Ilustracije u glagoljskim knjigama biskupa Šimuna Kožičića Benje tiskanim u Rijeci (1530.–1531.)

The Glagolitic printing office in Rijeka was established by Bishop Šimun Kožičić Benja at the end of the year 1530 and in about six or seven months published six books in the Glagolitic script. As a group, these books contain six illustrations and a set of historiated Latin initials that connects them with contemporary Venetian publications and book design. By examining books printed in Venice during the first decades of the 16th century, the author has identified models for most of the illustrations and the initials printed by Kožičić. The illustrations used in books printed in Rijeka are analysed regarding their stylistic and iconographical features, and interpreted as carefully chosen elements of a visual program that reflects the idea of Kožičić’s publishing undertaking.Glagoljsku tiskaru u Rijeci osnovao je krajem 1530. godine biskup Šimun Kožičić Benja (oko 1460.–1536.). U svega šest ili sedam mjeseci u njoj je glagoljicom otisnuto šest naslova knjiga. Sva su izdanja ilustrirana barem inicijalima i označena tipografskim znakom Kožičićeve tiskare, a osobito je bogato ilustriran Misal hruacki. Misal sadrži pet ilustracija (Sveti Jeronim, Raspeće, Navještenje, Sveti Marko, Sveti Luka), jedan veći historizirani latinični inicijal te seriju od 13 historiziranih latiničnih inicijala koja je nadopunjena s pet glagoljskih inicijala iste veličine. Osim ilustracija iskorištenih u Misalu, tiskara je raspolagala još jednom ilustracijom, Sveti Šimun Bogoprimac koja je korištena kao naslovnica dvaju izdanja. Uzore za ilustracije prepoznajemo u više liturgijskih knjiga tiskanih u Veneciji tijekom prvih desetljeća 16. stoljeća i to u najvećoj mjeri u izdanjima LucAntonia Giunte (1457.– 1538.). Osim što potječu iz različitih izdanja, ilustracije su međusobno i stilski različite. Od pretežito renesansnih ilustracija odudara ona Sveti Šimun Bogoprimac u kojoj su se zadržali tragovi gotičkoga leksika. Preuzimanje uzora iz više izvora i zanemarivanje stilskih razlika ukazuje da su ilustracije, iako nisu čvrsto vezane uz tekstove, birane s namjerom. Razmatrane u kontekstu cjelovitoga vizualnog programa ilustracije Sveti Jeronim i Sveti Šimun Bogoprimac iskorištene na naslovnicama pružaju uporišta tumačenju Kožičićeve namjere da približi svoja izdanja suvremenoj praksi venecijanske produkcije knjiga. Likovi svetaca na naslovnicama s jedne strane identificiraju zajednicu kojoj su namijenjene, a s druge strane identificiraju autora teksta koji slijedi nakon njih. U tome smislu, lik sv. Jeronima ima funkciju ukazati na glagoljaško bogoslužje kao specifičan, ali integralan segment Rimokatoličke crkve te ujedno istaknuti tekstove u Misalu za koji je prvotno namijenjen kao nove prijevode prema Jeronimovoj Vulgati. Lik sv. Šimuna, kao imenjak biskupa Kožičića, na naslovnicu je dospio s funkcijom ilustriranja njegova autorstva izdanja. Kako se ova ilustracija nalazi na naslovnicama dviju knjiga, Psaltira (abecedarija) i Oficija (časoslova), prvotno je vjerojatno bila namijenjena Psaltiru koji Kožičić snažnije može predstaviti kao autorski rad od stabilnijih obrazaca molitvene knjige. Konačno, u ilustracijama s likovima tih dvaju svetaca uočavaju se političko-propagandne konotacije koje je Kožičić spretno iskoristio i kao reference na vlastitu ulogu u očuvanju i promicanju glagoljaške baštine

Compendium on (neo)liberalism

Kapitalizam bez izvjesnog liberalizma ne može. Ali, sudeći po kritikama, neoliberalizam je pretjerao i uvelike premašio okvire kapitalizmu „primjerenih sloboda“. Neoliberalizam oživljava klasičnu liberalnu sumnju u sposobnost države da upravlja ekonomijom. Averzija je prema „velikoj vladi“ i državnoj intervenciji, u neoliberalnoj eri, zadobila različite teorijske oblike. Monetarizam, teorija javnog izbora, racionalna očekivanja i ekonomika ponude svoje su sumnje u državnu intervenciju i njezinu učinkovitost izražavali na različite načine i zbog različitih razloga. Očito, vlada (država) jest nesavršena. Ali i tržište, priznaju to i liberali i neoliberali, jest nesavršeno. Tako će ovaj nesavršeni kapitalistički svijet i dalje nastojati „popraviti“ kako pristalice tzv. slobodnog tržišta, tako i zagovornici državne intervencije.Capitalism cannot exist without a certain degree of liberalism. However, according to critics, neoliberalism has gone too far and has exceeded the framework of “adequate freedom” of capitalism. Neoliberalism brings to life the classic liberal doubt about the ability of the state to manage the economy. Aversion to “great government” and state intervention has acquired different theoretical forms. Monetarism, public choice theory, rational expectations and supply economics have expressed their doubts about state intervention and its efficiency in different ways and for different reasons. Obviously, the government (state) is not perfect. However, the market is also not perfect, which is admitted by both liberals and neoliberals. Thus, there will be continued attempts by both supporters of so-called free market and supporters of state intervention to “fix” this imperfect, capitalist world

Ferdo Goglia’s restoration of the painting Susanna and the Elders from the Strossmayer Gallery: the process of protecting the painting and preserving its provenance

U sklopu projekta Istraživanje provenijencije umjetnina u zagrebačkim zbirkama (ZagArtColl_ProResearch) provedena je digitalizacija dijela muzejske dokumentacije Strossmayerove galerije. Među dokumentacijom o slici Suzana i starci detektirane su oznake za koje je uočeno da potječu s poleđine slike. Analizom dokumentacije o slici autor potvrđuje da ih je s poleđine uklonio Ferdo Goglia prilikom restauracije 1930. godine i taj je postupak prepoznat kao rani primjer skrbi za oznake s poleđina slika. Temeljem tih oznaka, a u sprezi s pisanim izvorima, rekonstruira provenijenciju slike tijekom 18. i 19. stoljeća i uspostavlja vezu s njemačkom vladarskom kućom Wittelsbach. U članku se, naposljetku, razmatra ikonografija i atribucija, pri čemu se upozorava na obimnu produkciju inačica iste kompozicije u okruženju Majstora izgubljenoga sina te na suvremena promišljanja modela majstora i radionice.In these parts, Ferdo Goglia (1869–1943) is considered the first qualified art restorer. He began his two-decade-long collaboration with the Strossmayer Gallery of Old Masters of the Croatian Academy of Sciences and Arts (HAZU) in 1920. During that period, he restored 177 paintings from the Gallery. He kept meticulous records of his own restorations, and although the notebook with data on restorations of paintings from the Strossmayer Gallery has been lost, we know about most of his restorations from later transcriptions. Among the works of art Goglia restored for the Gallery was the painting Susanna and the Elders The intervention included the restoration of the back of the painting. Goglia also removed the earlier markings from the back, probably due to the creation of new cradling, and stored them in an envelope with information about the painting. Thanks to this procedure, in which we recognize an early example of care for the markings on the backs of paintings, important clues for establishing the provenance of this painting have been preserved. The markings are two coats of arms and two labels with handwritten numbering. The two identical plaster coats of arms are casts of a wax seal, such as are often found on the backs of paintings. All the elements of the coat of arms indicate it belongs to the German ruling house of Wittelsbach, so this mark in itself links our painting to the collections on which the (pre)history of Munich\u27s Alte Pinakothek rests. One of the labels can be connected with the handwritten inventory and enables a closer identification of the painting within the Wittelsbach collection. An identical label was preserved on the back of the painting Nativity and Adoration of the Shepherds from the Strossmayer Gallery. Iva Pasini Tržec and Ljerka Dulibić thoroughly researched the history of this painting, exhaustively analysed the markings on its back and reconstructed painting’s earlier provenance. Comparative analysis of the labels with numbers that correspond to the numbers and descriptions of the paintings in the handwritten inventory Verzeichnis der A[nno] 1799 in der Churfürstl. Galerie zu München aufgestellten vorzüglichen Gemälde of 1799 provided further confirmation of the identification of the paintings within the Wittelsbach collection. During the 18th and 19th centuries, the Susanna and the Elders can be found in other handwritten inventories (1765) and the printed catalogues of the collection by Christian von Mannlich (1810) and by Johann Georg von Dillis (1831), when it was located in the Hofgartengalerie in Munich, and the Schleißheim Palace (Neue Schloss) near Munich. In the mid-19th century, it was included in the sale of art from the royal collection known as the Schleißheimer Versteigerung (1852), and it was then bought by a certain Erdmansdorfer. After it was sold, the location of the Susanna and the Elders was undisclosed for the next two decades, when it was added to the collection of Bishop Josip Juraj Strossmayer. Although we do not know the exact moment it was acquired, the painting came into the bishop\u27s possession (shortly) before February 1872, when it was mentioned in one of Strossmayer\u27s letters as one of the newly-acquired works of art. During the 18th and 19th centuries and the first half of the 20th, the painting was attributed to the Antwerp painter Frans Floris (1519/20–1570). In the early 1960s, Grgo Gamulin attributed it to a contemporary of Floris, Master of the Prodigal Son, an attribution that is still valid today. The notname ‘Master of the Prodigal Son’ was given by Georges Hulin de Loo in 1909 after a painting at the Kunsthistorisches Museum in Vienna, and subsequent attempts at identification of the artist have not been successful. The still-unidentified painter – or, according to recent interpretations, group of painters – were active in Antwerp from the 1530s to the 1560s, and they supplied the market with numerous versions of popular compositional solutions. The workshop of the Master of the Prodigal Son produced several versions of the Old Testament story of Susanna and the elders, known mostly from several copies of varying quality. Among them, the composition of our painting exists in several fairly similar versions, filled with references to the Italian Renaissance, as well as ancient art and motifs that deepen the iconography of the theme. Including the painting from the Strossmayer Gallery, we know of five versions and one fragment that were or are attributed to the Master of the Prodigal Son and another version attributed to a follower of Jan Massijs (1509–1575), a painter who was also active in Antwerp. The group of figures and the fountain in the foreground are largely identical, while the differences are primarily noticeable in the depiction of the landscape in the background. Taking into account their similarities and differences, the painting from the Strossmayer Gallery is the closest to the two examples recorded in the first half of the 20th century in Munich and Berlin. Due to the existence of several very similar versions, the markings that closely link our painting to a very specific context are an indispensable material confirmation for the well-founded establishment of its provenance, and a reliable argument for linking the Susanna and the Elders from the Strossmayer Gallery with the sources of the Bavarian collection