located in the Museum of Međimurje Čakovec, and have not been the subject of professional research or mentioned in previous literature. Also, during the research conducted by the author over the last few years, some very significant figural stone sculptures have been found. Thus in the crypt of the church of St. Nicholas in Varaždin a keystone was found, and a significant Romanesque fragment of a man's head was found in Kneginac (this research was conducted by the author together with Ivana Peškan). Some fragments that have so far not been the subject to expert research, such as the keystones from the church of St. Juraj in Belec, the console from the church in Macinec, the console from the church in Podturen, the custody preserved in church inVinica, Podturn and St. Martin na Muri, are explored and presented in this paper in the new context. This work presents a detailed art-historical interpretation of all preserved fragments of figural stone sculpture of medieval art expression in the northwestern Croatia, based on today's degree of exploration and their topographic location. Also, this paper facilitates the development of guidelines for the reconstruction and presentation of figural stone sculpture from the Middle Ages. Furthermore, a topographic-stylistic-chronological raster of the current state of exploration of this topic is presented in terms of making the base for future research

Posljedice zagrebačkog i petrinjskog potresa na kulturnim dobrima Varaždinske i Međimurske županije – oštećenja i hitne mjere zaštite

Tekst donosi prikaz oštećenja na kulturnim dobrima Varaždinske i Međimurske županije koja su stradala u petrinjskom potresu 2020. godine, kao i pregled hitnih mjera zaštite provedenih na sakralnim i profanim građevinama. Na temelju pregleda zatečenog stanja građevina nakon potresa, utvrđenih oštećenja te uvida u tehničku dokumentaciju, ovim se tekstom analiziraju vrste i intenzitet oštećenja te daje pregled izvršenih hitnih radnji mjera zaštite na sanaciji oštećenja. Odabir sanacijskih metoda bio je prilagođen specifičnim baštinskim vrijednostima svake od oštećenih građevina. Konzervatorski pristup sanaciji oštećenja temeljio se na iznimnoj obazrivosti spram ugrožene baštine s ciljem očuvanja njezinih vrijednosti

“Vinica and Pranger”

Ovaj članak istražuje srednjovjekovne kulturne slojeve na području viničkoga kraja te obrađuje najznačajnije povijesne građevine i njihov kontinuitet u vremenu od najranije prošlosti do današnjih dana. Također je prikazan kontinuitet naseljavanja ovoga kraja te su opisani povijesni putovi. Osobita je pozornost pridana poznatom viničkom stupu srama – Prangeru, čije porijeklo i točna starost još nisu sa sigurnošću potvrđeni.Vinica is located at the northernmost end of Croatia, in the vicinity of the Drava river that is the historical border with Slovenia. While researching the historical routes that led towards Vinica, the authors of this work discovered several new sites and gained new insights into the history of this region. Within the scope of this research, a new interesting site was discovered that has been unknown to experts so far. On a good strategic position, on a hill that is called Gradišće and overlooks the road, are the remains of a structure visible whose age has not been determined yet. It is most probably a fort or tower. Along the road that leads at the foot of the hill from the border with Slovenia towards Vinica, one comes across another interesting settlement called Malo Gradišće, in which the so–called Mikl’s chapel is located. It is a chapel from the 19th century that was built on a man–made round hill with a strategic position. Based on the name Malo Gradišće (Small Gradišće), its location and shape, it can be assumed that the chapel was built on the site of a previously unknown earlier structure. The settlement Vinica developed in an area where the fertile plain of the Drava River turns into hilly ground. The old town or fort Vinica is mentioned for the first time in the mid–14th century, i.e. in 1353, as castrum Vinica. By the end of the Middle Ages, it had lost its strategic importance, was abandoned and already in the 17th century referred to as a ruin. The fact that the fort was a royal estate during a certain period of time as well as in possession of the high nobility influenced not only the shape of the fort, but also the settlement that developed at its foot. The core of the fort, its oldest and most impressive part, consists of a central pentagonal Romanesque tower, which was probably built in the 13th century, whereas the external fort walls date to a later period. There is a preserved description of the fort from 1568 that was made during the listing of the Gyulay estates. Based on the description, it can be concluded that the fort had its main conception already at that time. A comparison can be drawn to Veliki Tabor. There are many parallels to the latter one regarding the shape. The oldest, pentagonal part of the fort can also be compared to the Romanesque pentagonal towers in the vicinity, such as fort Borl, close–by Vinica, in Slovenia, and the forts in the Varaždin surroundings– Kamenica and Paka. The parish church of St. Mark is mentioned as Item sancti Marci de Vinnicha in the list of parishes from 1334. The present–day church was built at the beginning of the 19th century. It was erected on the very same site as the mediaeval church, partially keeping the earlier dimensions. However, the orientation was altered so that today’s sanctuary is facing west. The tower and part of the nave’s western section remained preserved. Existing building material was used during the construction of the present structure, so that the church has partially kept its external walls. Also the existing moulded stone elements were extensively used as spolia. Several spolia that were extracted from the lower parts of the wall are presented in the church, such as the base of the profiling, the capital and fragment of the pilaster. These elements of architectural decoration, which date to the early 13th century, are made of limestone and represent the part of the older church that was torn down in the 19th century. The church’s interior houses many parts of the old church furnishing, such as the stone pulpit, the late Gothic free–standing stone custodia, the Renaissance relief that is built into the wall above the entrance of the vestry, tomb slabs and the built–in ancient stele. Four sculptures of small lions, remains of architectural decoration of the mediaeval church, are built into the church’s wall from the outside, two next to the porch on the southern side and two next to the porch on the church’s northern side. The form and artistic expression indicate to a Gothic master, who made some simple, yet very expressive sculptures. These sculptures are dated as works from the 14th century. They can be compared to the pair of small lions that are in the parish church near Ivanec, although the latter one is most probably a little younger if comparing their artistic design. The pillory in Vinica is a unique preserved example of a pillory and stone measure in the area of Varaždin–County and beyond. It is specific with regard to its design; a three–sided stone post with a height of 260 cm, which at the top tapers into a triangular end. The post is built into a wide stone pedestal on which there is also a stone vessel for measure with an opening on the front side. In the upper part of the post at 170 cm height, there is a male head with a moustache on each of the three sides that almost entirely comes out of the post in profile. Based on the stylistic analysis and claims that it was brought from the Vinica fort which existed in the Middle Ages, the authors argue that the pillory can be dated to an earlier time than it had been dated so far– the year 1643. They also do not exclude the possibility that it is an older monument, whose purpose is not known so far, but which got a secondary use as a pillory in the Middle Ages

Depiction of the human head in mediaeval stone sculptures in the northwestern region of Croatia

Ovaj članak istražuje neke primjere srednjovjekovne kamene plastike na području sjeverozapadne Hrvatske, odnosno prikaze ljudske glave koji datiraju iz razdoblja srednjeg vijeka. Tako su istraženi i prezentirani sljedeći lokaliteti na kojima su očuvani prikazi glava: Kneginec, Nedelišće, Cikovljan, Gotalovec, Mursko Središće, Križovljan, Lepoglava, Konjščina, Macinec, Podturen, Vinica.Working as the overseeing conservators in the Varaždin and Međimurje county regions, we are involved in works related to cultural heritage, during which we often come across its older historical layers. These layers are, so far, often not researched and unknown to the expert circles. With this paper we will present some examples of mediaeval stone sculptures in the region of northwestern Croatia. It is very interesting that the region contains many preserved representations of the human head which date to the Middle Ages. During efforts on the renovation of the church of St. Mary Magdalene in Kneginec, we devoted particular attention to a small stone relief with an image of a human head, which was located high on the southern facade of the church in a difficult to reach location. In order to protect it from further damage, the relief was removed, thereby uncovering many unknown details about its workmanship and shaping

The church of st. Nicholas and the bear sculpture - New research contributions of medieval art in Varaždin

Crkva sv. Nikole smještena je u centru Varaždina, to je pravilno orijentirana, skladna kasnobarokna crkva. Spominje se prvi puta u popisu župa iz 1334. godine, kao ecclesia sancti Vencezlai, odnosno crkva posvećena sv. Vjenceslavu. Međutim, može se pretpostaviti da je župa na ovom mjestu postojala i ranije, jer je Varaždin bio središte arhiđakonata osnovanog u 13. stoljeću. Opisi vizitacija tijekom 17. i 18. stoljeća opisuju bogato opremljenu i značajnu građevinu koja priliči obrtničko – trgovačkom središtu kakav je bio Varaždin u srednjovjekovnom razdoblju. Sama crkva bila je od početaka razvoja grada sakralni i svjetovni centar naselja, u duhu srednjovjekovne urbane organizacije Ispod cijele površine današnje crkve, nalazi se velika kripta. Prilikom njenog čišćenja, postalo je moguće detaljno pregledati zidove kripte, izgrađene od opeke pomiješane sa mnoštvom kamenih elemenata - spolija iz ranijih faza gradnje crkve. Iako se u literaturi spominje da su u temeljima crkve pronađeni romanički elementi, pregledom dostupnih spolija utvrđeno je da su u zidove ugrađeni spoliji iz najmanje dvije ranije građevinske faze crkve – romaničke i gotičke faze, koji se razlikuju u vrsti kamena i načinu obrade, što je omogućilo novi povijesno – umjetnički pogled na prošlost župne crkve. Manji dio spolija izrađen je od sivog pješčenjaka, koji je jednak kamenu od kojeg je izrađena skulptura medvjeda, ugrađena na pročelju. Radi se o velikim klesanim kamenim blokovima, koji su uglavnom oštećeni, a samo jedan od njih ima na sebi oznaku, uklesani križ. U zidove kripte uzidano je više komada profiliranih svodnih rebara, koji potječu iz kasnogotičke faze gradnje crkve. Jedan od spolija izvađen je iz zida te pomnije pregledan. Radi se o ključnom kamenu, a utvrđeno je kako je s njegove donje strane uklesan štit sa reljefnim prikazom. U sredini štita nalazi se djelomično otučena i oštećena ptica, sa desne strane uklesana je sedmerokraka zvijezda, a s lijeve slovo N. Povijesni dokumenti i iščitavanje profilacije na ključnom kamenu i svodnim rebrima smještaju nastanak svoda u drugu polovicu, ili sam kraj 15. stoljeća. Posebno zanimljiv primjer očuvane starije kamene plastike u gradu Varaždinu skulptura je medvjeda, koja se nalazila ugrađena u zvonik crkve sv. Nikole. Uspoređujući varaždinskog medvjeda sa komparativnim materijalom, može ga se datirati na početak 13. stoljeća. Komparativni materijal čini životinjska glavica iz Zeline, prikaz lavova na kapitelima ruševina crkve u Vértesszentkeresztu, koji su datirani između 1200. i 1237. godine te glava lava iz Bajne, koji je datiran u 12. stoljeće. Identično oblikovane oči kao kod varaždinskog medvjeda, mogu se vidjeti na muškoj glavi iz Zalavára (1200-1240). Ovim radom, autorice su pokušale istražiti najranije slojeve župne crkve sv. Nikole u Varaždinu, čiji stariji elementi nisu do sada bili dovoljno istraženi i vrednovani.In this paper, the authors investigated the medieval phase of the construction of the parish church of St. Nicholas in Varazdin.The Church of St. Nicholas is a well oriented, harmonious late - Baroque building, with a Gothic bell tower, located in the center of Varazdin. The church was first mentioned in the list of parish churches in the Diocese of Zagreb in 1334, as ecclesia sancti Vencezlai, the church dedicated to St. Vjenceslav. However, it can be assumed that the parish existed earlier in Varaždin, because Varaždin was the center of archdeaconry founded in the 13th century. The dedication to St. Nicholas has been used used for the parish church since 1454. Descriptions of the church from the 17th and 18th century describe a significant building and it’s rich interior. In the spirit of the medieval city organization, the church was both the sacred and secular center of the city. There is a large crypt beneath the church. The walls of the crypt are built from brick mixed with stone elements - spolia from at least two earlier phases of the construction - Romanesque and Gothic phase. The spolia differ in the type of stone and the style of carving and they allow a new art-historical view on the past of the parish church. A smaller number of spolia are made of grey sandstone. They are mostly large blocks, partially damaged, and only one of them has visible markings: there is an engraved cross on it. The other type of spolia are all made of yellow limestone, and some of them are recognised as parts of ribs. The carving style and details allow us to date them to the Gothic period. One of the elements, embedded in the western wall was particulary interesting, and the authors of this article recognised it as a keystone. It was taken out from the wall and examined more closely, and it was found that the keystone has a carved the coat of arms on it, with a bird, a star and the letter N. The keystone originates from the same period as the ribs, the second half of the 15th century. On the eastern side of the Gothic bell tower a replica of the sculpture of a bear is built in, while the original was removed, restored and stored in the collection of stone monuments of the City Museum of Varaždin. The sculpture is dated to the late 12th, or more probably, early 13th century. The comparable stone sculpture is the animal head from Zelina (Croatia); the lions from the ruined church in Vértesszentkereszt (Hungary), which are dated between the 1200 and 1237; the lion head from Bajna (Hungary) dated to the 12th century; the male head of Zalavára (Hungary), dated to the first half of the 13th century

The Heritage of Vinica over the Centuries

Vinički kraj karakterizira bogata povijest, s mnoštvom očuvane kulturno-povijesne baštine, a cilj ovog rada je analizirati kulturne slojeve te njihov smještaj i funkcioniranje u prostoru. U rednjovjekovnom razdoblju Vinica je bila važno trgovište, a dva glavna graditeljska akcenta u prostoru u to vrijeme bili su utvrda Vinica i župna crkva sv. Marka. U daljnjem razvoju Vinice, na području naselja izgrađeno je nekoliko dvoraca, kurija te drugih građevina svjetovnog karaktera čija je zajednička karakteristika kvaliteta gradnje. Među njima se ističu ostaci dvorca Opeka, kao svojevrsna kruna te baštine koji ažalost, predstavljaju tipičnu sliku stanja loše očuvanosti ovog bogatog graditeljskog naslijeđa. Posebno zanimljiv i vrijedan kameni spomenik je Pranger, mjera za žito i sramotni kamen koji ima dugu povijest i kojemu su pripisana mnogobrojna značenja.Vinica is situated along the outermost northeast slopes of Maceljska gora mountain (Haloze), fi fteen kilometres to the west of Varaždin. The area of Vinica is characterized by its rich history and a multitude of preserved examples of cultural and historical heritage. The purpose of this paper is to not only topographically list and describe the numerous monuments, but also to analyse the cultural layers and their setting and function within their surroundings. The favourable strategic position, quarries, fertile land and freshwater springs have made this area suitable for human settlement since prehistoric times, and then in the Classical Antiquity, which is proven by numerous archaeological fi ndings and sites in the area of Vinica. During the Middle Ages Vinica was an important market town, with the Vinica castle and the parish church of St Mark as its main architectural features. The castle is strategically positioned on one of the outermost slopes descending to the valley of Varaždin, but sheltered and immersed in the surrounding hills. Archaeological fi ndings suggest that the castle was probably constructed on the site of a prehistoric fort. Not far away from this defence point, on a plateau in the very vicinity of the valley, is the ecclesiastical centre of Vinica, the parish church of St Mark. Despite all the changes of the church structure over the years, the remnants of its older phases are preserved as spolia and fragments, testifying of the skills of its builders and sculptors. The further development of Vinica included the construction of several castles, manor houses and other profane buildings, all realizations of considerable quality. Among these a prominent place is occupied by the remains of the Opeka castle, unfortunately an example of the poor state of conservation of Vinica’s rich architectural heritage. Important assets of Vinica are its numerous freshwater springs, frequently transformed into architectural onuments of high evironmental value. A distinct group of smaller sacral monuments comprises votive columns and wayside shrines of varying cultural and historical value; however, their environmental value remains unquestionable. A particularly interesting and important stone monument is the »Pranger«, a measure for wheat and a pillory with long history and various meanings. A signifi cant component in the shaping of the cultural landscape of Vinica is its residential architecture, characterized by partly preserved traditional features combined with some typical local elements such as quality carved stone