Counting essential surfaces in a closed hyperbolic three-manifold

Let M^3 be a closed hyperbolic three-manifold. We show that the number of genus g surface subgroups of π_1(M^3) grows like g^(2g)

Prijedlog za Vincenza Scamozzia – projekt za dogradnju splitske katedrale

Scamozziev crtež presjeka crkve s rotondom, za koji se smatra da bi mogao biti pripremni projekt za venecijansku crkvu Santa Maria Celeste, autor povezuje s izgradnjom kora splitske katedrale

Napoli’s Front of the Jesuit Collegium in Dubrovnik

Zbog sličnosti između pročelja bočnog krila isusovačkog kolegija u Dubrovniku i glavnog pročelja Palazzo Arnone u Cosenzi autor smatra da je projektant dubrovačkog pročelja sicilijanski arhitekt Tommaso Maria Napoli (1659.–1725.). Navedeni prijedlog potkrepljuje sljedeće: dubrovačko pročelje izgrađeno je u posljednjem desetljeću 17. stoljeća, kada je Napoli u Dubrovniku vodio izgradnju katedrale, a niz pojedinosti u oblikovanju pročelja isusovačkog kolegija upućuje na graditelja koji je poznavao sicilijansku i srednjoeuropsku arhitekturu (razgibani obris zabata s akroterijima u vrhu pročelja, žbukom oblikovana arhitektonska plastika).Owing to similarities of the lateral wing of the Jesuit Collegium in Dubrovnik and the main front of Palazzo Arnone in Cosenza, the author believes that the designer of the Dubrovnik front was the Sicilian architect Tommaso Maria Napoli (1659 – 1725). This proposition can be substantiated with the following arguments: the Dubrovnik front was made at the end of the 17th century, when Napoli was in charge of building the Dubrovnik Cathedral; a series of particulars of the Collegium front construction point towards an architect who was acquainted with Sicilian and Central-European architecture (lively movement on the gable, with acroteria at the top of the front, the architectural ornaments made of plaster)

MODELS FOR SOME BAROQUE WALL PAINTINGS IN DUBROVNIK

Autor dopunjuje rezultate svojih istraživanja, objavljene u knjizi "Zidno slikarstvo 17. i 18. stoljeća u Dalmaciji" (1985.) Komparativnom analizom dokazuje da se G. Garcija za kompoziciju zidne slike "Sv. Ignacije u nebeskoj slavi" u isusovačkoj crkvi u Dubrovniku poslužio N. Dorignyjevim grafikama koje prikazuju Ferrijevu kupolnu sliku iz rimske crkve S. Agnese in Agone. Za Zeusov lik iz prizora "Pad Giganata" sa svoda dvorane ljetnikovca Bozdari u Rijeci dubrovačkoj autor nalazi niz podudarnosti s grafikama rađenim prema djelima firentinskih slikara iz prve polovice 16. stoljeća. Prizoru "Natjecanje Atene i Neptuna za atičke zemlje" u galeriji Sorkočevićeva ljetnikovca u Rijeci dubrovačkoj bila je predložak grafika neznanog majstora, koja se čuva u Dubrovačkom muzeju, a Alegorija jeseni, naslikana na zidu iste galerije, tematski i po rasporedu oblika podudara se s Thiriyjevom grafikom "Vodena Nimfa gleda čaplju".Using methods of comparative analysis the author adds four recent findings to his research published in his book "17th and 18th Century Wall Paintings of Dalmatia" (1985). He establishes that in his wall painting "Saint Ignatius in Heavenly Glory" in the Jesuit church in Dubrovnik, Garcia worked after N. Dorigny\u27s prints showing Ferri\u27s painting in the dome of S. Agnese in Agone in Rome. Also studying the figure of Zeus in the "Fall of the Giants" painted on the ceiling of the central hall in the Bozdari villa in Rijeka dubrovačka the author finds numerous correspondences with prints made after works by Florentine painters from the first half of the sixteenth century. The scene of Athena and Neptune competing for Attic lands in the gallery of the Villa Sorkočević in Rijeka dubrovačka was inspired by an anonymous print kept in the Dubrovnik museum. Finally, in theme and formal arrangement, the "Allegory of Autumn" painted on the wall of this Gallery may be related to Thiry\u27s print "Water Nymph Watching a Heron"

Unstable compared to stable core exercises improve muscular endurance in preadolescents and adolescents: An eight-month randomized trial

Although previous studies have indicated the importance of a core strength and muscular endurance training in preadolescents and adolescents, there is a lack of evidence regarding effects of a long-term core training in unstable conditions. The purpose of this study was to compare the effects of core training in stable versus unstable body positions on core and upper body strength and muscular endurance in non-trained children aged 11-14 years. Participants were randomly assigned to either stable (SC, N=569) or unstable (UC, N=633) core-exercise group and assessed at baseline, after four, and eight months for sit-ups, dynamic trunk extension, static trunk extension, and push-ups. Repeated measures ANOVA, with time as a within factor, and exercise group, age, and gender as between factors, was employed for data analysis. Post-hoc comparisons showed greater absolute improvements after the eight-month training in UC compared to SC for all measures, age groups, and both genders (p≤.01), and greater relative improvements (differences in Cohen’s d between UC and SC ranged from 0.08 to 1.58), except for static trunk extension in 11- and 12-year-old participants. However, the differences between SC and UC in four-month effects were inconsistent. These results point out that core exercises in unstable compared to stable conditions have a greater capacity for long-term improvement of core and upper body strength and muscular endurance in non-trained preadolescents and adolescents

Dalmatinske crkve 17. i 18. stoljeća sa šiljastim bačvastim svodom i pojasnicama – ishodišta i putovi usvajanja

U Dalmaciji se od 15. do kraja 18. stoljeća grade crkve nadsvođene lomljenom bačvom pojačanom pojasnicama. U 15. i 16. stoljeću to su uglavnom redovničke crkve, a potom se isto konstrukcijsko rješenje svoda ponavlja u nizu župnih crkava, osobito na području Hvarske biskupije. Podrijetlo šiljastog bačvastog svoda s pojasnicama je u južnofrancusko-katalonskoj romanici. Kasni odjeci kasnosrednjovjekovnoga graditeljstva u Dalmaciji ostvareni su kao posljedica hodočasničkih putovanja u svetišta zapadnog Sredozemlja (Santiago de Compostela), a potaknuti su, prema autorovu mišljenju, istodobnim političkim zbivanjima, određenim sukobima s islamom. S jedne strane španjolski se teritorij oslobađa od Arapa, a s druge u Dalmaciji turska osvajanja krajem 15. i u 16. stoljeću sežu do zidina njezinih gradova. U takvim povijesnim okolnostima ponavljanje arhitektonske forme iz zemalja koje se pobjednički bore protiv zajedničkoga neprijatelja kršćanstva ima simboličko, gotovo zavjetno značenje. Iste, već ranije uočene utjecaje (E. Dyggve) autor prepoznaje i u nacrtnoj shemi Šibenske katedrale. Kada se isti konstrukcijski sistem ponavlja u kasnijim crkvama, mahom župnima 18. stoljeća, bili su već zaboravljeni njegovi daleki izvori u zemljama zapadnog Sredozemlja. On je postao dio lokalne tradicije

The Church of S. Servolo in Buje — Construction and Architecture

Podatke objavljene u knjizi B. Boissera i R. Bartolija Buie tra Storia e Fede o graditeljima i datumima izgradnje crkve sv. Servola u Bujama V. Marković povezuje s njezinom arhitekturom i dolazi do novih spoznaja. Projekat crkve predstavljen drvenim modelom rad je piranskog graditelja G. Dongettija po kojem se gradi svetište i brod do visine kapela. Gradnju nastavlja A. Naiber iz Kopra, koji napušta Dongettijevo stropno rješenje i brod zaključuje svodom. On također projektira i pročelje koje ostaje nedovršeno. Po kosoj postavi baza pilastarskog reda jasno je da je zidna plastika trebala razvijati teme neovisne o ravnini što se nije rabilo o onodobnoj arhitektonskoj praksi sjevernoga Jadrana. Za trolučnu pregradu koju Dongetti postavlja između broda i svetišta autor nalazi podudarnosti osobito u crkvenoj arhitekturi druge polovice 18. stoljeća u okolici Roviga, a razlike u načinu njezina oblikovanja tumači Dongettijevim istarskim sjećanjima i stolnom crkvom u Piranu gdje je prethodno bio protomajstorom. Unutrašnjost crkve je znatno izmijenjena 1816. godine gradnjom novog i nižeg svoda.The book Buie tra Storia e Fede by B. Boissero and R. Bartoli discloses the information about the designs and builders of the church of S. Servolo in Buje, as well as about the period of its construction (1754-1768). These facts are published by V. Marković, together with the architecture of the church and its wooden model. He found out the following: G. Dongetti, the architect trom Piran, is the author of the wooden model which was mainly realized in the construction of the altar and the nave, up to the level of the chapels and the long range of pilasters. The construction of the church was continued by the Kopar architect A. Naiber, who abandoned Dongetti\u27s ceiling design and finished the nave with a vault, reduced the number of windows and substituted stucco reliefs for them. Traces of these changes can be seen on the roof truss, for in 1816 the architect Righetti from Trieste built a new vault which reduced the height of the nave. Marković finds other examples of partitions between the nave and the altar made up of three arches in the contemporary architecture of the churches in the Rovigo area, which follow Palladio`s ideas, as well as in most Veneto churches of that period. Dongetti\u27s design differs from the ones mentioned in the ceiling covering the nave and in the form of the partition, which is made up of three arches and does not have the shape of a large serliana. A different partition causes the differences between the nave and the altar, thus altering the scenic qualities of the S. Servolo interior which do not follow the principles of post-Palladian Veneto architecture. The author ascribes these differences to Dongetti\u27s reliance on the 17th century lstrian architecture and to his recollections of the Piran cathedral, where he had formerly been protomaster. The facad of the church has remained unfinished. From the slanting base the author draws the conclusion that the pilasters which are set on it should repeat the same themes, otherwise unrelated to the facade, not used in the architecture on Croatian coast of the Adriatic or in Venice and not belonging to the tradition of Palladian architecture. The same deviation from Palladian principles can also be seen in Naiber\u27s realization of architectonic plasticity in the interior of the same church