CONTRIBUTO ALLA CONOSCENZA DEI LIBRI DI PREGHIERE DI DUBROVNIK DEL XV SECOLO

U radu se obrađuju dva molitvenika dubrovačkog podrijetla, Vatikanski hrvatski molitvenik i Dubrovački akademijin molitvenik, u povijesno-umjetničkom kontekstu. Posebna pozornost posvećena je analizi stila i ikonografije minijatura naslikanih u njihovim inicijalima.In questo scritto vengono trattati due antichi libri di preghiere di Dubrovnik, scritti nell’alfabeto latino e nel dialetto štokavo. La nascita del primo si colloca aprossimativamente nel 1400, dell’altro attorno al 1450. Etrambi appartengono al genere di liturgia delle ore e comprendono: l’ufficio della Beata Vergine Maria, l’ufficio dei morti, l’ufficio dello Spirito Santo, salmi penitenziali, salmi graduali e un gruppo di preghiere. Oltre a quelle menzionate, i due libri contengono alcune preghiere che attirarono l’attenzione di diversi linguisti croati. Nella bibliografia specifica i due libri sono identificati come: il cosi detto Vatikanski hrvatski molitvenik (libro di preghiere croato nel Vaticano) e il libro cosi detto Akademijin dubrovački molitvenik (libro di preghiere di Dubrovnik nella ‘Accademia croata delle Scienze e delle Arti); sono ornati con le iniziali e le immagini dei santi, opere di artisti sconosciuti. L’autrice considera questi due testi in un contesto artistico-storico, e presta una particolare attenzione all’analisi dello stile e dell’iconografia delle figure dei santi dipinte nelle iniziali. Non essendo possibile arrivare ai nomi degli artisti, autori delle iniziali, servendosi degli archivi o di un’analisi stilistica, l’autrice propone di nominarli con dei nomi: il Maestro delle iniziali de il libro Vatikanski hrvatski molitvenik , il Maestro delle iniziali de Il libro Akademijin dubrovački molitvenik

BREEDING AND TRAINING OF ENGLISH COCKER SPANIEL

Engleski koker španijel najpopularniji je i jedan od najstarijih španijela. Spada u VIII. FCI skupinu – Retriveri (donasači), dizači divljači (šunjkavci), psi za vodu. Iako je lovački pas, često je i kućni ljubimac. Živahan je, snažan i ima jak kostur. Visina kod mužjaka od 39 do 40 cm, a u ženke od 38 do 39 cm. Ne smije biti viči od 41 cm. Uške su mu vrlo dugačke i prekrivene mekanom dlakom. Najčešće je crne ili smeđe boje. Jednobojan može imati bijele oznake na grudima. Ima ih i žute, narančastih i crvenih boja. Mogu biti i šareni, dvobojni i trobojni. Okretan je, pametan, vjeran i odan. Posebna mu je odlika živahan temperament. Neumorno radi u lovu, pronalazi, hvata i donosi pernatu ili dlakavu divljač, bez obzira je li je mrtva ili ranjena i sposobna bježati. Mora proći posebnu obuku da bi ostao u radu na domet puške. Za dizače se priređuju utakmice, kao i za sve druge lovačke pse. Posebno se ispituju mladi, a i stariji psi na utakmicama na kojima se ispituju samo urođena svojstva, dok se za izvježbane pse priređuje svestrana utakmica, na kojoj pas mora pokazati da je uistinu svestrano upotrebljiv za sitnu i krupnu divljač. Njega pasa se sastoji u čišćenju njegove kože i dlake, kupanju, uočavanju eventualnih ozljeda, čišćenju ušiju i očiju, odsijecanju noktiju i skidanju zubnog kamenca. Budući da naginje debljanju, treba ga pažljivo hraniti; dnevno 200 do 250 g mesa, 60 do 80 g riže te kuhanog povrća. Njegova dlaka traži često četkanje, a osjetljive oči i uši zahtijevaju dobru njegu da ne dođe do upale i da se ne nastane krpelji i nakupe traveOne of the oldest spaniels and most popular is and english cocker spaniel. It belongs in VIII. FCI group – retrievers (bringers), setter game, water dogs. It is known that every house in Although he is a hunting dog, he has also became a house pet. He is very active, cheery and strong, with a strong skeleton. Height of an average male is 39-40 centimeters, and of an average female 38-39 cm. He must not be taller than 41 cm. His ears are very long and covered with soft hair. Usually he is solid black or brown color but there are specimens of yellow, orange, red color even multicolored (two or three colors). If he is of one color, he can have white marks on his chest. He is agile, intelligent, faithful and loyal. One of his most distinctive feature is his active and perky temperament. In the hunt works tirelessly, finds, catches and brings feathered or hairy venison whether dead or wounded and able to flee. He has to be put through a special train in order to be accustomed to a gunshot. Matches are also being organized for a setter game dogs as well as for all other hunting dogs. The young dogs are specially being tested as well as the older dogs for innate properties while there is a versatile match for trained dogs in which the dog has to prove itself usable for both small and big venisons. Dog care consists of cleaning his skin and hair, bathing, spotting potential injuries, ear and eye cleaning, nail clipping and removal of dental scale. Since it tends to gain weight, it should be carefully fed, 200-250 g of meat a day, 60 to 80 g of rice and cooked vegetables. His coat requires brushing often and sensitive eyes and ears require good care to avoid infection and to prevent ticks and accumulations of grass

Effect of light stress on photosynthesis

Biljke proizvode svoju vlastitu energiju i organske spojeve procesom fotosinteze pretvarajući svjetlosnu energiju u kemijsku. Iako fotosinteza zahtijeva sunčevu svjetlost, ona u prirodnim uvjetima može imati negativan učinak na fotosintetske reakcije zbog stalne promjene intenziteta svjetlosti. Zbog toga su biljke razvile različite mehanizme odgovora na promijenjene svjetlosne uvjete u okolišu, od gibanja listova i kloroplasta do prilagodba na molekularnoj razini u kojima sudjeluju proteini fotosintetskog aparata. Ovisno o količini i kvaliteti svjetlosne energije, dolazi do razvoja kloroplasta specifičnih za visoki intenzitet svjetlosti ili kloroplasta specifičnih za niski intenzitet svjetlosti. S druge strane, ako je reduciran veliki udio molekula plastokinona, nije moguć prijenos elektrona između fotosistema II i I pa elektroni mogu „pobjeći“ i reagirati s kisikom pri čemu nastaje singletni kisik koji uzrokuje oksidacijski stres i oštećuje fotosintetski aparat. Zbog toga se u biljaka povećava količina karotenoida koji djeluju kao antioksidansi i mogu zaštititi klorofil od fotooksidacije do koje dolazi zbog povećane količine reaktivnih oblika kisika. Osim toga dolazi i do indukcije ksantofilatskog ciklusa te sinteze fenolnih spojeva, tanina, flavonoida i antocijana. Reaktivni oblici kisika imaju i ulogu signalnih molekula kada je biljka izložena svjetlosnom stresu. Polipeptid D1 u PSII je glavna meta oštećenja induciranih svjetlošću. D1 polipeptid se brzo degradira i zamjenjuje novosintetiziranom kopijom kako bi se omogućilo normalno funkcioniranje PSII. Možemo zaključiti da biljka kako bi se uspješno prilagodila uvjetima u okolišu mora uspješno odgovoriti na veliki broj različitih signala iz okoliša. U taj je proces uključeno nekoliko različitih mehanizama kao i koordinirana ekspresiju gena iz jezgrinog i plastidnog genoma.Plants produce their own energy and organic compounds through photosynthesis, converting light energy into chemical energy. Although photosynthesis requires sunlight, the changes of light intensity in nature - from low to high light, may have a negative effect on photosynthesis reactions. As a result, plants have developed different response mechanisms to changing light conditions - from leaves and chloroplasts movements to adjustments at the molecular level. Depending on the intensity and quality of light, plants develop chloroplasts specific for high light intensity or chloroplasts specific for low light conditions. Moreover, if the high portion of plastocyanin molecules are in reduced form, the transfer of electrons between photosystems II and I is disturbed, so the electrons can "escape" and react with oxygen to form singlet oxygen which can cause oxidative stress and damage photosynthetic apparatus. In such conditions, the increased amounts of carotenoid molecules act as antioxidants and protect the chlorophyll from photo-oxidation that occurs due to the increase of reactive forms of oxygen. In addition, the induction of xanthophyll cycle and synthesis of phenolic compounds, tannins, flavonoids and anthocyanins occurs. Reactive oxygen species may have the role of signalling molecules during the exposure of plants to light stress. Polypeptide D1 in PSII is the main target of photo-induced damage. It is rapidly degraded and replaced by a newly synthesized copy to allow the normal functioning of the PSII. It could be concluded that the plant, in order to successfully adapt to the environmental light conditions, must respond to a number of different signals from the environment. In this process a number of different mechanisms such as coordinated expression of the plastid genome and the nuclear genome are included

In Search of the Historic, Cultural and Artistic Identity of the Schiavoni Artists: Vignettes from the History of Their Reception in the Sixteenth and Seventeenth Centuries

Autorica pokazuje kako su uz trojicu poznatih likovnih umjetnika Schiavona, Andreu Meldolu (Andriju Medulića), Nicolu dell\u27Arca i Julija Klovića, u historiografiji i književnosti XVI. i XVII. stoljeća bili povezivani neki od identitetskih stereotipa koji su se i inače tada u književnosti i historiografiji povezivali uz Slavene, Ilire, Dalmatince, Morlake i Hrvate. Primjerice, kvalifikativ „barbarski“ koji se u bolonjskoj historiografiji XVI. st. povezuje uz Nicolu dell\u27Arca, predstavlja jednu od takvih nekoć uvriježenih stereotipnih skjavonskih karakteristike. U prvom dijelu rada autorica se bavi interpretacijama hrvatskog i makedonskog identiteta (porijekla) slavnoga minijaturiste Julija Klovića u XVI. st., u djelima Klovićevih suvremenika poput Giorgia Vasarija i Francisca de Holande, te tijekom XIX. i XX. st, u radovima Ivana Kukuljevića Sakcinskoga, Ivana Goluba i Milana Pelca. Posebna se pažnja posvećuje danas dominantnoj hipotezi da bi „makedonstvo“ Julija Klovića moglo biti izmišljeno s ciljem posvjedočenja njegove umjetničke i rodne ukorijenjenosti u antičko tlo. U drugom se dijelu obrađuju zapisi o Andrei Meldoli i Nicoli dell\u27Arca u djelima talijanskih historiografa Girolama Borsellija, Cherubina Cherardaccija, Carla Ridolfija i Marca Boschinija, koji su pokušavali stilske specifičnosti kod ove dvojice umjetnika tumačiti kao posljedicu njihovog genotipa i fenotipa. Autorica se posebice osvrće na pojavu ideologema o barbarskom karakteru Nicole dell\u27Arca u zapisima Girolama Borsellija (kraj XV. st.) i Cherubina Cherardaccija (XVI. st.).The author of the paper demonstrates how sixteenth- and seventeenth-century historiography applied a number of identity stereotypes which were linked to the Slavs, Dalmatians, Illyrians, Morlachs, and Croats in contemporary literature and scholarship to three well-known Schiavoni artists: Andrea Meldola (Andrija Medulić), Niccoló dell’Arca and Giulio Clovio (Julije Klović). For example, the qualifier ‘barbaric’, used to denote the work of Niccoló dell’Arca in sixteenth-century historiography from Bologna, represents one of the stereotypical characteristics about the Schiavoni which were frequent at the time. The first part of the article focuses on sixteenth-century interpretations of the Croatian and Macedonian identity (origin) of the famous painter of miniatures, Giulio Clovio (Julije Klović) in the works of his contemporaries such as Giorgio Vasari and Francisco de Holanda, followed by those in the nineteenth- and twentieth-century works of Ivan Kukuljević Sakcinski, Ivan Golub and Milan Pelc. Particular attention is given to the currently prevailing hypothesis that the Macedonian origin of Giulio Clovio (Julije Klović) might have been invented with the aim of testifying to his artistic and ancestral rootedness in the classical world. The second part of the article deals with records about Andrea Meldola and Niccoló dell’Arca in the writings of Italian historiographers Girolamo Borselli, Cherubino Cherardacci, Carlo Ridolfi and Marco Boschini, all of whom tried to interpret specific stylistic features in the works of these two artists as a consequence of what one can call their genotype and phenotype. The author of the article draws particular attention to the appearance of the ideologeme concerning the barbaric character of Niccoló dell’Arca in the records of Girolamo Borselli (late fifteenth century) and Cherubino Cherardacci (sixteenth century)

A CONTRIBUTION TO OUR KNOWLEDGE ABOUT THE POLYPTYCH OF MADONNA WITH THE CHILD FROM THE ISLAND OF KOLOČEP

Na temelju stilsko-komparativne analize opovrgava se atribucija poliptiha iz crkve sv. Ante Opata na Koločepu dubrovačkomu gotičkom slikaru Ivanu Ugrinoviću kao i njegova datacija u 1434. godinu. Ukazuje se na mogućnost da bi koločepski poliptih mogao biti djelo zasada nepoznatog slikara oblikovanog na slikarstvu Paola i Lorenza Veneziana, djelatnog u drugoj polovini XIV. stoljeća, a najvjerojatnije između druge trećine i kraja tog stoljeća.In this article author discusses attribution problem regarding the polyptych from the church of St. Anthony Abbot on the island of Koločep. Until recently this piece of art was attributed to Ivan Ugrinović, gothic painter from Dubrovnik. Moreover, literature maintained that this polyptych was painted in 1434. On the basis of thorough stylistic and comparative analysis, author disputes this and suggests that this polyptych could be work of unknown artist from Venice, or a painter who was infl uenced by Paolo and Lorenzo Veneziano. Moreover, author proposes that this painter was active in the second half ofthe fourteenth century and that the polyptych was probably painted in the last quarter of the same century. Furthermore, author examines published sources about Ivan Ugrinović, and provides a complete transcription of an unpublished document that is presently kept in the State Archives in Dubrovnik

In Search of the Historic, Cultural and Artistic Identity of the Schiavoni Artists: Vignettes from the History of Their Reception in the Sixteenth and Seventeenth Centuries

Autorica pokazuje kako su uz trojicu poznatih likovnih umjetnika Schiavona, Andreu Meldolu (Andriju Medulića), Nicolu dell\u27Arca i Julija Klovića, u historiografiji i književnosti XVI. i XVII. stoljeća bili povezivani neki od identitetskih stereotipa koji su se i inače tada u književnosti i historiografiji povezivali uz Slavene, Ilire, Dalmatince, Morlake i Hrvate. Primjerice, kvalifikativ „barbarski“ koji se u bolonjskoj historiografiji XVI. st. povezuje uz Nicolu dell\u27Arca, predstavlja jednu od takvih nekoć uvriježenih stereotipnih skjavonskih karakteristike. U prvom dijelu rada autorica se bavi interpretacijama hrvatskog i makedonskog identiteta (porijekla) slavnoga minijaturiste Julija Klovića u XVI. st., u djelima Klovićevih suvremenika poput Giorgia Vasarija i Francisca de Holande, te tijekom XIX. i XX. st, u radovima Ivana Kukuljevića Sakcinskoga, Ivana Goluba i Milana Pelca. Posebna se pažnja posvećuje danas dominantnoj hipotezi da bi „makedonstvo“ Julija Klovića moglo biti izmišljeno s ciljem posvjedočenja njegove umjetničke i rodne ukorijenjenosti u antičko tlo. U drugom se dijelu obrađuju zapisi o Andrei Meldoli i Nicoli dell\u27Arca u djelima talijanskih historiografa Girolama Borsellija, Cherubina Cherardaccija, Carla Ridolfija i Marca Boschinija, koji su pokušavali stilske specifičnosti kod ove dvojice umjetnika tumačiti kao posljedicu njihovog genotipa i fenotipa. Autorica se posebice osvrće na pojavu ideologema o barbarskom karakteru Nicole dell\u27Arca u zapisima Girolama Borsellija (kraj XV. st.) i Cherubina Cherardaccija (XVI. st.).The author of the paper demonstrates how sixteenth- and seventeenth-century historiography applied a number of identity stereotypes which were linked to the Slavs, Dalmatians, Illyrians, Morlachs, and Croats in contemporary literature and scholarship to three well-known Schiavoni artists: Andrea Meldola (Andrija Medulić), Niccoló dell’Arca and Giulio Clovio (Julije Klović). For example, the qualifier ‘barbaric’, used to denote the work of Niccoló dell’Arca in sixteenth-century historiography from Bologna, represents one of the stereotypical characteristics about the Schiavoni which were frequent at the time. The first part of the article focuses on sixteenth-century interpretations of the Croatian and Macedonian identity (origin) of the famous painter of miniatures, Giulio Clovio (Julije Klović) in the works of his contemporaries such as Giorgio Vasari and Francisco de Holanda, followed by those in the nineteenth- and twentieth-century works of Ivan Kukuljević Sakcinski, Ivan Golub and Milan Pelc. Particular attention is given to the currently prevailing hypothesis that the Macedonian origin of Giulio Clovio (Julije Klović) might have been invented with the aim of testifying to his artistic and ancestral rootedness in the classical world. The second part of the article deals with records about Andrea Meldola and Niccoló dell’Arca in the writings of Italian historiographers Girolamo Borselli, Cherubino Cherardacci, Carlo Ridolfi and Marco Boschini, all of whom tried to interpret specific stylistic features in the works of these two artists as a consequence of what one can call their genotype and phenotype. The author of the article draws particular attention to the appearance of the ideologeme concerning the barbaric character of Niccoló dell’Arca in the records of Girolamo Borselli (late fifteenth century) and Cherubino Cherardacci (sixteenth century)

PORTRAITS OF THE FARNESE FAMILY ON JULIJE KLOVIC\u27S MINIATURES?

Na minijaturi hrvatskog minijaturista Julija Klovića Krist podučava apostole u lekcionaru Towneley (fo. 6v) iz Public Libary u New Yorku autorica prepoznaje likove vojvode Piera Luigija Farnesea i njegove djece Vittorije, Orazija, Ottavjia, Alessandra i Ranuccija. Na temelju usporedbe s njihovim sačuvanim portretima i na osnovu identifikacije tih historijskih ličnosti predlaže godinu 1547. kao hipotetični "terminus post quem" za dataciju ove iluminacije.In the miniature representing Christ teaching the Apostles by the Croatian miniature artist Julije Klović and included in the Towneley lectionary (fo. 6v) the author identifies the figures of Prince of Parma and Piacenza Pier Luigi Farnese and his children Vittoria, Orazio, Ottavio, Alessandro and Ranucci. After comparing the figures on the miniature with surviving portraits and contemporary written descriptions of these historical personages, she proposes the year 1547. as a hypothetical terminus post quem for the dating of this illumination

REFLECTION OF A RIGHTEOUS MERCHANT: TESTIMONY AND DIALOGUE ON THE VIRTUES FROM THE BUĆE CODEX

U radu se analiziraju dva teksta koji se nalaze u kodeksu kotorskog porijekla datiranom u 1466. godinu, što se pod nazivom Cod. marc. It. XI, 196(=7577), Scritture varie di argomento religioso, Nr. 7577 čuva u Biblioteci Marciani u Veneciji.This paper discusses two texts that are preserved in the codex, which is kept in Biblioteca Marciana in Venice under the signature Cod. marc. It. XI, 196(=7577), Scritture varie di argomento religioso, Nr. 7577. The manuscript originates from Kotor and it is consisted of 134 folios. It contains 38 miniatures representing allegories of various virtues and vices, some scenes from the Purgatory of St. Patrick and some depictions from the life of St. Triphon. These illuminations are attributed to the local Dubrovnik-Kotor painter Lovro Dobričević and the artisans’ circle around him. The main points of this contribution are analysis and transcription of two (out of five) texts from the codex. The first part of this article contains analysis of the few first pages (ff. 1r-9v), which »working name« in historiography is the Tractate on vices, and it is basically a text with the testimonial character. Consequently, in the second part of this article author discusses Tractate on virtues (ff. 4r-61v). In her analysis author investigates possibilities of interpretation of the aforementioned texts in the context of the entire codex, especially regarding the preserved illuminations

A CONTRIBUTION TO OUR KNOWLEDGE ABOUT SERIES OF PICTURES DEVOTED TO ST SIMEON IN THE CHURCH OF ST SIMEON IN ZADAR

U radu se analizira ciklus kasnobaroknih slika posvećen sv. Šimi iz crkve sv. Šime u Zadru, koji je naslikan temeljem narudžbe zadarskoga nadbiskupa Vicka Zmajevića. Komparativna ikonografska analiza motiva iz zadarske historiografije o sv. Šimi prikazanih na spomenutom ciklusu otkriva ne samo onodobne historiografsko-teološke nego i političke narative. Ona pokazuje u kojoj je mjeri takva specifična vrst sakralnog slikarstva posvećena štovanju komunalnih svetaca zaštitnika bila medij pomoću kojega su dalmatinski nadbiskupi propagirali državne i komunalne političke ideje.Author analyzes iconography of late baroque series of pictures devoted to St Simeon from the church of St Simeon in Zadar. All these pictures were painted for Vicko Zmajević the archbishop oz Zadar. Iconographic analysis begins with recognition of all the motifs from the history about Zadar that can be related to the cult of St Simeon and depicted on the certain pictures. The purpose of this step is identification of the contemporaneous historical, theological, and political narratives included in the depiction of St Simeon. Thanks to this series of pictures, ordered and designed by Vicko Zmajević, all the coming believers could easily »in vivo« imagine all the important events from the saint’s life, as well as to associate them with well known stories about history of relation between Zadar and the St Simeon’s relics. Namely, archbishop Zmajević was quite aware of local tradition and history »communicative« powers regarding the relics and church of St Simeon in the Diocese of Zadar, and its importance for the capital of the Venetian Dalmatia. Pictures portray a realistic image of the St Simeon church’s apse, together with his chest, which are symbolically incorporated with St Simeon’s cultural and historical significance within local historiography. In this respect, this series of pictures is undoubtedly important to understand political and religious accordance regarding the saint’s relics in Zadar during the time of Vicko Zmajević. Exactly this point proves cultural importance of this series of pictures