- Art History, Architectural History, Architectural Theory, History of Architectural Representation, Italian Renaissance Architectural History, Venetian art and architectural history, and 21 moreRenaissance antiquarianism, Andrea Palladio, Renaissance Studies, Italian Renaissance Art, Classical Reception Studies, The Classical Tradition, Architecture in Italian Renaissance and Baroque Art, Antiquarianism in the eighteenth century, History of architecture, Baroque art and architecture, History of Construction, Cultural Intermediaries In The Early Modern Mediterranean, 16th century Venice, St Jerome, Republic of Venice, Venetian History, Renaissance Rome, Renaissance Humanism, Medieval Dubrovnik (Ragusa), Southeastern Europe in the Middle Ages, and Guerra, Giovanniedit
- Jasenka Gudelj obtained a PhD in History of Architecture (School for Advanced Studies Venice – Ca’ Foscari&IUAV) in 2... moreJasenka Gudelj obtained a PhD in History of Architecture (School for Advanced Studies Venice – Ca’ Foscari&IUAV) in 2008. She has done research and taught at the University of Zagreb (2000-2020), University of Pittsburgh (2009) and the Bibliotheca Hertziana - Max-Planck Institute for Art History (2012).
From 2020 Gudelj is PI of ERC Consolidator project “AdriArchCult - Architectural Culture of the Early Modern Eastern Adriatic”, which examines political, religious, cognitive and practical sphere of the architectural culture of the Eastern Adriatic Coast between 15th and 18th c..
Between 2015 and 2018, she was PI of the research project “Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe” funded by Croatian Scientific Foundation. She participated in several international research projects, such as “Roma communis patria – chiese nazionali a Roma” (PI Susanne Kubersky-Piredda, Bibliotheca Hertziana, Rome) and “Portable antiquities” (PI Alina Payne, Harvard University), both funded by Max-Planck Foundation.
Her work focuses mainly on the history of architecture of the Adriatic region from a comparative perspective. Her book, "Europska renesansa antičke Pule (European Renaissance of the Ancient Pula)" (Zagreb, 2014), winner of the Croatian national scientific prize for 2014, explores the critical fortune of antiquities of Pula in the Renaissance. Her other publications include a co-authored volume on the Renaissance Cres/Cherso, four edited volumes and numerous articles on the circulation of architectural knowledge, its media and networks.edit
Tijekom povijesti žene su na različite načine aktivno sudjelovale u stvaranju, čuvanju i vrednovanju djela likovnih i drugih umjetnosti te arhitekture, i to kao autorice, naručiteljice, kolekcionarke, kustosice, restauratorice i... more
Tijekom povijesti žene su na različite načine aktivno sudjelovale u stvaranju, čuvanju i vrednovanju djela likovnih i drugih umjetnosti te arhitekture, i to kao autorice, naručiteljice, kolekcionarke, kustosice, restauratorice i konzervatorice, povjesničarke i teoretičarke. Nadalje, specifično su za njih stvarani prostori i zdanja, likovna, književna i glazbena djela. S obzirom da je, uz iznimku nekoliko pionirskih studija, takva aktivna uloga žene često ostajala neprepoznata ili je pak bila namjerno marginalizirana u znanstvenom istraživanju područja jugoistočne Europe, ovaj je zbornik, pored toga što nudi uvid u stanje istraživanja u trećem desetljeću 21. stoljeća, svakako tek poticaj za razmatranje novih pristupa i priloga temi.
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This book discusses the architectural and artistic culture during a particularly fortunate period in the history of the eastern-Adriatic town of Cres (Cherso) from the mid-15th until the mid-17th century, after it became the seat of the... more
This book discusses the architectural and artistic culture during a particularly fortunate period in the history of the eastern-Adriatic town of Cres (Cherso) from the mid-15th until the mid-17th century, after it became the seat of the northernmost insular county of the Venetian Dalmatia. Cres took over the role of the seat of both Venetian rector and the bishop who previously dwelled in the ancient Osor (Ossero), now left out from the naval routes and infested with malaria.This translatio imperii instigated the demographic expansion of Cres and the subsequent arrival of both builders and commissioners, protagonists of this study.
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This special issue of Il Capitale Culturale. Studies on the Value of Cultural Heritage contains proceedings of the conference Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in... more
This special issue of Il Capitale Culturale. Studies on the Value of Cultural Heritage contains proceedings of the conference Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective (Zagreb, Faculty of Humanities and Social Sciences, University of Zagreb, 30-31 May 2017) organized by the HRZZ research project Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe (15th - 18th c.)
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities or founded colleges for students based on common origin and language. These institutions played a vital role in the construction of the image of the whole immigrant community and its visibility and recognition in the cosmopolitan urban contexts such as Venice, Rome, Bologna or Ancona, as well as in smaller centers of the Marche region. Moreover, they represent important hubs of exchange of ideas and knowledge both in Italy and with places of origin.
The volume aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities or founded colleges for students based on common origin and language. These institutions played a vital role in the construction of the image of the whole immigrant community and its visibility and recognition in the cosmopolitan urban contexts such as Venice, Rome, Bologna or Ancona, as well as in smaller centers of the Marche region. Moreover, they represent important hubs of exchange of ideas and knowledge both in Italy and with places of origin.
The volume aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.
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The European Renaissance of Ancient Pula is the first comprehensive study devoted to the Renaissance critical fortune of the antiquities of Pula, Croatia, demonstrating it to have been a phenomenon on a European scale.
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Books on architecture in the Rare books collection of the National and University Library in Zagreb
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Nasljednik slavne dinastije arhitekata porijeklom iz Ticina, Carlo Fontana (Rancate 1638. - Rim 1714.) bio je protagonist rimske i europske arhitektonske scene kasnoga baroka. Oslobođeni podložnosti naručiteljima i morfološkim... more
Nasljednik slavne dinastije arhitekata porijeklom iz Ticina, Carlo Fontana (Rancate 1638. - Rim 1714.) bio je protagonist rimske i europske arhitektonske scene kasnoga baroka. Oslobođeni podložnosti naručiteljima i morfološkim konvencijama svog doba, projekti Carla Fontane kreću se od predmeta za kućnu upotrebu i interijera do javne, sakralne i vojne arhitekture, i sve do složenih urbanih i regionalnih infrastukturnih planova.
Autori fotografija zastupljeni na izložbi (među kojima su Paolo Portoghesi, Oscar Savio, Eljor Kerciku, Bernardo Corsetti, Francesco Pipoli i brojni drugi) interpretiraju najvažnija Fonanina rimska djela, ilustrirajući njohov odnos prema gradu i prema sjeni povijesti. Stoga su ove slike Rima i arhitekture Carla Fontane novost i za one kojima su mjesta prikazana kroz objektiv fotoaparata dobro poznata.
Erede di una celebre dinastia di architetti ticinesi, Carlo Fontana (Rancate 1638-Roma 1714) fu il protagonista della scena architettonica romana ed europea al crepuscolo del barocco. Svincolati dalla soggezione dei committenti e dalle convenzioni morfologiche e tipologiche del suo tempo, i progetti di Carlo Fontana si dispiegano dai manufatti di uso domestico, agli interni, all’architettura civile, religiosa e militare, fino alle più impegnative infrastrutture urbane e territoriali.
I diversi autori delle fotografie in mostra (tra i quali Paolo Portoghesi, Oscar Savio, Eljor Kerciku, Bernardo Corsetti, Francesco Pipoli e tanti altri ancora) interpretano le maggiori opere romane di Fontana, illustrandone il loro rapporto intimo con la città e con l’ombra della storia. Per questo l’immagini di Roma e dell’architettura di Carlo Fontana sono nuove anche per chi ha familiarità con i luoghi riprodotti dall’obiettivo fotografico.
Autori fotografija zastupljeni na izložbi (među kojima su Paolo Portoghesi, Oscar Savio, Eljor Kerciku, Bernardo Corsetti, Francesco Pipoli i brojni drugi) interpretiraju najvažnija Fonanina rimska djela, ilustrirajući njohov odnos prema gradu i prema sjeni povijesti. Stoga su ove slike Rima i arhitekture Carla Fontane novost i za one kojima su mjesta prikazana kroz objektiv fotoaparata dobro poznata.
Erede di una celebre dinastia di architetti ticinesi, Carlo Fontana (Rancate 1638-Roma 1714) fu il protagonista della scena architettonica romana ed europea al crepuscolo del barocco. Svincolati dalla soggezione dei committenti e dalle convenzioni morfologiche e tipologiche del suo tempo, i progetti di Carlo Fontana si dispiegano dai manufatti di uso domestico, agli interni, all’architettura civile, religiosa e militare, fino alle più impegnative infrastrutture urbane e territoriali.
I diversi autori delle fotografie in mostra (tra i quali Paolo Portoghesi, Oscar Savio, Eljor Kerciku, Bernardo Corsetti, Francesco Pipoli e tanti altri ancora) interpretano le maggiori opere romane di Fontana, illustrandone il loro rapporto intimo con la città e con l’ombra della storia. Per questo l’immagini di Roma e dell’architettura di Carlo Fontana sono nuove anche per chi ha familiarità con i luoghi riprodotti dall’obiettivo fotografico.
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Proceedings from the conference Dani Cvita Fiskovića 2012
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Između teorije i prakse: redovnici-arhitekti i tiskane knjige o arhitekturi u kontekstu samostanske kulture ranomodernoga istočnog Jadrana ( Between theory and practice: monks-architects and printed books about architecture in the context of monastic culture of the early modern eastern Adriatic)more
A partial insight into holdings of Dominican and other monastic libraries on the eastern Adriatic coast shows that early modern titles in the field of architecture and related disciplines are very present, which reflects not only the... more
A partial insight into holdings of Dominican and other monastic libraries on the eastern Adriatic coast shows that early modern titles in the field of architecture and related disciplines are very present, which reflects not only the cultural horizon of friars as clients and teachers but also a broader insight into the circulation of knowledge and the intellectual potential of the entire region. Furthermore, these collections of books provided professional support to friars-architects who were also recorded in Dubrovnik in the seventeenth century. Among them stands out the Dominican architect Tommaso Maria Napoli, author of two theoretical works on architecture. During the nine years in Dubrovnik, as was the tradition of the monastery of Palermo from which he came, Napoli probably taught architecture to local masters, and perhaps to some friars.
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The book Woman in Architecture by Srebrenka (Sena) Sekulić- Gvozdanović was published in 1998 by the Association of Croatian Architects as a kind of historical demonstration of the existence of female creativity in architecture, and even... more
The book Woman in Architecture by Srebrenka (Sena) Sekulić-
Gvozdanović was published in 1998 by the Association of Croatian
Architects as a kind of historical demonstration of the existence of female
creativity in architecture, and even in the global context it remains a
rare attempt of such research in an exceptionally wide temporal and
geographical framework. The book had a very long gestation period, as
it is based on a series of texts published in the mid-1970s and 1980s
in a professional architectural journal, Čovjek i prostor, but also in
a magazine intended for an educated female audience, Žena - journal
for scientific, social and cultural issues of the place and role of women
and families in society, published by the Croatian Women’s Union.
Moreover, Sekulić-Gvozdanović’s work on the female side of the history
of architecture coincided with the peak of her academic career, as she
was one of the key educators in the history of architecture at the Faculty
of Architecture of the University of Zagreb from the early post-war years until the late 1980s, even becoming the first female dean. When
the book was finally published in 1998, it became part of a series of
books on the Croatian architectural canon of the second half of the
20th century.
Its long preparation and erudite style made the book, when it finally
appeared, a somewhat outdated undertaking, but at the same time it
should be recognised as pioneering for its subject and its transversal
approach to issues such as the lack of historical sources, women’s
participation in the design of space before the emergence of professional
(female) architects, research on female patrons and users of buildings,
as well as the diagnosis of contemporary and historical gender and
professional relations. Finally, the book and its author are part of
mapping of the Croatian architectural sphere in the context of socialist
Yugoslavia, given its impact on the historiographic narrative and
influence on the Croatian public and academic domains.
Gvozdanović was published in 1998 by the Association of Croatian
Architects as a kind of historical demonstration of the existence of female
creativity in architecture, and even in the global context it remains a
rare attempt of such research in an exceptionally wide temporal and
geographical framework. The book had a very long gestation period, as
it is based on a series of texts published in the mid-1970s and 1980s
in a professional architectural journal, Čovjek i prostor, but also in
a magazine intended for an educated female audience, Žena - journal
for scientific, social and cultural issues of the place and role of women
and families in society, published by the Croatian Women’s Union.
Moreover, Sekulić-Gvozdanović’s work on the female side of the history
of architecture coincided with the peak of her academic career, as she
was one of the key educators in the history of architecture at the Faculty
of Architecture of the University of Zagreb from the early post-war years until the late 1980s, even becoming the first female dean. When
the book was finally published in 1998, it became part of a series of
books on the Croatian architectural canon of the second half of the
20th century.
Its long preparation and erudite style made the book, when it finally
appeared, a somewhat outdated undertaking, but at the same time it
should be recognised as pioneering for its subject and its transversal
approach to issues such as the lack of historical sources, women’s
participation in the design of space before the emergence of professional
(female) architects, research on female patrons and users of buildings,
as well as the diagnosis of contemporary and historical gender and
professional relations. Finally, the book and its author are part of
mapping of the Croatian architectural sphere in the context of socialist
Yugoslavia, given its impact on the historiographic narrative and
influence on the Croatian public and academic domains.
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The article analyses some newly discovered documents that mention Giorgio da Sebenico (Juraj Matejev Dalmatinac) as the procurator and syndic of the Ravennate monastery of Sant’Apollinare in Classe. Based on these new data, the hitherto... more
The article analyses some newly discovered documents that mention Giorgio da Sebenico (Juraj Matejev Dalmatinac)
as the procurator and syndic of the Ravennate monastery of Sant’Apollinare in Classe. Based on these new data, the
hitherto known network of family relations of the Šibenik protomaster has been expanded, including his connections
with the Camaldolese in Venice, Istria, and Romagna. The author discusses the artist’s links with Ravenna’s pro-Venetian
humanists and suggests some possible Ravennate sources of certain aspects of the Šibenik cathedral.
as the procurator and syndic of the Ravennate monastery of Sant’Apollinare in Classe. Based on these new data, the
hitherto known network of family relations of the Šibenik protomaster has been expanded, including his connections
with the Camaldolese in Venice, Istria, and Romagna. The author discusses the artist’s links with Ravenna’s pro-Venetian
humanists and suggests some possible Ravennate sources of certain aspects of the Šibenik cathedral.
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Gli anni che segnalarono l’estinzione del Patriarcato di Aquileia furono particolarmente vivaci dal punto di vista delle realizzazioni architettoniche ed artistiche tra Friuli e Istria, come dimostra l’attività del vescovo di Cittanova... more
Gli anni che segnalarono l’estinzione del Patriarcato di Aquileia furono particolarmente vivaci dal punto di vista delle realizzazioni architettoniche ed artistiche tra Friuli e Istria, come dimostra l’attività del
vescovo di Cittanova Marino Bozzatini (1742-1754). L’articolo analizza le sue commissioni e mediazioni nel campo delle arti visive, che includono gli altari nella chiesa di Santa Maria della Misericordia a Buie, con le sculture della bottega dei Groppelli e la pala d’altare di Giovanni Battista Pittoni, ma anche la riconfigurazione del presbiterio della cattedrale di Cittanova e il nuovo Duomo di Buie, entrambe opere dell’altarista, scultore e architetto proveniente da Palmanova Carlo Picco. Questi rifacimenti estensivi degli spazi sacri più importanti della diocesi emoniense si spiegano particolarmente alla luce della politica cultuale e liturgica del vescovo, in dialogo con le forze locali e le autorità veneziane.
vescovo di Cittanova Marino Bozzatini (1742-1754). L’articolo analizza le sue commissioni e mediazioni nel campo delle arti visive, che includono gli altari nella chiesa di Santa Maria della Misericordia a Buie, con le sculture della bottega dei Groppelli e la pala d’altare di Giovanni Battista Pittoni, ma anche la riconfigurazione del presbiterio della cattedrale di Cittanova e il nuovo Duomo di Buie, entrambe opere dell’altarista, scultore e architetto proveniente da Palmanova Carlo Picco. Questi rifacimenti estensivi degli spazi sacri più importanti della diocesi emoniense si spiegano particolarmente alla luce della politica cultuale e liturgica del vescovo, in dialogo con le forze locali e le autorità veneziane.
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Between Italy and Greece. Architecture, antiquity and the French discovery of Istria and Dalmatia Between the end of the 18th century and the first decades of the 19th century, the eastern coast of the Adriatic experienced dramatic regime... more
Between Italy and Greece. Architecture, antiquity and the French discovery of Istria and Dalmatia
Between the end of the 18th century and the first decades of the 19th century, the eastern coast of the Adriatic experienced dramatic regime changes; after centuries of Venetian rule, Istria and Dalmatia became part of the French Illyrian Provinces, later becoming a dominion of the Habsburgs. Against the background of these political events, the essay explores the contribution of French architects and artists to the European circulation of knowledge on ancient and medieval buildings in the region, in other words, to the formulation of an orientalizing and peripheral image, seen as an intermediate zone between Greece and Italy.
Between the end of the 18th century and the first decades of the 19th century, the eastern coast of the Adriatic experienced dramatic regime changes; after centuries of Venetian rule, Istria and Dalmatia became part of the French Illyrian Provinces, later becoming a dominion of the Habsburgs. Against the background of these political events, the essay explores the contribution of French architects and artists to the European circulation of knowledge on ancient and medieval buildings in the region, in other words, to the formulation of an orientalizing and peripheral image, seen as an intermediate zone between Greece and Italy.
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The hotel architecture around the Kvarner bay represents a specific Austro-Hungarian response to the Riviera phenomenon, made possible by the railway connections to the continental capitals of the Empire with the port of Rijeka. Through a... more
The hotel architecture around the Kvarner bay represents a specific Austro-Hungarian response to the Riviera phenomenon, made possible by the railway connections to the continental capitals of the Empire with the port of Rijeka. Through a detailed comparison between different investments and realisations, the article explores the ways of dealing with the hotellerie in the coastal area administratively divided between Austria, Hungary and Croatia in the last decades of the 19th century and the years leading to WWI.
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The article explores reverberations of meanings attributed to antiquities in Pula/Pola, Zadar/Zara and Split/Spalato through the lens of the strategy of territorialization, i.e. uses and abuses of the ancient monuments in the political... more
The article explores reverberations of meanings attributed to antiquities in Pula/Pola, Zadar/Zara and Split/Spalato through the lens of the strategy of territorialization, i.e. uses and abuses of the ancient monuments in the political context. Through a wide chronological and geographical framework, the text compares and contrasts for the first time instances such as Renaissance reconstructions of the ancient arch in Zadar, citations of the Pula Arch of Sergii in the context of Habsburg and Valois triumphal entries, 18th-19th-century appropriation of the Eastern Adriatic through archeological knowledge as attempted by Cassas and Lavallée and the iconic value of Eastern Adriatic antiquities as a backdrop for public monuments between the late 19th and mid-20th century.
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This essay examines the positioning of the Schiavoni, i.e. Illyrians/ Croats, within Roma communis patria in the fifteenth and sixteenth centuries through papal commissions of architecture and painting related to the church of San... more
This essay examines the positioning of the Schiavoni, i.e. Illyrians/ Croats, within Roma communis patria in the fifteenth and sixteenth centuries through papal commissions of architecture and painting related to the church of San Girolamo degli Schiavoni. It assesses the gestures made by Nicholas V and Sixtus V towards this particular ethnic group against the background of papal foreign policy and the Papacy’s approach to the urban problems of Rome, and explores the promotion of the cults of national saints. The disentanglement of the group’s dynamics and its interplay with the Curia not only sheds light on the minute mechanisms of artistic and architectural patronage as they relate to 'national' churches, but also redefines the approach to identity issues often understood as exclusively powered by 'national' forces.
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The first comprehensive exhibition on historical Dalmatian architecture opened at the Academy of St. Luke in Rome in June 1943, destined to remain the last propagandistic cultural effort of the Fascist regime. The purpose was the... more
The first comprehensive exhibition on historical Dalmatian architecture opened at the Academy of St. Luke in Rome in June 1943, destined to remain the last propagandistic cultural effort of the Fascist regime. The purpose was the legitimization of the Italian administration in Dalmatia between 1941 and 1943 through the creation of the new official narrative on the regional heritage. Given the part of Gustavo Giovanoni in this endeavour, its close analysis provides a possibility to elucidate the prominent role he had in the shaping of the policies of the Academy of St. Luke in 1940s as well as in the creation of the competing early 20th century visions of the Eastern Adriatic past. As the president of the Academy of St. Luke, Alberto Calza Bini, Giovanoni’s right hand Bruno Maria Apollonj Ghetti and Commissioner for Dalmatian monuments Luigi Crema were preparing the exhibition against the ever-changing backdrop of the war-time politics, they were also creating a new Italian view of the East Adriatic historical architecture, based on new photographs and architectural drawings made for the exhibition. The lens they were using were specifically Roman, their interest directed primarily towards the ancient Roman buildings and the classical tradition, in concordance with the policies of the Italian “Empire” proclaimed in 1936. Only in the second stage of the preparations of the exhibition, they included the Venetian heritage, until then the usual tool of the interpretation of Dalmatia in the Italian historiography. The final result was a novel pan-Italian view, although still rather Roman-centered, which included typological approach and the attention to landscape, typical of the so-called Roman school of history of architecture, but also some of the ideas of the regime, comprising the racial theory. The catalogue had a long critical fortune in the Italian historiography, also influencing the policies of the Croatian postwar Commissioner for the monuments of Dalmatia Cvito Fisković.
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Il contributo indaga sui rapporti del papa Sisto V con la communita degli Schiavoni/Illirici a Roma, esplorando la partecipazione della confraternita nazionale nella costruzione e decorazione della nuova chiesa di San Girolamo a Ripetta,... more
Il contributo indaga sui rapporti del papa Sisto V con la communita degli Schiavoni/Illirici a Roma, esplorando la partecipazione della confraternita nazionale nella costruzione e decorazione della nuova chiesa di San Girolamo a Ripetta, voluta e pagata dal papa.
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Early modern immigrants across Europe often organized themselves in confraternities, creating durable institutions that acted as patrons of the visual arts. The shared origin of the members of these confraternities provides a platform to... more
Early modern immigrants across Europe often organized themselves in confraternities, creating durable institutions that acted as patrons of the visual arts. The shared origin of the members of these confraternities provides a platform to discuss and compare strategies of visual communication with the host society. It further affords the opportunity to examine how they differentiated themselves from other brotherhoods of Schiavoni/Illyrians in the competitive environments of Italian cosmopolitan and artistic centers. This article focuses on the two 16th-century painted programs related to Schiavoni/Illyrian confraternities in Venice and Rome, executed by Vittore Carpaccio and Giovanni Guerra with assistants, respectively, and offers a new interpretative strategy of proto-national identity to elucidate their messages.
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Samoreprezentacija ilirske zajednice sv. Jeronima u Rimu: oltarna pala Benigna Vangelinija iz 1650. godine/Self-presentation of the Illyrian national community of St. Jerome in Rome: the 1650 altarpiece by Benigno Vangelini, u: Likovne umjetnosti, arhitektura i povijesni identiteti, Zagreb, 2018more
The article analyzes the altarpiece created in 1650 by the Roman painter Benigno Vangelini for the church known today as San Girolamo dei Croati in Rome. It establishes the dynamics of the commission, identifying as key figures in the... more
The article analyzes the altarpiece created in 1650 by the Roman painter Benigno Vangelini for the church known today as San Girolamo dei Croati in Rome. It establishes the dynamics of the commission, identifying as key figures in the story the archpriest Antonio Deodato-Bogdanović and the collector of the confraternity Don Girolamo Pastrizio. The iconography of Cyril and Methodius presenting the body of St. Clement in front of Pope Hadrian II is unique for its time, evidently chosen as a contribution of the brothers from Thessaloniki to the Roman religious horizon. In addition, the members of the national chapter and the confraternity are represented in a clear hierarchy, controlled by the cardinal with the title of St. Jerome and the cardinal protector of the confraternity, thus clearly mapping the Illyric institutions in Rome.
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Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities based on common origin and language. This article analyses the role of the images and... more
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities based on common origin and language. This article analyses the role of the images and architecture of the “national” church and hospital of the Schiavoni or Illyrian community in Rome in the fashioning and management of their confraternity, which played a pivotal role in the self-definition of the Schiavoni in Italy and also served as an expression of papal foreign policy in the Balkans.
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La chiesa di San Girolamo degli Illirici (ora dei Croati) a Roma e gli edifici annessi rappresentavano e rappresentano tuttora un polo di riferimento per la relativa comunità nazionale, assumendone anche le funzioni rappresentative.... more
La chiesa di San Girolamo degli Illirici (ora dei Croati) a Roma e gli edifici annessi rappresentavano e rappresentano tuttora un polo di riferimento per la relativa comunità nazionale, assumendone anche le funzioni rappresentative. Nell’epoca moderna queste istituzioni giocavano un ruolo importante negli scambi artistici tra l’Urbe e la costa orientale dell’Adriatico: tra gli anni sessanta e settanta del Seicento, le scelte architettoniche promosse dai membri della Confraternita degli Illirici determinarono non solo la tipologia del palazzo polifunzionale adiacente alla chiesa, edificio purtroppo scomparso nelle demolizioni mussoliniane degli anni trenta del Novecento, ma anche il progetto e la riedificazione della nuova cattedrale di Dubrovnik, avvenuta dopo il terremoto del 1667.
Il saggio individua i protagonisti comuni del rinnovamento materiale e stilistico della sede della Confraternita illirica a Roma e della chiesa arcivescovile di Dubrovnik: il dotto abate raguseo Stefano Gradi (guardiano della Biblioteca vaticana) e l’architetto, finora poco noto, Pier Andrea Bufalini da Urbino. In base ad un approfondito studio delle reti dei loro contatti personali, viene delineato il contesto sociale e artistico del committente e dell’architetto, individuabile nella cerchia della regina Cristina di Svezia e del suo consigliere artistico, Giovanni Pietro Bellori, nonché di monsignor Virgilio Spada, già consigliere papale nelle questioni architettoniche, e l’architetto padre Giuseppe Paglia.
Il progetto per il nuovo casamento “con qualche eleganza” per la comunità illirica a Roma, affacciato sul porto di Ripetta, prevedeva così di dare un nuovo volto alla nazione. Prendendo parte alla fervida attività edilizia che abbellì e rettificò il centro di Roma sotto Alessandro VII, gli Illirici proposero degli edifici intorno ai quali si modellò una nuova tipologia edilizia, quella del casamento d’affitto ad appartamenti, sviluppata nel corso del Seicento soprattutto dalle istituzioni pie e dalle confraternite. L’abate Gradi e l’architetto Bufalini nel corso dell’elaborazione del progetto contemplarono varie proposte per le procedure economiche ed edilizie, partecipando con il loro cantiere al processo di riqualificazione che interessò tutta l’area di Ripetta nel corso del Sei- e soprattutto del Settecento e giungendo a formare una nuova identità visiva della nazione.
Il programma architettonico della nuova cattedrale di Dubrovnik, stilato a Roma da Stefano Gradi e da Pier Andrea Bufalini, a seguito del terremoto del 1667, importò di fatto il valore simbolico dell’architettura “alla romana” in un paese al confine orientale dell’Europa cattolica. Bufalini sviluppò, insieme al suo committente, un sistema di lavoro a distanza, creando una rete che vedeva viaggiare modelli, piante, indicazioni e calcoli, preludendo una prassi che diverrà sistematica nello studio di Carlo Fontana. E’ grazie all’analisi dei documenti conservati presso l’Archivio di stato di Dubrovnik e all’analisi stilistica dell’edificio, che possiamo annoverare la cattedrale come un esempio importante, fuori da Roma, per i postulati belloriani in chiave architettonica.
L’analisi delle architetture, infine, ha consentito una ricostruzione dell’opera del loro autore, Pier Andrea Bufalini, mentre la ricostruzione dei suoi legami con Gradi e con gli Illirici nell’Urbe hanno permesso di esemplificare il ruolo di una comunità nazionale a Roma nella trasmigrazione verso altre sponde del “more romano”, inteso in termini identitari. Il caso qui analizzato, arricchisce il panorama degli scambi artistici tra Roma e l’Europa sudorientale, permettendo di individuare i meccanismi e le strategie usate, le quali rientrano a pieno titolo nella cosiddetta diplomazia artistica.
Il saggio individua i protagonisti comuni del rinnovamento materiale e stilistico della sede della Confraternita illirica a Roma e della chiesa arcivescovile di Dubrovnik: il dotto abate raguseo Stefano Gradi (guardiano della Biblioteca vaticana) e l’architetto, finora poco noto, Pier Andrea Bufalini da Urbino. In base ad un approfondito studio delle reti dei loro contatti personali, viene delineato il contesto sociale e artistico del committente e dell’architetto, individuabile nella cerchia della regina Cristina di Svezia e del suo consigliere artistico, Giovanni Pietro Bellori, nonché di monsignor Virgilio Spada, già consigliere papale nelle questioni architettoniche, e l’architetto padre Giuseppe Paglia.
Il progetto per il nuovo casamento “con qualche eleganza” per la comunità illirica a Roma, affacciato sul porto di Ripetta, prevedeva così di dare un nuovo volto alla nazione. Prendendo parte alla fervida attività edilizia che abbellì e rettificò il centro di Roma sotto Alessandro VII, gli Illirici proposero degli edifici intorno ai quali si modellò una nuova tipologia edilizia, quella del casamento d’affitto ad appartamenti, sviluppata nel corso del Seicento soprattutto dalle istituzioni pie e dalle confraternite. L’abate Gradi e l’architetto Bufalini nel corso dell’elaborazione del progetto contemplarono varie proposte per le procedure economiche ed edilizie, partecipando con il loro cantiere al processo di riqualificazione che interessò tutta l’area di Ripetta nel corso del Sei- e soprattutto del Settecento e giungendo a formare una nuova identità visiva della nazione.
Il programma architettonico della nuova cattedrale di Dubrovnik, stilato a Roma da Stefano Gradi e da Pier Andrea Bufalini, a seguito del terremoto del 1667, importò di fatto il valore simbolico dell’architettura “alla romana” in un paese al confine orientale dell’Europa cattolica. Bufalini sviluppò, insieme al suo committente, un sistema di lavoro a distanza, creando una rete che vedeva viaggiare modelli, piante, indicazioni e calcoli, preludendo una prassi che diverrà sistematica nello studio di Carlo Fontana. E’ grazie all’analisi dei documenti conservati presso l’Archivio di stato di Dubrovnik e all’analisi stilistica dell’edificio, che possiamo annoverare la cattedrale come un esempio importante, fuori da Roma, per i postulati belloriani in chiave architettonica.
L’analisi delle architetture, infine, ha consentito una ricostruzione dell’opera del loro autore, Pier Andrea Bufalini, mentre la ricostruzione dei suoi legami con Gradi e con gli Illirici nell’Urbe hanno permesso di esemplificare il ruolo di una comunità nazionale a Roma nella trasmigrazione verso altre sponde del “more romano”, inteso in termini identitari. Il caso qui analizzato, arricchisce il panorama degli scambi artistici tra Roma e l’Europa sudorientale, permettendo di individuare i meccanismi e le strategie usate, le quali rientrano a pieno titolo nella cosiddetta diplomazia artistica.
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The paper investigates the introduction into Early Modern building practice in the Republic of Ragusa (Dubrovnik) of pozzolana, a component of hydraulic cement, thus extending the area where it was known to have been used in the Baroque... more
The paper investigates the introduction into Early Modern building practice in the Republic of
Ragusa (Dubrovnik) of pozzolana, a component of hydraulic cement, thus extending the area
where it was known to have been used in the Baroque era. The documents in the State
Archive in Dubrovnik reveal that this granulate was first sent to Dubrovnik – along with
projects and a master-builder from Rome – on the occasion of the rebuilding of the cathedral
after the great earthquake of 1667. The scepticism of Dubrovnik authorities towards the new
material is analogous to the almost contemporary French discussion relating to Bernini’s
Louvre. By contrast, the 18th century Ragusan documents express the necessity of pozzolana
for the hydraulic works commissioned from the Roman architect Pietro Passalacqua, in a
manner similar to those for contemporary projects in Ancona or Venice. These episodes
illustrate an otherwise poorly-documented process of changing building technology, and they
introduce the importance of pozzolana in the epistemology of architecture as one of the
materials which is not only resistant to water, but also is effective in resisting the actions of frequent earthquakes.
Ragusa (Dubrovnik) of pozzolana, a component of hydraulic cement, thus extending the area
where it was known to have been used in the Baroque era. The documents in the State
Archive in Dubrovnik reveal that this granulate was first sent to Dubrovnik – along with
projects and a master-builder from Rome – on the occasion of the rebuilding of the cathedral
after the great earthquake of 1667. The scepticism of Dubrovnik authorities towards the new
material is analogous to the almost contemporary French discussion relating to Bernini’s
Louvre. By contrast, the 18th century Ragusan documents express the necessity of pozzolana
for the hydraulic works commissioned from the Roman architect Pietro Passalacqua, in a
manner similar to those for contemporary projects in Ancona or Venice. These episodes
illustrate an otherwise poorly-documented process of changing building technology, and they
introduce the importance of pozzolana in the epistemology of architecture as one of the
materials which is not only resistant to water, but also is effective in resisting the actions of frequent earthquakes.
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During the fifteenth century, the cultural scenery of Dalmatia is profoundly influenced by humanist ideas, and antiquity becomes a fundamental part of the new regional identity discourse called Illyrian, also in response to the newly... more
During the fifteenth century, the cultural scenery of Dalmatia is profoundly influenced by humanist ideas, and antiquity becomes a fundamental part of the new regional identity discourse called Illyrian, also in response to the newly installed Venetian rule in the area. Šibenik, a town in northern Dalmatia, is a particularly interesting case for the investigation of the Illyrian discourse, given its medieval origin and relative demographic and economic prosperity in the fifteenth century, which resulted in the building of the largest Renaissance cathedral (1431–1536) of the Eastern
Adriatic coast. In parallel to its construction, Šibenik humanist Juraj Šižgorić in his seminal text De situ Illyriae et civitate Sibenici (1487) through the fabrication of a myth of ancient origin for the city and reading of the urban fabric in Vitruvian terms, emphasizes the communal prestige within the larger regional and proto-national narrative. It is possible to attribute to Šižgorić’s words an almost programmatic value for the sixteenth-century reconstruction of the main square, here understood as a Renaissance interpretation of a Roman
forum, with the new loggia (ca. 1532–1547), adorned by
all’antica poetic inscriptions that reflect notions developed by the humanist. The architectural concept of the loggia is here attributed to Giacomo di Bartolomeo da Mestre, proto-master of the cathedral in the period, while the sculptural decoration is considered the work of Dujam Rudičić, also active at the construction site of the Sanmichelian fortress of San Niccolò near Šibenik.
Adriatic coast. In parallel to its construction, Šibenik humanist Juraj Šižgorić in his seminal text De situ Illyriae et civitate Sibenici (1487) through the fabrication of a myth of ancient origin for the city and reading of the urban fabric in Vitruvian terms, emphasizes the communal prestige within the larger regional and proto-national narrative. It is possible to attribute to Šižgorić’s words an almost programmatic value for the sixteenth-century reconstruction of the main square, here understood as a Renaissance interpretation of a Roman
forum, with the new loggia (ca. 1532–1547), adorned by
all’antica poetic inscriptions that reflect notions developed by the humanist. The architectural concept of the loggia is here attributed to Giacomo di Bartolomeo da Mestre, proto-master of the cathedral in the period, while the sculptural decoration is considered the work of Dujam Rudičić, also active at the construction site of the Sanmichelian fortress of San Niccolò near Šibenik.
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The chapter compares the uses of the Roman past of Pula and Split in the early modern period, two towns on the same maritime route between Venice and the Near East, elaborating on the “universality” of Pula’s urban identity as opposed to... more
The chapter compares the uses of the Roman past of Pula and Split in the early modern period, two towns on the same maritime route between Venice and the Near East, elaborating on the “universality” of Pula’s urban identity as opposed to Split’s “uniqueness.” Moreover, the Roman buildings of Pula inspired visual artists and architects from Naples to Scotland, via numerous drawings and printed images that testify to the international reputation of these antiquities beginning in the mid‐fifteenth century. The impressive ruins of Diocletian’s palace in Split, on the other hand, had a lasting impact on the local architecture, but this can rarely be identified outside Dalmatia before the eighteenth century. Finally, the analysis of instances of refashioning of visual and verbal information on antiquities from the edge of Catholic Europe, which include different Italian, French, and British examples, expands our knowledge of the networks and media of circulation of such information.
http://eu.wiley.com/WileyCDA/WileyTitle/productCd-111883271X.html
https://books.google.hr/books?id=c9neDQAAQBAJ&lpg=PP1&hl=it&pg=PP1#v=onepage&q&f=false
http://eu.wiley.com/WileyCDA/WileyTitle/productCd-111883271X.html
https://books.google.hr/books?id=c9neDQAAQBAJ&lpg=PP1&hl=it&pg=PP1#v=onepage&q&f=false
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Konstrukcija narativa o gradu Puli kao gradu antičkih spomenika svoj je ključni trenutak proživjela u 15. i 16. stoljeću, kada tri i danas izvrsno očuvane građevine, amfiteatar, Slavoluk Sergijevaca i Augustov hram, te jedna koja nije... more
Konstrukcija narativa o gradu Puli kao gradu antičkih spomenika svoj je ključni trenutak proživjela u 15. i 16. stoljeću, kada tri i danas izvrsno očuvane građevine, amfiteatar, Slavoluk Sergijevaca i Augustov hram, te jedna koja nije doživjela suvremeno doba, veliki teatar na Zaru, ulaze u korpus monumenata na temelju kojih je formiran moderni europski klasični jezik arhitekture. Grad u kolektivnoj memoriji postaje titravi odraz davne slave, a ruševine model koji pokušavaju nadmašiti umjetnici od Napulja i Venecije do Škotske i Goe u Indiji. Znanje o pulskim starinama kola pomoću crteža i tiska, a njihovo značenje oscilira sve do imperijalnog emblema, čineći stoga važan dio arhitektonske kulture ne samo europskih arhitekata, već i obrazovanih društvenih slojeva, naručitelja i starinara od 15. do 18. stoljeća.
S jenjavanjem interesa za antičke spomenike u smislu kanonskih uzora, od kasnog 18. stoljeća započinje proces kojim pulske starine gube auru modela koji legitimizira određene izrazito popularne motive, poput udvojenih stupova koji uokviruju luk, te postaju provincijalna antika. Pomak u valorizaciji odražava pomak iz središta na sam rub arhitektonske kulture, u sferu povijesnog i liminalnog, a geopolitičke promjene uzrokuju nastanak paralelnih nacionalnih arheoloških historiografija. Tek značajnije intervencije u smislu obnove spomenika vraćaju ih u sferu rasprava o arhitekturi, ali u smislu graditeljskog nasljeđa. Stoga su pulske starine paradigmatski primjer za istraživanje različitih silnica i pomaka u polju arhitektonske kulture u dugom vremenskom trajanju.
S jenjavanjem interesa za antičke spomenike u smislu kanonskih uzora, od kasnog 18. stoljeća započinje proces kojim pulske starine gube auru modela koji legitimizira određene izrazito popularne motive, poput udvojenih stupova koji uokviruju luk, te postaju provincijalna antika. Pomak u valorizaciji odražava pomak iz središta na sam rub arhitektonske kulture, u sferu povijesnog i liminalnog, a geopolitičke promjene uzrokuju nastanak paralelnih nacionalnih arheoloških historiografija. Tek značajnije intervencije u smislu obnove spomenika vraćaju ih u sferu rasprava o arhitekturi, ali u smislu graditeljskog nasljeđa. Stoga su pulske starine paradigmatski primjer za istraživanje različitih silnica i pomaka u polju arhitektonske kulture u dugom vremenskom trajanju.
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L’idea del sostegno antropomorfo, intrecciata nel Quattrocento con le varie soluzioni medievali e vicina al principio vitruviano della logica degli ordini, si rivela particolarmente fortunata nell’area dalmata. La qualità della scultura... more
L’idea del sostegno antropomorfo, intrecciata nel Quattrocento con le varie soluzioni medievali e vicina al principio vitruviano della logica degli ordini, si rivela particolarmente fortunata nell’area dalmata. La qualità della scultura decorativa e gli innovativi sistemi di costruzione in pietra, che caratterizzano capolavori come la cattedrale di Sebenico, il battistero e la cappella del Beato Giovanni Orsini presso la cattedrale di Traù, permettono di analizzare sotto una nuova luce i sostegni architettonici del Rinascimento dalmata, soprattutto la loro razionalità ed espressività, ma anche i loro possibili modelli ed i canali di circolazione delle forme.
Nel corso del XV secolo la costa orientale dell’Adriatico offre monumenti plastico-architettonici di prima qualità, ma nel Cinquecento la produzione regionale si concentra soprattutto sulle opere di difesa, con esempi sporadici e mai sistematici del sistema degli ordini. In questo contesto, le due figure monumentali di satiri-erme ionici di Zara, purtroppo fuori dal loro contesto originario, rappresentano un unicum che va oltre l’importanza regionale. Queste sculture, degne di centri artistici molto più grandi, invitano ad una riflessione non solo sulla loro identità, quali esempi di ordine antropomorfo del Cinquecento maturo, ma anche sulla cultura architettonica del capoluogo della Dalmazia Veneta.
Nel corso del XV secolo la costa orientale dell’Adriatico offre monumenti plastico-architettonici di prima qualità, ma nel Cinquecento la produzione regionale si concentra soprattutto sulle opere di difesa, con esempi sporadici e mai sistematici del sistema degli ordini. In questo contesto, le due figure monumentali di satiri-erme ionici di Zara, purtroppo fuori dal loro contesto originario, rappresentano un unicum che va oltre l’importanza regionale. Queste sculture, degne di centri artistici molto più grandi, invitano ad una riflessione non solo sulla loro identità, quali esempi di ordine antropomorfo del Cinquecento maturo, ma anche sulla cultura architettonica del capoluogo della Dalmazia Veneta.
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The article analyses Jacopo Bellini’s drawing Christ before Pilatus (f. 35 of Louvre album), exploring the role of its main antique model, Pula’s Arch of the Sergii in terms of meaning and representative strategies. It proposes a... more
The article analyses Jacopo Bellini’s drawing Christ before Pilatus (f. 35 of Louvre album), exploring the role of its main antique model, Pula’s Arch of the Sergii in terms of meaning and representative strategies. It proposes a comparison with Flemish arch- diaphragm compositions and investigates possible contacts of Bellini and leading Italian antiquarians and humanists who could have provided him with drawings of antiquities as well as influence his knowledge of perspective.
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Triumphal arches, understood in the broad meaning of the term including the honorary arches and city gates, are one of the building types that encountered particular critical fortune in the Renaissance, studied as they were for their... more
Triumphal arches, understood in the broad meaning of the term including the honorary arches and city gates, are one of the building types that encountered particular critical fortune
in the Renaissance, studied as they were for their inscriptions but also for their architectural and sculptural features. Ciriaco d’Ancona was one of the pioneers of these studies, and, according to Ciriaco’s biographers, it was the triumphal arch in Ancona that ultimately triggered his interest for antiquity and Latin language. The paper explores Ciriaco’s interest for arches on both sides of the Adriatic as well as his role in interpreting, imitating, copying, emulating or quoting these specific antique models.
in the Renaissance, studied as they were for their inscriptions but also for their architectural and sculptural features. Ciriaco d’Ancona was one of the pioneers of these studies, and, according to Ciriaco’s biographers, it was the triumphal arch in Ancona that ultimately triggered his interest for antiquity and Latin language. The paper explores Ciriaco’s interest for arches on both sides of the Adriatic as well as his role in interpreting, imitating, copying, emulating or quoting these specific antique models.
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Architectural treatises written in the 15th and 16th century are the most structured expressions of the built environment of the period, establishing norms and influencing building practice across Europe. Especially after the invention of... more
Architectural treatises written in the 15th and 16th century are the most structured expressions of the built environment of the period, establishing norms and influencing building practice across Europe. Especially after the invention of printing, these books brought about the diffusion of knowledge of classical antiquity and architectural principles, and put into circulation images and accounts of a certain number of ancient and modern buildings. This chapter traces the references to the regions of the Eastern Adriatic, especially to Istria, Dalmatia and Dubrovnik area in architectural treatises, in order to shed light on the cultural encounters and exchanges between the areas geographically adjacent to the principal centers of the Italian peninsula seen through Italian and French eyes.
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A survey of the 16th century architecture in Istria and Dalmatia, paper analyses fortifications, public buildings, private dwellings (both urban houses and villas) and churches. It includes discussion of the circulation of knowledge on... more
A survey of the 16th century architecture in Istria and Dalmatia, paper analyses fortifications, public buildings, private dwellings (both urban houses and villas) and churches. It includes discussion of the circulation of knowledge on ancient Roman architecture in the area and the architectural culture of the period.
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The article analyses the drawings of Diocletian’s Palace at Split which had belonged to the Renaissance architect Andrea Palladio and which represent the only surviving Renaissance drawings of the most important late antique architectural... more
The article analyses the drawings of Diocletian’s Palace at Split which had belonged to the Renaissance architect Andrea Palladio and which represent the only surviving Renaissance drawings of the most important late antique architectural structure on the east Adriatic coast. Today, they are housed at the Royal Institute of British Architects in London and in the Devonshire collection, Chatsworth. A detailed analysis of the drawing technique, the paper, the handwriting and the style of the drawings, have confirmed the opinion of the scholars who argued that the ground-plan of the emperor’s mausoleum was drawn by an unknown artist and that Palladio added his sketches at a later point; the drawing of the mausoleum’s portal was also made by the same artist. Both drawings were most probably produced in Vicenza during the last quarter of the sixteenth century. The ground-plan of the palace itself was drawn by Palladio on the basis of an earlier source. Possibly, some drawings of Split architecture was known to Paolo Veronese, as his drawing in Kassel seems to show. It is likely that a version of the palace ground-plan which had served as a model to Palladio remained at Split and that the drawings published by Daniele Farlati in the eighteenth century relied on it rather than on those produced by Johann Fischer von Erlach, as it was argued until now.
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U članku se analiziraju primjeri prihvaćanja i interpretacije klasičnog jezika arhitekture u radioničkoj praksi na istočnoj obali Jadrana tijekom ranog novog vijeka. Razlažu se primjeri preuzimanja i prevođenja tiskanih traktata, ali i... more
U članku se analiziraju primjeri prihvaćanja i interpretacije klasičnog jezika arhitekture u radioničkoj praksi na istočnoj obali Jadrana tijekom ranog novog vijeka. Razlažu se primjeri preuzimanja i prevođenja tiskanih traktata, ali i crteži redova koji proizlaze iz mletačke graditeljske tradicije. Iznijeta zapažanja tiču se tek nekoliko primjera i lokaliteta na istočnoj obali Jadrana, no oni su svakako znakoviti za razmatranje kolanja modela i formi, kao i strukturiranog znanja o arhitekturi u jadranskome bazenu. Hibridne pojave koje nastaju iz ovakvog doticaja s uvezenim motivima valja sagledavati kao kreativne odgovore na poticaje različite, no ne nužno inferiorne, umjetničke vrijednosti.
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Research Interests:
U radu se analiziraju arhitektonska ostvarenja Labina nastala između XV. i XVIII. stoljeća, značajna za cijelu regiju. Obrađuju se građevine javnog i sakralnog karaktera, ali i privatne kuće, a ključan je pritom odnos naručitelja, bilo da... more
U radu se analiziraju arhitektonska ostvarenja Labina nastala između XV. i XVIII. stoljeća, značajna za cijelu regiju. Obrađuju se građevine javnog i sakralnog karaktera, ali i privatne kuće, a ključan je pritom odnos naručitelja, bilo da se radi o državnim ili komunalnim narudžbama ili, pak, o sustavu posjeda pojedinih plemićkih obitelji. Nadalje, daje se prvi pregled dokumentiranih majstora i arhitekata aktivnih u Labinu u navedenom razdoblju. Ključne riječi: Labin, povijest arhitekture, naručitelji, radionice i majstori Parole chiave: Albona, storia dell'architettura, committenti, botteghe e maestranze * Istraživanje je za ovaj rad djelomično fi nancirano sredstvima Hrvatske zaklade za znanost pod projektom broj 2305 – " Vizualiziranje nacionalnog: bratovštine i kolegiji Schiavona/Illira u Italiji i razmjena umjetničkih iskustava s jugoistočnom Europom (15. – 18. st.) " .
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Materijalna kultura društvenih elita mletačke Istre: kuća obitelji Negri iz Labina/The Material Culture of Social Elites in Venetian Istria: the House of the Negri Family from Labin; Istra u novom vijeku, ur. Tatjana Bradara, Monografije i katalozi 30, Arheološki muzej Istre, Pula, 2017., 189-221.more
The paper analyzes the culture of living and the interiors of social elites in 16th century Venetian Istria, based on an extremely detailed and extensive inventory of the Negri family house in Labin from 1556. It explains the social and... more
The paper analyzes the culture of living and the interiors of social elites in 16th century Venetian Istria, based on an extremely detailed and extensive inventory of the Negri family house in Labin from 1556. It explains the social and economic context of the above mentioned document and reconstructs the interiors of a house that belonged to Agostino Negri, a wealthy banker from Labin. Furthermore, legal documents are cited (statutes, provisions against luxuries), which likewise suggest a high level of material culture of the urban nobility on the eastern border of the Venetian possessions in Istria.
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Pubblicato in: Razmjena umjetničkih iskustava u jadranskome bazenu, VI. Zbornik Dana Cvita Fiskovića, a cura di J. Gudelj, P. Marković, Zagreb, 2016, 173-188. La mostra che presentava l'eredita architettonica della Dalmazia, aperta... more
Pubblicato in: Razmjena umjetničkih iskustava u jadranskome bazenu, VI. Zbornik Dana Cvita Fiskovića, a cura di J. Gudelj, P. Marković, Zagreb, 2016, 173-188.
La mostra che presentava l'eredita architettonica della Dalmazia, aperta presso la Reale Accademia di San Luca a giugno 1943, rimane l'ultima iniziativa culturale a scopi propagandistici del regime fascista. La dettagliata analisi dei fondi relativi alla mostra presso l'Archivio storico dell'Accademia e la contestualizzazione di questo progetto espositivo all'interno della politica del regime, porta anche a inserirlo nel delineamento dell'approccio all'architettura storica degli architetti italiani e il dialogo tra le due storiografie.
Lo scopo principale della mostra era di familiarizzare il pubblico romano con la neoacquisita provincia d'oltremare adriatico, interpretandone il passato in chiave imperialistica, di appartenza alla cultura italiana. L'impresa ebbe come protagonisti l'allora presidente dell'Accademia di San Luca, Alberto Calza Bini, e lo stretto collaboratore di Gustavo Giovanoni, architetto e archeologo Bruno Maria Apollonij Ghetti, mentre per il suo ruolo operativo come soprintendente ai monumenti dalmati venne coinvolto Luigi Crema. Inoltre, furono realizzate anche una la campagna fotografica in collaborazione con l'Istituto Luce, mentre l'architetto napoletano Vittorio Amicarelli fece i rilievi architettonici di maggiori monumenti della regione.
Per la mostra e per il catalogo si scelse il criterio tipologico, con l'introduzione dello studio di caratteri urbani e l'accenno all'architettura barocca. Questo approccio, tipico della scuola romana di storia dell'architettura, si distinse dalle quintenssenzalmente amatoriali pubblicazioni degli iredentisti dalmati quali Tamaro e Dudan, o quelle divulgative di Amy Bernardi. Inoltre, nella prima fase delle preparazioni della mostra, tra 1941 e 1942, l'insistenza sui reperti antichi romani e sulla tradizione classica rivelava gli interessi dei cerchi professionali romani, mentre una maggior apertura all'eredita dell'epoca veneziana entra a far parte della mostra verso la sua finalizzazione in primavera 1943. Finalmente, la parabola della preparazione dell'esposizione segue anche quella dei rapporti tra l'Italia fascista e la Croazia di Ante Pavelić, esemplificatasi nella publicazione Italia e Croazia di Reale Accademia d'Italia del 1942, e l'avanzamento del movimento partigiano in Croazia e gli avvenimenti italiani dell'estate di 1943, particolarmente visibili nell'eco della mostra nella stampa del regime, dove viene considerata un tentativo contro „la barbarie panbolsevica slava“.
La mostra che presentava l'eredita architettonica della Dalmazia, aperta presso la Reale Accademia di San Luca a giugno 1943, rimane l'ultima iniziativa culturale a scopi propagandistici del regime fascista. La dettagliata analisi dei fondi relativi alla mostra presso l'Archivio storico dell'Accademia e la contestualizzazione di questo progetto espositivo all'interno della politica del regime, porta anche a inserirlo nel delineamento dell'approccio all'architettura storica degli architetti italiani e il dialogo tra le due storiografie.
Lo scopo principale della mostra era di familiarizzare il pubblico romano con la neoacquisita provincia d'oltremare adriatico, interpretandone il passato in chiave imperialistica, di appartenza alla cultura italiana. L'impresa ebbe come protagonisti l'allora presidente dell'Accademia di San Luca, Alberto Calza Bini, e lo stretto collaboratore di Gustavo Giovanoni, architetto e archeologo Bruno Maria Apollonij Ghetti, mentre per il suo ruolo operativo come soprintendente ai monumenti dalmati venne coinvolto Luigi Crema. Inoltre, furono realizzate anche una la campagna fotografica in collaborazione con l'Istituto Luce, mentre l'architetto napoletano Vittorio Amicarelli fece i rilievi architettonici di maggiori monumenti della regione.
Per la mostra e per il catalogo si scelse il criterio tipologico, con l'introduzione dello studio di caratteri urbani e l'accenno all'architettura barocca. Questo approccio, tipico della scuola romana di storia dell'architettura, si distinse dalle quintenssenzalmente amatoriali pubblicazioni degli iredentisti dalmati quali Tamaro e Dudan, o quelle divulgative di Amy Bernardi. Inoltre, nella prima fase delle preparazioni della mostra, tra 1941 e 1942, l'insistenza sui reperti antichi romani e sulla tradizione classica rivelava gli interessi dei cerchi professionali romani, mentre una maggior apertura all'eredita dell'epoca veneziana entra a far parte della mostra verso la sua finalizzazione in primavera 1943. Finalmente, la parabola della preparazione dell'esposizione segue anche quella dei rapporti tra l'Italia fascista e la Croazia di Ante Pavelić, esemplificatasi nella publicazione Italia e Croazia di Reale Accademia d'Italia del 1942, e l'avanzamento del movimento partigiano in Croazia e gli avvenimenti italiani dell'estate di 1943, particolarmente visibili nell'eco della mostra nella stampa del regime, dove viene considerata un tentativo contro „la barbarie panbolsevica slava“.
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The article analyses known archival evidence documenting the activity of painters Carlo and Vittore Crivelli in Zadar, reconstructing its social context and reflecting on the possible list of paintings dating from that period.
La committenza del mercante raguseo risiedente ad Ancona, Luigi Gozze, che include il rinnovamento dell’intera zona presbiterale della chiesa dei francescani osservanti di S. Francesco ad Alto e la nuova pala d’altare di mano di Tiziano... more
La committenza del mercante raguseo risiedente ad Ancona, Luigi Gozze, che include il rinnovamento dell’intera zona presbiterale della chiesa dei francescani osservanti di S. Francesco ad Alto e la nuova pala d’altare di mano di Tiziano Vecellio, si analizza riguardo alla chiesa e all’ambiente cittadino per cui è creata. Usando il modello di Salvatore Settis, il processo creativo della pala tizianesca si divide in inventio, immanente al committente, che si rivela soprattutto interessato alla creazione di uno status symbol nella sua città adottiva, dispositio, cioè la trasformazione dell’idea iniziale in un programma complessivo, qui spettante ai frati che lo formulano in rispetto delle regole e delli modelli dell’osservanza, appena riconosciuta dal papa come un ordine separato, e compositio, la traduzione del programma in opera d’arte visuale, spettante al pittore veneziano. In base alle analogie con la contemporanea prassi delle committenze, si propone che il committente cercò di emulare il modello della prominente famiglia anconetana dei Ferretti, scegliendo la chiesa del beato Gabriele Ferretti e la formula pittorica dell’ora perduta pala da loro commissionata per la chiesa di S. Agostino una ventina d’anni prima. In quanto alla formulazione del programma, il modello formale della pala, riconosciuto da tempo nella Madonna di Foligno di Raffaello, dipinta per un committente privato per l’altar maggiore di S. Maria in Aracoeli, si rivelò particolarmente adatto in quanto la chiesa romana fu uno dei centri dell’osservanza. La trasmissione del modello romano avvenne tramite i fogli grafici di Marcantonio Raimondi che trasformò anche il tema di mulier amicta sole della pala romana nella visualizzazione dell’inno Ave maris stella, adatta per una pala d’altare di
un mercante dipendente dalla navigazione, in cui fu inclusa anche la figura dell’angiolotto Gabriele, menzionata nell’inno e riferito al beato celebrato nella chiesa, Gabriele Ferretti. La scelta del pittore, come già sottolineato dalla critica, è probabilmente dovuta al fatto che poco prima
Tiziano lavorò per i francescani ai Frari, mentre l’accordo tra il committente
e il pittore, probabilmente avvenuto a Venezia dove Gozze si
sarebbe recato anche a vedere le altre opere del maestro, avrebbe dovuto
contenere le precisazioni sulla tecnica e le dimensioni della pala adatta
al nuovo coro in costruzione, poi il suo contenuto che incluse il ritratto
del committente, il modo e il termine d’esecuzione, menzionato dalla
iscrizione sul dipinto, come anche il prezzo, che doveva essere notevole.
Il risultato, la prestigiosa pala Gozze, fu seminale per le altre committenze
anconetane e ragusee della seconda meta' del Cinquecento, che diventarono
uno status simbol per gli altri mercanti stranieri ad Ancona
e i commitenti della bottega di Tiziano a Dubrovnik.
un mercante dipendente dalla navigazione, in cui fu inclusa anche la figura dell’angiolotto Gabriele, menzionata nell’inno e riferito al beato celebrato nella chiesa, Gabriele Ferretti. La scelta del pittore, come già sottolineato dalla critica, è probabilmente dovuta al fatto che poco prima
Tiziano lavorò per i francescani ai Frari, mentre l’accordo tra il committente
e il pittore, probabilmente avvenuto a Venezia dove Gozze si
sarebbe recato anche a vedere le altre opere del maestro, avrebbe dovuto
contenere le precisazioni sulla tecnica e le dimensioni della pala adatta
al nuovo coro in costruzione, poi il suo contenuto che incluse il ritratto
del committente, il modo e il termine d’esecuzione, menzionato dalla
iscrizione sul dipinto, come anche il prezzo, che doveva essere notevole.
Il risultato, la prestigiosa pala Gozze, fu seminale per le altre committenze
anconetane e ragusee della seconda meta' del Cinquecento, che diventarono
uno status simbol per gli altri mercanti stranieri ad Ancona
e i commitenti della bottega di Tiziano a Dubrovnik.
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Presentazione: Austro-Hungarian Sarajevo - The Austro-Hungarian government of Bosnia (1878-1918) changed Sarajevo profoundly. It grew from an oriental town of 20.000 inhabitants into a modern European city of almost 52.000. This happened... more
Presentazione: Austro-Hungarian Sarajevo - The Austro-Hungarian government of Bosnia (1878-1918) changed Sarajevo profoundly. It grew from an oriental town of 20.000 inhabitants into a modern European city of almost 52.000. This happened while it kept its Ottoman ...
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The history of the city of Sarajevo, the capital of Bosnia and Herzegovina, is particularly fortunate for exploring the concept of cosmopolitism, as it reflects both the Ottoman and Western principles of urban design which are still... more
The history of the city of Sarajevo, the capital of Bosnia and Herzegovina, is particularly fortunate for exploring the concept of cosmopolitism, as it reflects both the Ottoman and Western principles of urban design which are still clearly visible in the present structure of the city. The paper confronts the two periods of particular importance for the development of the city: the era of its splendour during the Ottoman times, the long 16th century, and the years of the Austro-Hungarian regime, 1878-1918. The fast growth of Sarajevo in those periods renders the similarities and differences of concepts of development especially visible, as well as the relations of different ethnic groups present in the city.
Turkish Sarajevo is the city of clear separation of the usage of urban soil, with the commercial centre and the residential quarters on the slopes around it. The interaction between the different ethnicities (Muslim, catholic, orotodox and Juish) and fluctuationg groups, as burocrats, soldiers, students and merchants was limited and controlled by the creation of the apposite infrastructures, often connected to vakuf, the form of pious foundation of rich ottoman governors.
Forty years of Austrian rule in Bosnia demonstrate profound changes in the image of the city, the negotiation with the tradition and the introduction of the new institutions. The religious tolerance of the late 19th century enables the visibility on the architectural level of the different religious and ethnic groups, and weakens, but not destroys, the antique differentiation of the usage of the urban soil.
Turkish Sarajevo is the city of clear separation of the usage of urban soil, with the commercial centre and the residential quarters on the slopes around it. The interaction between the different ethnicities (Muslim, catholic, orotodox and Juish) and fluctuationg groups, as burocrats, soldiers, students and merchants was limited and controlled by the creation of the apposite infrastructures, often connected to vakuf, the form of pious foundation of rich ottoman governors.
Forty years of Austrian rule in Bosnia demonstrate profound changes in the image of the city, the negotiation with the tradition and the introduction of the new institutions. The religious tolerance of the late 19th century enables the visibility on the architectural level of the different religious and ethnic groups, and weakens, but not destroys, the antique differentiation of the usage of the urban soil.
... Project / theme: 130-1300620-0631. Original language: ITA. Category: Znanstveni. Research fields: Architecture and urban planning. Printed media: da. Contrib. to CROSBI by: Jasenka Gudelj (jgudelj@ffzg.hr), 11. Jan. 2008. u 13:02... more
... Project / theme: 130-1300620-0631. Original language: ITA. Category: Znanstveni. Research fields: Architecture and urban planning. Printed media: da. Contrib. to CROSBI by: Jasenka Gudelj (jgudelj@ffzg.hr), 11. Jan. 2008. u 13:02 sati. ...
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Join us for the ERC AdriArchCult Sessions at RSA Dublin 2022!
Wednesday, March 30, 2022 9 am - 12.30 pm
The Convention Centre Dublin - Liffey Meeting Room 5 - 1st Floor
Wednesday, March 30, 2022 9 am - 12.30 pm
The Convention Centre Dublin - Liffey Meeting Room 5 - 1st Floor
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La produzione artistica e architettonica quattrocentesca nell’attuale territorio marchigiano si profila come un fenomeno proteiforme e complesso, tanto da sfuggire a una reductio ad unum della storia e della critica. Gli studi degli... more
La produzione artistica e architettonica quattrocentesca nell’attuale territorio marchigiano si profila come un fenomeno proteiforme e complesso, tanto da sfuggire a una reductio ad unum della storia e della critica.
Gli studi degli ultimi trent’anni sulla “fioritura tardogotica nelle Marche” (con le tre mostre di Urbino, Sanseverino Marche e Fermo), su Gentile da Fabriano e la sua eredità, sulla stagione varanesca di Camerino e sulla pittura di Ancona (condotti da gruppi di ricerca guidati da Andrea De Marchi), su specifiche “scuole” cittadine generate dalla presenza di artisti locali (come ad esempio Lorenzo d’Alessandro a Sanseverino e Luca di Paolo a Matelica), sulla scultura lignea nell’alto maceratese, sulla diffusa presenza di pittura veneta di importazione e sull’attività di artisti veneziani trasferitisi nelle Marche (come Carlo e Vittore Crivelli), sulla prima e sulla seconda stagione rinascimentale di Urbino, hanno definito cronologie e chiarito e in alcuni casi rivoluzionato l’attribuzione di corpora di opere, anche grazie a sistematiche ricerche d’archivio. A sua volta, la recente monografia di Christoph Luitpold Frommel (L’architettura del Santuario e del Palazzo Apostolico di Loreto da Paolo II a Paolo III, Loreto, Tecnostampa 2018) ha accostato il lento cantiere di Loreto, con le sue grandi imprese architettoniche della basilica e del palazzo apostolico, ad altri epicentri del Rinascimento marchigiano come Pesaro e Urbino. Nel frattempo, anche a seguito delle ripetute crisi sismiche, sono state promosse campagne di restauro che hanno interessato singole opere ed edifici e hanno permesso l’acquisizione di nuovi dati tecnici e materiali, tanto da modificare profondamente la conoscenza del patrimonio artistico e architettonico delle Marche.
Il convegno maceratese, che si sviluppa sulla base di questi fondamentali aggiornamenti scientifici, è frutto della collaborazione tra École Pratique des Hautes Études (Paris), Università di Macerata e Accademia di Belle Arti di Macerata – Istituto di Restauro delle Marche. Lo scopo è quello di riesaminare la produzione artistica del Quattrocento nel composito territorio che corrisponde all’attuale regione Marche, focalizzando l’attenzione su alcuni specifici punti-chiave: la verifica della validità (in sede storico-artistica e storiografica) dell’etichetta di “cultura adriatica”, introdotta da Federico Zeri e largamente seguita dagli studiosi; la fortuna dell’Antico tra le Marche e la Dalmazia in termini non solo stilistici, ma anche contenutistici; il rapporto tra singole opere e contesti architettonici; la circolazione e contaminazione di tipologie e modelli artistici e architettonici nell’Adriatico; la dialettica tra centri e periferie; le dinamiche della committenza e peculiari sperimentazioni iconografiche; il rapporto fra la tradizione architettonica delle Marche e quella di altri territori; le nuove sperimentazioni in ambito di ars militaris, che pongono le basi per le fortificazioni alla moderna; le ricerche e i metodi tecnici, diagnostici e filologici dedicati ai restauri artistici e architettonici; le problematiche di conservazione del patrimonio culturale ad alta vulnerabilità.
Queste due giornate aspirano a favorire il confronto tra diverse metodologie e prospettive scientifiche, al fine di generare un dibattito fecondo intorno all’eclettica identità del territorio marchigiano, dove le tradizioni locali e l’eredità gotica convivono con la riscoperta dell’Antichità; dove le influenze umbre, venete e adriatiche si intrecciano con le sollecitazioni, alimentate soprattutto dalla vicina Toscana, al rinnovamento dei linguaggi. Si approfondiranno dunque gli episodi di coesistenza, contaminazione e conflitto tra le molteplici culture artistiche e architettoniche, dedicando particolare attenzione ai fenomeni di scambio, dialogo e migrazione dei motivi iconografici, dei modelli tipologici e delle forme stilistiche. Il territorio marchigiano è pertanto un osservatorio privilegiato per lo studio di un interessante ed inedito scenario, frutto di una prolifica circolazione di idee in una difficile convivenza tra eredità medievale e Rinascimento dell’antico.
Gli studi degli ultimi trent’anni sulla “fioritura tardogotica nelle Marche” (con le tre mostre di Urbino, Sanseverino Marche e Fermo), su Gentile da Fabriano e la sua eredità, sulla stagione varanesca di Camerino e sulla pittura di Ancona (condotti da gruppi di ricerca guidati da Andrea De Marchi), su specifiche “scuole” cittadine generate dalla presenza di artisti locali (come ad esempio Lorenzo d’Alessandro a Sanseverino e Luca di Paolo a Matelica), sulla scultura lignea nell’alto maceratese, sulla diffusa presenza di pittura veneta di importazione e sull’attività di artisti veneziani trasferitisi nelle Marche (come Carlo e Vittore Crivelli), sulla prima e sulla seconda stagione rinascimentale di Urbino, hanno definito cronologie e chiarito e in alcuni casi rivoluzionato l’attribuzione di corpora di opere, anche grazie a sistematiche ricerche d’archivio. A sua volta, la recente monografia di Christoph Luitpold Frommel (L’architettura del Santuario e del Palazzo Apostolico di Loreto da Paolo II a Paolo III, Loreto, Tecnostampa 2018) ha accostato il lento cantiere di Loreto, con le sue grandi imprese architettoniche della basilica e del palazzo apostolico, ad altri epicentri del Rinascimento marchigiano come Pesaro e Urbino. Nel frattempo, anche a seguito delle ripetute crisi sismiche, sono state promosse campagne di restauro che hanno interessato singole opere ed edifici e hanno permesso l’acquisizione di nuovi dati tecnici e materiali, tanto da modificare profondamente la conoscenza del patrimonio artistico e architettonico delle Marche.
Il convegno maceratese, che si sviluppa sulla base di questi fondamentali aggiornamenti scientifici, è frutto della collaborazione tra École Pratique des Hautes Études (Paris), Università di Macerata e Accademia di Belle Arti di Macerata – Istituto di Restauro delle Marche. Lo scopo è quello di riesaminare la produzione artistica del Quattrocento nel composito territorio che corrisponde all’attuale regione Marche, focalizzando l’attenzione su alcuni specifici punti-chiave: la verifica della validità (in sede storico-artistica e storiografica) dell’etichetta di “cultura adriatica”, introdotta da Federico Zeri e largamente seguita dagli studiosi; la fortuna dell’Antico tra le Marche e la Dalmazia in termini non solo stilistici, ma anche contenutistici; il rapporto tra singole opere e contesti architettonici; la circolazione e contaminazione di tipologie e modelli artistici e architettonici nell’Adriatico; la dialettica tra centri e periferie; le dinamiche della committenza e peculiari sperimentazioni iconografiche; il rapporto fra la tradizione architettonica delle Marche e quella di altri territori; le nuove sperimentazioni in ambito di ars militaris, che pongono le basi per le fortificazioni alla moderna; le ricerche e i metodi tecnici, diagnostici e filologici dedicati ai restauri artistici e architettonici; le problematiche di conservazione del patrimonio culturale ad alta vulnerabilità.
Queste due giornate aspirano a favorire il confronto tra diverse metodologie e prospettive scientifiche, al fine di generare un dibattito fecondo intorno all’eclettica identità del territorio marchigiano, dove le tradizioni locali e l’eredità gotica convivono con la riscoperta dell’Antichità; dove le influenze umbre, venete e adriatiche si intrecciano con le sollecitazioni, alimentate soprattutto dalla vicina Toscana, al rinnovamento dei linguaggi. Si approfondiranno dunque gli episodi di coesistenza, contaminazione e conflitto tra le molteplici culture artistiche e architettoniche, dedicando particolare attenzione ai fenomeni di scambio, dialogo e migrazione dei motivi iconografici, dei modelli tipologici e delle forme stilistiche. Il territorio marchigiano è pertanto un osservatorio privilegiato per lo studio di un interessante ed inedito scenario, frutto di una prolifica circolazione di idee in una difficile convivenza tra eredità medievale e Rinascimento dell’antico.
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This workshop aims to understand and describe the growing prominence of architectural history as a European phenomenon in a series of case studies. To do so we need to consider the different approaches in selected European countries and... more
This workshop aims to understand and describe the growing prominence of architectural history as a European phenomenon in a series of case studies. To do so we need to consider the different approaches in selected European countries and the mutual relations of the different methodologies in a synchronized perspective. The case studies will concern the Netherlands, France, Switzerland, Croatia, Catalonia and Britain.
Using comparative methods, we would like to analyze the genesis and development of architectural history within the panorama of historiographical disciplines, especially in relation to art history, and alongside the social and political development of the particular country. Did architectural history contribute to the creation of national identities and stereotypes? On the other hand, a largely standardized history of European architectural styles emerged during the 19th century. Can we capture the interaction of different countries and their particular academic institutions and scholarly traditions?
Using comparative methods, we would like to analyze the genesis and development of architectural history within the panorama of historiographical disciplines, especially in relation to art history, and alongside the social and political development of the particular country. Did architectural history contribute to the creation of national identities and stereotypes? On the other hand, a largely standardized history of European architectural styles emerged during the 19th century. Can we capture the interaction of different countries and their particular academic institutions and scholarly traditions?
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Royal entries into European cities during the 16th century have long been recognized as an important tool for introducing classical models into urban spaces of Northern Europe. The designs for these solemn occasions were prestigious tasks... more
Royal entries into European cities during the 16th century have long been recognized as an important tool for introducing classical models into urban spaces of Northern Europe. The designs for these solemn occasions were prestigious tasks to obtain, highly symbolic and often innovative and opulent. The ephemeral character of the arches that directed the processions across the cities, which at times were built in a great hurry and even unfinished, is noted in an idealized manner in the so-called festival books, solid, durable, and easily transportable testimonies on the occasion.
This paper will examine instances of the usage of a specific ancient model, the Arch of Sergii family in Pula (Istria) in the festival processions of Habsburg and Valois royal entries. The focus on a single peripheral ancient model enables a close examination of its resemiotization, as it appears both as an emblem and as a part of a system of orders displayed throughout the city. This kind of analysis aims to shed new light on the circulation of ancient models and branching of their meaning, examining it as tools of political propaganda within different urban and social contexts.
This paper will examine instances of the usage of a specific ancient model, the Arch of Sergii family in Pula (Istria) in the festival processions of Habsburg and Valois royal entries. The focus on a single peripheral ancient model enables a close examination of its resemiotization, as it appears both as an emblem and as a part of a system of orders displayed throughout the city. This kind of analysis aims to shed new light on the circulation of ancient models and branching of their meaning, examining it as tools of political propaganda within different urban and social contexts.
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The area of Eastern Adriatic, namely regions of Istria and Dalmatia, during the Early Modern period represented the major maritime passage towards the Near East, with its small urban centres hosting important antiquities. Just a day of... more
The area of Eastern Adriatic, namely regions of Istria and Dalmatia, during the Early Modern period represented the major maritime passage towards the Near East, with its small urban centres hosting important antiquities. Just a day of sailing from Venice lies Pula, with its amphitheatre, the temple of Augustus, the Arch of Sergii and a theatre, while Split with Diocletian palace and ruins of Salona are situated in the virtual centre of the area. This architectural heritage arose new interest from the 15th century: local and visiting humanists, as well architects and architectural theorists, such as Ciriaco d’Ancona, Sebastiano Serlio, Andrea Palladio, Robert Adam or Johann Fischer von Erlach, all produced written or visual interpretations of the East Adriatic Ancient past. Moreover, the region was a well-known source of Istrian stone, the white material of Istrian and Dalmatian cities imported to Italy on regular basis, which gave both sides of the Adriatic a “classical“ look.
This paper will look at instances of the usage of ancient models from Eastern Adriatic in the architectural culture of Early Modern Europe, inquiring on the reverberation of their meaning in a different urban and social contexts, such as Naples, London or Low Countries. Furthermore, it will examine how the study of these particular models has been used and abused within highly politicized historiographical narratives of different governmental powers present in the area, thus also scrutinizing the memory of Eastern Adriatic Antiquity as an art-historiographical problem.
This paper will look at instances of the usage of ancient models from Eastern Adriatic in the architectural culture of Early Modern Europe, inquiring on the reverberation of their meaning in a different urban and social contexts, such as Naples, London or Low Countries. Furthermore, it will examine how the study of these particular models has been used and abused within highly politicized historiographical narratives of different governmental powers present in the area, thus also scrutinizing the memory of Eastern Adriatic Antiquity as an art-historiographical problem.
Research Interests:
Razmjena umjetnika i umjetničkih iskustava između južne Italije i Dubrovačke republike poznati je fenomen dugog trajanja, koji obuhvaća putovanja između Dubrovnika i Napulja izvrsnih majstora poput Onofrija de la Cave i Pietra di Martino... more
Razmjena umjetnika i umjetničkih iskustava između južne Italije i Dubrovačke republike poznati je fenomen dugog trajanja, koji obuhvaća putovanja između Dubrovnika i Napulja izvrsnih majstora poput Onofrija de la Cave i Pietra di Martino da Milano, ali i niz manje poznatih imena. Spomenuta dvojica autora, aktivna na Kneževom dvoru i vodovodu u Dubrovniku tridesetih i četrdesetih godina 15. stoljeća i potom na tzv. Aragonskom slavoluku u Napulju, zajedno s Francescom Lauranom predstavljaju nesumnjivi vrh umjetničke produkcije, a njihova je suradnja rezultat diplomatskih napora na najvišoj državnoj razini, ali i specifičnih konjunktura u humanističkim krugovima koji se dotiču obaju jadranskih obala. Ipak, ove značajne primjere valja nadopuniti djelima i crkvama koje su posljedica dubrovačkih trgovačkih kolonija i migracija prema zapadnoj obali Jadrana, u gradovima i mjestima Apulije, poput Barija, Barlette, Ostunija i San Vita dei Normanni (nekad degli Schiavoni), pa i samog Napulja. Ovdje je napose titular sv. Vlaha indikator povezanosti s južnim Jadranom, čemu ipak valja pristupiti s dužnim oprezom s obzirom na veliku popularnost ovog taumaturga u južnoj Italiji.
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The first comprehensive exhibition on historical Dalmatian architecture opened at the Academy of St. Luke in Rome in June 1943, destined to remain the last propagandistic cultural effort of the Fascist regime. The analysis of the archival... more
The first comprehensive exhibition on historical Dalmatian architecture opened at the Academy of St. Luke in Rome in June 1943, destined to remain the last propagandistic cultural effort of the Fascist regime. The analysis of the archival material on the exhibition and the contextualization of this project within the kaleidoscopic Italian interpretations of the Dalmatian heritage gives a more nuanced possibility to elucidate the competing early 20th century visions of the two rather separate historiographies on the same subject, the Italian and the Croatian one.
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Il motivo del putto è una pathosformel che gode di grande popolarità nella cultura visiva rinascimentale: la figura scolpita del bambino appare nel corso del Quattro- e Cinquecento con funzioni diverse sia nei contesti monumentali che in... more
Il motivo del putto è una pathosformel che gode di grande popolarità nella cultura visiva rinascimentale: la figura scolpita del bambino appare nel corso del Quattro- e Cinquecento con funzioni diverse sia nei contesti monumentali che in quelli delle suppellettili liturgiche. Il presente contributo propone di esplorare un fenomeno migratorio delle soluzioni iconografiche e formali che riguarda i fonti battesimali e le acquasantiere sorretti dai putti, di particolare fortuna critica tra le coste dell’Adriatico e l’arco alpino.
L’inventio (ovvero la re-invenzione) del recipiente sacro per l’acqua sorretto dai putti, di chiara ispirazione classica, è stata attribuita dalla critica recente alla bottega dei maestri Filippo e Andrea da Carona, attivi a Venezia e in seguito anche in Lombardia, Liguria, Parma e Friuli negli anni ’30 e ’40 del Quattrocento, responsabili per i fonti di San Giovanni in Bragora a Venezia (probabilmente commissionata nel 1430) e il fonte battesimale per il dotto cardinale Branda Castiglione a Castiglione Olona (1435). L’elaborazione del motivo fu particolarmente fertile in Dalmazia, dove viene messo al centro d’attenzione nei primi anni Quaranta da Giorgio Dalmata, che intorno ad un fonte di alta qualità scultorea sviluppa lo spazio-gioiello gotico del battistero della cattedrale di Sebenico. Sussegue il fonte della cattedrale di Trau di Andrea Alessi e Niccolò di Giovanni Fiorentino, di nuovo inserito in un piccolo edificio battesimale, stavolta di ispirazione classica, mentre un eco tardo della soluzione si trova nella collegiata di Mola di Bari, in Puglia, dove a meta Cinquecento le maestranze dalmate realizzano una chiesa mescolando il linguaggio di tradizione romanica locale con quello del primo rinascimentale dalmata, inserendovi un fonte battesimale sorretto dai putti. Un secondo gruppo di tali suppellettili liturgiche si trova in Friuli, dove sono stati individuati una ventina di esempi che germogliano dalla soluzione della cattedrale di Spilimbergo (1466), ma vi sono anche chiari echi ticinesi e veneziani delle fonti sopramenzionate.
Questa appropriazione cristiana di un motivo antico, sia a livello dell’immagine infantile che l’intero tema del recipiente riportato dalle forme umane, elaborato per servire l’atto liturgico di primaria importanza, il battesimo, diventa un campo di fertile discussione sull’uso del corpo del putto. Ripartendo dai concetti di Dempsey, si prospetta un’analisi dal punto di vista estetico e liturgico, ma anche una riflessione sul valore emotivo di queste sculture lapidee in un’epoca di alto tasso di mortalità infantile. Inoltre, data la fortuna e la trasmigrazione critica della soluzione, che si evolve abbastanza circoscritta nello spazio dell’Alpe-Adria, si prospetta un suo possibile significato culturale intrinseco in una determinata zona geografica.
L’inventio (ovvero la re-invenzione) del recipiente sacro per l’acqua sorretto dai putti, di chiara ispirazione classica, è stata attribuita dalla critica recente alla bottega dei maestri Filippo e Andrea da Carona, attivi a Venezia e in seguito anche in Lombardia, Liguria, Parma e Friuli negli anni ’30 e ’40 del Quattrocento, responsabili per i fonti di San Giovanni in Bragora a Venezia (probabilmente commissionata nel 1430) e il fonte battesimale per il dotto cardinale Branda Castiglione a Castiglione Olona (1435). L’elaborazione del motivo fu particolarmente fertile in Dalmazia, dove viene messo al centro d’attenzione nei primi anni Quaranta da Giorgio Dalmata, che intorno ad un fonte di alta qualità scultorea sviluppa lo spazio-gioiello gotico del battistero della cattedrale di Sebenico. Sussegue il fonte della cattedrale di Trau di Andrea Alessi e Niccolò di Giovanni Fiorentino, di nuovo inserito in un piccolo edificio battesimale, stavolta di ispirazione classica, mentre un eco tardo della soluzione si trova nella collegiata di Mola di Bari, in Puglia, dove a meta Cinquecento le maestranze dalmate realizzano una chiesa mescolando il linguaggio di tradizione romanica locale con quello del primo rinascimentale dalmata, inserendovi un fonte battesimale sorretto dai putti. Un secondo gruppo di tali suppellettili liturgiche si trova in Friuli, dove sono stati individuati una ventina di esempi che germogliano dalla soluzione della cattedrale di Spilimbergo (1466), ma vi sono anche chiari echi ticinesi e veneziani delle fonti sopramenzionate.
Questa appropriazione cristiana di un motivo antico, sia a livello dell’immagine infantile che l’intero tema del recipiente riportato dalle forme umane, elaborato per servire l’atto liturgico di primaria importanza, il battesimo, diventa un campo di fertile discussione sull’uso del corpo del putto. Ripartendo dai concetti di Dempsey, si prospetta un’analisi dal punto di vista estetico e liturgico, ma anche una riflessione sul valore emotivo di queste sculture lapidee in un’epoca di alto tasso di mortalità infantile. Inoltre, data la fortuna e la trasmigrazione critica della soluzione, che si evolve abbastanza circoscritta nello spazio dell’Alpe-Adria, si prospetta un suo possibile significato culturale intrinseco in una determinata zona geografica.
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The two saints known for their role in Christianizing the Slavs and inventing adequate alphabet(s), St. Cyril and Methodius, were rarely subject of monumental visual artwork in the Western Christendom, although St. Cyril died in Rome and... more
The two saints known for their role in Christianizing the Slavs and inventing adequate alphabet(s), St. Cyril and Methodius, were rarely subject of monumental visual artwork in the Western Christendom, although St. Cyril died in Rome and is now celebrated in basilica of St. Clemente. The paper proposes to explore their Early Modern visual fortune in St. Jerome at Ripetta, the national church of Schiavoni/Illyrians community in Rome. The church was completely rebuilt by Sixtus V Peretti (1585-1590) according to Martino Longhi the Elder’s designs, and was decorated extensively by a team of the so-called Sistine painters led by Giovanni Guerra. The appearance of the saints in question within the painted program remains an important vision of their deeds through Roman lens, with clear post-Tridentine agenda of the papacy. A second instance is the altar painting from mid-17th century, commissioned by the confraternity, with very different iconography of the Salonicco brothers, now insisting on the Roman episode of their lives. The analysis will investigate the hagiographic platform of these images, also disentangling the mechanisms, protagonists and intentions behind these commissions.
This interesting case of the appropriation and relaunching of the cult of the inter-confessional saints in Rome is to be analyzed together with the reverberation of the cult of St. Jerome, especially in terms of definition of scripture and language, of crucial importance for the Slavic group in question.
This interesting case of the appropriation and relaunching of the cult of the inter-confessional saints in Rome is to be analyzed together with the reverberation of the cult of St. Jerome, especially in terms of definition of scripture and language, of crucial importance for the Slavic group in question.
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Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities or founded colleges for students based on common origin and language. These institutions played a... more
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities or founded colleges for students based on common origin and language. These institutions played a vital role in the construction of the image of the whole immigrant community and its visibility and recognition in the cosmopolitan urban contexts such as Venice, Rome, Bologna or Ancona, as well as in smaller centers of the Marche region. Moreover, they represent important hubs of exchange of ideas and knowledge both in Italy and with places of origin.
The conference aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.
The conference is organized by the HRZZ research project Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe (15th - 18th c.). The proceedings of the conference will be published as a special issue of Il Capitale Culturale. Studies on the Value of Cultural Heritage, University of Macerata peer-reviewed on line journal (WOS-ESCI; ERIH PLUS).
The conference aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.
The conference is organized by the HRZZ research project Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe (15th - 18th c.). The proceedings of the conference will be published as a special issue of Il Capitale Culturale. Studies on the Value of Cultural Heritage, University of Macerata peer-reviewed on line journal (WOS-ESCI; ERIH PLUS).
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Sklop rimske crkve danas poznate kao San Girolamo dei Croati i okolnih građevina jedno je od najaktivnijih čvorišta interpretacija i generiranja povijesnih narativa koji su definirali nacionalnu bratovštinu čiji su članovi potjecali iz... more
Sklop rimske crkve danas poznate kao San Girolamo dei Croati i okolnih
građevina jedno je od najaktivnijih čvorišta interpretacija i generiranja
povijesnih narativa koji su definirali nacionalnu bratovštinu čiji su članovi potjecali iz hrvatskih povijesnih zemalja i susjednih pokrajina. Već sam statut bratovštine, kao i niz kurijalnih dokumenata koji su regulirali njezino djelovanje, predstavljaju skup odrednica jedne od ranonovjovjekovnih ‘natio’ kozmopolitskog Rima postridentskog razdoblja. Analiza likovnih fenomena, odnosno aktera izgradnje crkve i programa zidnih slika izvedenih tijekom kampanje ukrašavanja svetišta i transepta pod vodstvom Giovannija Guerre, koje je financirao papa Siksto V Perreti, doprinijet će stoga poznavanju skjavonsko/ilirske nacionalne ranonovovjekovne vizije iz rimske perspektive.
The complex of the Roman church known today as San Girolamo dei Croati and its surrounding buildings is one of the most attractive nodes of interpretation and production of historical narratives that defined the
national fraternity whose members originated from Croatian historical lands and their neighbouring provinces. The statute of the fraternity, as well as a string of curial documents which regulated its functioning, already represented a set of markings typical for an early modern “natio” of the cosmopolitan Rome of the post-Tridentine era. Therefore, the analysis of artistic phenomena, as well as of the individuals who partook in the construction of the church and the execution of the set of wall paintings, created by the project of embellishing the chancel and the transept headed by Giovanni Guerra and financed by Pope Sixtus V Perreti, will contribute to our knowledge of the vision of the Early Modern Schiavone/Illyrian nation as it was seen from the Roman viewpoint.
građevina jedno je od najaktivnijih čvorišta interpretacija i generiranja
povijesnih narativa koji su definirali nacionalnu bratovštinu čiji su članovi potjecali iz hrvatskih povijesnih zemalja i susjednih pokrajina. Već sam statut bratovštine, kao i niz kurijalnih dokumenata koji su regulirali njezino djelovanje, predstavljaju skup odrednica jedne od ranonovjovjekovnih ‘natio’ kozmopolitskog Rima postridentskog razdoblja. Analiza likovnih fenomena, odnosno aktera izgradnje crkve i programa zidnih slika izvedenih tijekom kampanje ukrašavanja svetišta i transepta pod vodstvom Giovannija Guerre, koje je financirao papa Siksto V Perreti, doprinijet će stoga poznavanju skjavonsko/ilirske nacionalne ranonovovjekovne vizije iz rimske perspektive.
The complex of the Roman church known today as San Girolamo dei Croati and its surrounding buildings is one of the most attractive nodes of interpretation and production of historical narratives that defined the
national fraternity whose members originated from Croatian historical lands and their neighbouring provinces. The statute of the fraternity, as well as a string of curial documents which regulated its functioning, already represented a set of markings typical for an early modern “natio” of the cosmopolitan Rome of the post-Tridentine era. Therefore, the analysis of artistic phenomena, as well as of the individuals who partook in the construction of the church and the execution of the set of wall paintings, created by the project of embellishing the chancel and the transept headed by Giovanni Guerra and financed by Pope Sixtus V Perreti, will contribute to our knowledge of the vision of the Early Modern Schiavone/Illyrian nation as it was seen from the Roman viewpoint.
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Architectural dialogues Italy-Croatia in the Interwar Period III: Protagonists
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Cities: organisms, urban plans, interventions Ferruccio Canali: Urban planning and interventions in the East Adriatic towns Julija Lozzi Barković: Rijeka: plans, architectures, designers Dražen Arbutina: Zadar: plans, architectures,... more
Cities: organisms, urban plans, interventions
Ferruccio Canali: Urban planning and interventions in the East Adriatic towns
Julija Lozzi Barković: Rijeka: plans, architectures, designers
Dražen Arbutina: Zadar: plans, architectures, designers
Sanja Cvetko Jerković: Planned towns: Raša
Ferruccio Canali: Urban planning and interventions in the East Adriatic towns
Julija Lozzi Barković: Rijeka: plans, architectures, designers
Dražen Arbutina: Zadar: plans, architectures, designers
Sanja Cvetko Jerković: Planned towns: Raša
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Italian cultural institute, Zagreb, House of architecture Oris Organized by Giuseppe Bonaccorso (University of Camerino) and Jasenka Gudelj (University of Zagreb) October-December 2016 After the treatise of Rapallo (1921), Istra, Rijeka,... more
Italian cultural institute, Zagreb, House of architecture Oris
Organized by Giuseppe Bonaccorso (University of Camerino) and Jasenka Gudelj (University of Zagreb)
October-December 2016
After the treatise of Rapallo (1921), Istra, Rijeka, part of the Kvarner area and Zadar with its archipelago become parts of Italian kingdom. Moreover, between 1941 and 1943 Italian forces occupied territories of Split and Kotor forming the Governorate of Dalmatia. The Italian administration of parts of present-day Croatia coincided with the rise and fall of fascism and left visible traces in form of architectures, projects, texts and exhibitions, analyzed so far in piecemeal fashion by Croatian and Italian researchers. The conference series, which includes lectures by Croatian, Italian and Swiss researchers, aims to open a more articulate and comprehensive discussion on the subject, confronting the historiographies often separated by language barrier. The series covers different and evolving aspect of subject area: interpretations the historical heritage (27 October 2016); urban scale interventions and planning (24 November 2016) and analysis of important buildings in Croatia designed by protagonist of the Italian interwar architectural scene (8 December 2016).
The conference series will take place at House of architecture Oris, Kralja Držislava 3, Zagreb, Croatia.
Organized by Giuseppe Bonaccorso (University of Camerino) and Jasenka Gudelj (University of Zagreb)
October-December 2016
After the treatise of Rapallo (1921), Istra, Rijeka, part of the Kvarner area and Zadar with its archipelago become parts of Italian kingdom. Moreover, between 1941 and 1943 Italian forces occupied territories of Split and Kotor forming the Governorate of Dalmatia. The Italian administration of parts of present-day Croatia coincided with the rise and fall of fascism and left visible traces in form of architectures, projects, texts and exhibitions, analyzed so far in piecemeal fashion by Croatian and Italian researchers. The conference series, which includes lectures by Croatian, Italian and Swiss researchers, aims to open a more articulate and comprehensive discussion on the subject, confronting the historiographies often separated by language barrier. The series covers different and evolving aspect of subject area: interpretations the historical heritage (27 October 2016); urban scale interventions and planning (24 November 2016) and analysis of important buildings in Croatia designed by protagonist of the Italian interwar architectural scene (8 December 2016).
The conference series will take place at House of architecture Oris, Kralja Držislava 3, Zagreb, Croatia.
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The church now known as San Girolamo dei Croati in Rome has played a considerable role in shaping of the Early Modern proto-national identity of the Schiavoni/Illyrians as well as of the 19th century national Croatian identity. In 1453,... more
The church now known as San Girolamo dei Croati in Rome has played a considerable role in shaping of the Early Modern proto-national identity of the Schiavoni/Illyrians as well as of the 19th century national Croatian identity. In 1453, Pope Nicholas V Parentucelli (1397-1455) granted the ruined church of Santa Marina, located at the smaller of the two Roman ports, Ripetta, to Dalmatiae et Schiavonae nationum, with permission to reconstruct it and dedicate it to Saint Jerome. The church was completely rebuilt by Sixtus V Peretti (1585-1590) according to the designs by Martino Longhi the Elder (1534-1591). The politics of building and decorating this church, led by both the pope and the confraternity, aimed at placing the group in question in the universe of the Roman ‘national’ churches and reflected the policy towards the South-Eastern edge of the Catholic Europe.
The present paper will examine fresco paintings decorating the church, disentangling the politics of the two distinct painting campaigns. The first, by the team of the so-called Sistine painters led by Giovanni Guerra, was realized between 1590 and 1591 in the presbytery and transept of the church. The second campaign regards the mid-19th century paintings on the transept walls and the vault of the nave by Pietro Gagliardi. In both cases, the minute mechanisms of commissions of art and architecture related to ‘national’ churches will be analyzed, refining the approach to identity issues often understood as powered exclusively by ‘national’ forces. Through comparison of the compositions and the iconography of the two cycles it will be possible to shed more light on the very distinct moments in history of molding of the Croatian nationhood.
The present paper will examine fresco paintings decorating the church, disentangling the politics of the two distinct painting campaigns. The first, by the team of the so-called Sistine painters led by Giovanni Guerra, was realized between 1590 and 1591 in the presbytery and transept of the church. The second campaign regards the mid-19th century paintings on the transept walls and the vault of the nave by Pietro Gagliardi. In both cases, the minute mechanisms of commissions of art and architecture related to ‘national’ churches will be analyzed, refining the approach to identity issues often understood as powered exclusively by ‘national’ forces. Through comparison of the compositions and the iconography of the two cycles it will be possible to shed more light on the very distinct moments in history of molding of the Croatian nationhood.
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Construire avec le corps humain »Les ordres anthropomorphes et leurs avatars dans l’art européen de l’Antiquité à la fin du XVIe siècle, Colloque international organisé par le Centre Allemand d’Histoire de l’Art, le château de... more
Construire avec le corps humain »Les ordres anthropomorphes et leurs avatars dans l’art européen de l’Antiquité à la fin du XVIe siècle, Colloque international organisé par le Centre Allemand d’Histoire de l’Art, le château de Fontainebleau, l’École Pratique des Hautes Études (Sorbonne) et l’université de Würzburg
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The Illyrian Confraternity in Rome and Gentrification of the Ripetta Area«, The Renaissance Society of America Annual Meeting, Boston, 31 March – 2 April 2016, Session Cultural Identity and Schiavoni/Illyrian Colleges and Confraternities... more
The Illyrian Confraternity in Rome and Gentrification of the Ripetta Area«, The Renaissance Society of America Annual Meeting, Boston, 31 March – 2 April 2016, Session Cultural Identity and Schiavoni/Illyrian Colleges and Confraternities organized by Jasenka Gudelj and sponsored by the Society for Confraternity Studies
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GRAND TOUR DEL TERZO MILLENNIO, Giornata di studio Università degli studi di Roma “Tor Vergata”, 21 aprile 2016
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The project investigates the construction of intrinsic cultural identities that found their expression in the art and architecture of Schiavoni/Illyrian institutions in Italy from the 15th to 18th centuries, through the exploration of... more
The project investigates the construction of intrinsic cultural identities that found their expression in the art and architecture of Schiavoni/Illyrian institutions in Italy from the 15th to 18th centuries, through the exploration of historical narratives articulated in terms of the visual arts. This research will provide new insights into the circulation of taste and knowledge in South-Eastern Europe, particularly in the territories of present-day Croatia, enriching the understanding of the role of artistic heritage in the construction of proto-national identity in Europe.
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Il progetto per la nuova cattedrale di Dubrovnik, inviato da Roma secondo i progetti di Pier Andrea Buffalini, vede coinvolto anche Carlo Fotana, inizando la serie di architetti legati allo studio Fontana che operarono nella citta... more
Il progetto per la nuova cattedrale di Dubrovnik, inviato da Roma secondo i progetti di Pier Andrea Buffalini, vede coinvolto anche Carlo Fotana, inizando la serie di architetti legati allo studio Fontana che operarono nella citta adriatica nel corso del secono Seicento e primo Settecento.
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The first known organized groups of people originating from historic Croatian lands sharing a common language and Catholic faith are mentioned in Italy from the 15th century. They congregated in the “Schiavoni/Illyrian” confraternities in... more
The first known organized groups of people originating from historic Croatian lands sharing a common language and Catholic faith are mentioned in Italy from the 15th century. They congregated in the “Schiavoni/Illyrian” confraternities in Rome, Venice, Recanati, Fano, Loreto and Udine, while institutionalized assistance for students of the same origin attending Italian universities during the Early Modern period was provided by the “national” colleges in Bologna, Loreto, Fermo and by a short-lived one in San Giovanni Rotondo, Gargano.
The architecture of buildings used by these institutions, as well as paintings and sculpture and other works of art commissioned by their members, played an important role in the construction of the cultural identity of these immigrant communities, unable to identify themselves with a particular centre or a political subject on the map of Early Modern Europe.
The aim of the project is to investigate the construction of intrinsic cultural identities that found their expression in the art and architecture of Schiavoni/Illyrian institutions from 15th to 18th centuries, through the exploration of historical narratives articulated in terms of visual arts. These art-historical phenomena are to be regarded in comparative perspective as well as in context of similar expressions found in “national” institutions of other foreign communities in Italy.
The project was financed by the Croatian Science Foundation (Hrvatska zaklada za znanost).
The architecture of buildings used by these institutions, as well as paintings and sculpture and other works of art commissioned by their members, played an important role in the construction of the cultural identity of these immigrant communities, unable to identify themselves with a particular centre or a political subject on the map of Early Modern Europe.
The aim of the project is to investigate the construction of intrinsic cultural identities that found their expression in the art and architecture of Schiavoni/Illyrian institutions from 15th to 18th centuries, through the exploration of historical narratives articulated in terms of visual arts. These art-historical phenomena are to be regarded in comparative perspective as well as in context of similar expressions found in “national” institutions of other foreign communities in Italy.
The project was financed by the Croatian Science Foundation (Hrvatska zaklada za znanost).
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The Adriatic territories of the Kingdom of Naples were characterized by a certain distance from the capital, from which they were separated by the Apennines while remaining open to other realities both to the north and to the eastern... more
The Adriatic territories of the Kingdom of Naples were
characterized by a certain distance from the capital, from which
they were separated by the Apennines while remaining open to
other realities both to the north and to the eastern Adriatic and
the Islamic world of the great Ottoman Empire. The lecture will
look at the specific features of the Renaissance in these territories,
partly connected with the rest of the Kingdom, but at the same
time subject to different and heterogeneous influences, which
determined its autonomous and alternative character.
A registration is required. Please reserve you seat at https://forms.gle/H3muZ6yumUR91LSG9
Guest hosted by the ERC GA n. 865863 ERC-AdriArchCult This project has received funding from the European Union's Horizon 2020 Research and Innovation Programme (GA n. 865863 ERC-AdriArchCult)
characterized by a certain distance from the capital, from which
they were separated by the Apennines while remaining open to
other realities both to the north and to the eastern Adriatic and
the Islamic world of the great Ottoman Empire. The lecture will
look at the specific features of the Renaissance in these territories,
partly connected with the rest of the Kingdom, but at the same
time subject to different and heterogeneous influences, which
determined its autonomous and alternative character.
A registration is required. Please reserve you seat at https://forms.gle/H3muZ6yumUR91LSG9
Guest hosted by the ERC GA n. 865863 ERC-AdriArchCult This project has received funding from the European Union's Horizon 2020 Research and Innovation Programme (GA n. 865863 ERC-AdriArchCult)
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This talk, arising from the forthcoming volume The Land Between Two Seas, looks at Eastern Europe-from the Adriatic all the way to Poland and Lithuania-and its interaction with the larger Mediterranean artistic and cultural melting pot in... more
This talk, arising from the forthcoming volume The Land Between Two Seas, looks at Eastern Europe-from the Adriatic all the way to Poland and Lithuania-and its interaction with the larger Mediterranean artistic and cultural melting pot in the early modern period. Connected by strong riverine ties to the seas of the Mediterranean system (from the mare nostrum itself through the Sea of Marmara, the Black Sea and the Sea of Azov), this hinterland raises questions about center and periphery, hybridity, and the sites of artistic innovation. Focusing on a cathedral in Wallachia (c. 1512-1517) I explore this liminal zone mediating between Western Europe and Central Asian cultures that is now essentially lost in a twilight space of "Byzantium after Byzantium". Yet, as I will argue, this territory "between two worlds" had an identity of its own, fluid and unstable and therefore more flexible and elastic in art, manners, tastes and even faiths.
At the end of the sixteenth century, Roman construction practices reached the peak of a centuries-old process of technical-operational improvement, which had remained unsurpassed for a long time. Founded on the strategic coordination of... more
At the end of the sixteenth century, Roman construction practices reached the peak of a centuries-old process of technical-operational improvement, which had remained unsurpassed for a long time. Founded on the strategic coordination of qualified workers, this practice made use of very effective methods of procurement and transport of materials, as well as of scaffolding and work machines that allowed the successful contraction of the financial commitment and the direct transfer of a precious operational knowledge in a long course. The Fabbrica di San Pietro in Vaticano, the first workshop of the art of building in Rome, put in place a capillary work of assistance to other construction sites, public and private, reflected both in the supply of materials and equipment, and in the decisive contribution of its highly qualified workers. The Fabbrica embodied an undisputed authority for a long period and controlled all major building interventions conducted up to the unification of Italy, in the city of Rome and in the entire Papal State.
18 June 2021
h. 3 pm
The seminar will be held online
on Zoom. Please register at
https://unive.zoom.us/meeting/
register/tZIpc--urT4tHt2maUISsNRuL4l6leMLrzqM
For further information:
ines.ivic@unive.it
Guest hosted by the ERC GA n. 865863
ERC-AdriArchCult
18 June 2021
h. 3 pm
The seminar will be held online
on Zoom. Please register at
https://unive.zoom.us/meeting/
register/tZIpc--urT4tHt2maUISsNRuL4l6leMLrzqM
For further information:
ines.ivic@unive.it
Guest hosted by the ERC GA n. 865863
ERC-AdriArchCult
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La ricerca presenta un contributo alla conoscienza degli ambienti della cultura nobiliare in Istria attraverso la ricostruzione del sistema degli edifici di proprieta della famiglia Scampicchio. La loro presenza continuativa... more
La ricerca presenta un contributo alla conoscienza degli ambienti della cultura nobiliare in Istria attraverso la ricostruzione del sistema degli edifici di proprieta della famiglia Scampicchio. La loro presenza continuativa nell'Albonese e nelle altre parti della regione per tutta l'epoca moderna e testimoniata dall'archivio familiare su cui si basa l'analisi.
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U radu se izlaže historijat zborne crkve sv. Marije Sniježne u Cresu u svjetlu novopronađenih dokumenata, koji pokazuju svu složenost intervencija i preoblikovanja građevine od 15. do 20. stoljeca. Razmatra se i uloga narucitelja koju su... more
U radu se izlaže historijat zborne crkve sv. Marije Sniježne u Cresu u svjetlu novopronađenih dokumenata, koji pokazuju svu složenost intervencija i preoblikovanja građevine od 15. do 20. stoljeca. Razmatra se i uloga narucitelja koju su imali razliciti biskupi i mletacki namjesnici na otoku, kao i odnos s Osorom i novom katedralom koja se tamo gradi krajem 15. stoljeca. Analizom portala creske crkve doslo se do novih spoznaja i o nekim od najpoznatijih radova Giovannija Bellinija, Madonni degli alberetti i pali San Giobbe, oba u Galeriji akademije u Veneciji.
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The article describes previously unknown Roman period of Henrico Zuccali (c. 1642–1729), the architect of the Bavarian court in the last quarter of the 17th century, on basis of archival documents from Dubrovnik state archive.
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Rad razmatra ulogu ulaganja u velike arhitektonske sklopove u dva kljucna razdoblja urbane povijesti Sarajeva: zlatnog doba osmanske vladavine u 16. st i austrijskog razdoblja 1879-1914.
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Triumphal arches, understood in the broad meaning of the term including the honorary arches and city gates, are one of the building types that encountered particular critical fortune in the renaissance, studied as they were for their... more
Triumphal arches, understood in the broad meaning of the term including the honorary arches and city gates, are one of the building types that encountered particular critical fortune in the renaissance, studied as they were for their inscriptions but also for their architectural and sculptural features. Ciriaco d’ancona was one of the pioneers of these studies, and, according to Ciriaco’s biographers, it was the triumphal arch in ancona that ultimately triggered his interest for antiquity and latin language. The paper explores Ciriaco’s interest for arches on both sides of the adriatic as well as his role in interpreting, imitating, copying, emulating or quoting these specific antique models.
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Abstract: Autori analiziraju kuću Marcello-Petris u gradu Cresu s bogatom arhitektonskom dekoracijom. Utvrđuju da kuća nije nastala u više faza gradnje, kako se do sada smatralo. Pripisuju je lokalnoj klesarskoj radionici formiranoj na... more
Abstract: Autori analiziraju kuću Marcello-Petris u gradu Cresu s bogatom arhitektonskom dekoracijom. Utvrđuju da kuća nije nastala u više faza gradnje, kako se do sada smatralo. Pripisuju je lokalnoj klesarskoj radionici formiranoj na gradnji creske župne crkve u ...
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Preface to the Special Issue n. 7/2018: Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective
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Il contributo indaga sui rapporti del papa Sisto V con la communita degli Schiavoni/Illirici a Roma, esplorando la partecipazione della confraternita nazionale nella costruzione e decorazione della nuova chiesa di San Girolamo a Ripetta,... more
Il contributo indaga sui rapporti del papa Sisto V con la communita degli Schiavoni/Illirici a Roma, esplorando la partecipazione della confraternita nazionale nella costruzione e decorazione della nuova chiesa di San Girolamo a Ripetta, voluta e pagata dal papa.
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Recenzija cetiri knjige o povijesti Sarajeva: Ibrahim Krzovic: Arhitektura secesije u Bosni i Hercegovini, Sarajevo publishing, 2004. Mehmed Hrasnica: Arhitekt Josip Pospisl – život i djelo, Arhitektonski fakultet Sarajevo, 2002. Robert... more
Recenzija cetiri knjige o povijesti Sarajeva: Ibrahim Krzovic: Arhitektura secesije u Bosni i Hercegovini, Sarajevo publishing, 2004. Mehmed Hrasnica: Arhitekt Josip Pospisl – život i djelo, Arhitektonski fakultet Sarajevo, 2002. Robert J. Donia, Sarajevo: A Biography, Hurst & Company, London, 2006. Laura Cipollini, Sarajevo, u Citta e memoria: Beirut, Berlin, Sarajevo, ur. Mazen Haidar, Bruno Mondadori, Milano, 2006.
The article analyses the drawings of Diocletian’s Palace at Split which had belonged to the Renaissance architect Andrea Palladio and which represent the only surviving Renaissance drawings of the most important late antique architectural... more
The article analyses the drawings of Diocletian’s Palace at Split which had belonged to the Renaissance architect Andrea Palladio and which represent the only surviving Renaissance drawings of the most important late antique architectural structure on the east Adriatic coast. Today, they are housed at the Royal Institute of British Architects in London and in the Devonshire collection, Chatsworth. A detailed analysis of the drawing technique, the paper, the handwriting and the style of the drawings, have confirmed the opinion of the scholars who argued that the ground-plan of the emperor’s mausoleum was drawn by an unknown artist and that Palladio added his sketches at a later point; the drawing of the mausoleum’s portal was also made by the same artist. Both drawings were most probably produced in Vicenza during the last quarter of the sixteenth century. The ground-plan of the palace itself was drawn by Palladio on the basis of an earlier source. It is likely that a version of the ...
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Workshop hosted by the Bibliotheca Hertziana, Max Planck Institute for Art History, Rome Launch of the research project funded by the Croatian Science Foundation (HRZZ) The project investigates the construction of intrinsic cultural... more
Workshop hosted by the Bibliotheca Hertziana, Max Planck Institute for Art History, Rome
Launch of the research project funded by the Croatian Science Foundation (HRZZ)
The project investigates the construction of intrinsic cultural identities that found their expression in the art and
architecture of Schiavoni/Illyrian institutions in Italy from the 15th to 18th centuries, through the exploration of
historical narratives articulated in terms of the visual arts. This research will provide new insights into the
circulation of taste and knowledge in South-Eastern Europe, particularly in the territories of present-day Croatia,
enriching the understanding of the role of artistic heritage in the construction of proto-national identity in Europe.
Launch of the research project funded by the Croatian Science Foundation (HRZZ)
The project investigates the construction of intrinsic cultural identities that found their expression in the art and
architecture of Schiavoni/Illyrian institutions in Italy from the 15th to 18th centuries, through the exploration of
historical narratives articulated in terms of the visual arts. This research will provide new insights into the
circulation of taste and knowledge in South-Eastern Europe, particularly in the territories of present-day Croatia,
enriching the understanding of the role of artistic heritage in the construction of proto-national identity in Europe.
Research Interests: Cultural Identities, Institute for Historical Sciences of the Croatian Academy of Sciences and Arts in Dubrovnik, Diplomatic Relations, Confraternities studies, Medditerranean cross-cultural artistic exchanges, and 4 moreConfraternities in Rome and the art they commissioned in the early modern era, Confraternity art patronage, Artistic Exchange Between Venice and the East, and Artistic exchange between the East and the West
Society of Architectural Historians Annual International Conference, Atlanta, April 30-May 4, 2025 Proposal deadline: June 5, 2024 Details and submission portal at: https://www.sah.org/2025/call-for-papers The Adriatic region is notable... more
Society of Architectural Historians Annual International Conference, Atlanta, April 30-May 4, 2025
Proposal deadline: June 5, 2024
Details and submission portal at: https://www.sah.org/2025/call-for-papers
The Adriatic region is notable for its early advances in the field of public health, with the implementation of first-ever quarantines in Dubrovnik and Venice, integrated with elaborate anti-epidemiological lazaretto complexes in the seaports and on the frontiers. Legislation on urban form emphasised ventilation and regulated complex water and food supply infrastructures. In addition, due to the highly militarised nature of the area and the constant occupational hazards faced by seafarers, military and naval hospitals, as well as asylums for the mentally ill, were common structures.
This session aims to explore the architectural culture of public health from around 1400 to 1800, focusing on the solutions found in the Adriatic in a comparative perspective, ranging from the regulation and form of the city to the large-scale lazaretto and hospital complexes. It will explore the material implications of public health measures, arguing that they already strongly impacted architectural practice and urban form in the late medieval and early modern periods. By exploring anti-epidemiological and other health-related structures, the session will also address questions of territory, boundary and accessibility. It seeks to explore parallels between urban systems and architectural implications of public health and welfare management in different early modern political realities in the region and beyond by shifting the scholarly gaze between Italy, the lands of the Austrian Crown, and the Balkans, as well as introducing comparisons in the larger Mediterranean area. Papers may, for example, discuss how political and religious implications shaped the architectural culture of health structures in the early modern period. Papers on actors, networks and gender issues related to architecture for health are also encouraged.
Session organiser:
Jasenka Gudelj, Ca’ Foscari University of Venice
Architectural Culture of the Early Modern Eastern Adriatic ERC-CoG n. 865863
Submission guidelines: Submissions through the SAH portal https://www.sah.org/2025/call-for-papers Abstracts must be under 300 words. The title cannot exceed 65 characters, including spaces and punctuation. Abstracts and titles must follow the Chicago Manual of Style. A maximum of three (3) authors per abstract will be accepted. Please attach a two-page CV in PDF format.
Proposal deadline: June 5, 2024
Details and submission portal at: https://www.sah.org/2025/call-for-papers
The Adriatic region is notable for its early advances in the field of public health, with the implementation of first-ever quarantines in Dubrovnik and Venice, integrated with elaborate anti-epidemiological lazaretto complexes in the seaports and on the frontiers. Legislation on urban form emphasised ventilation and regulated complex water and food supply infrastructures. In addition, due to the highly militarised nature of the area and the constant occupational hazards faced by seafarers, military and naval hospitals, as well as asylums for the mentally ill, were common structures.
This session aims to explore the architectural culture of public health from around 1400 to 1800, focusing on the solutions found in the Adriatic in a comparative perspective, ranging from the regulation and form of the city to the large-scale lazaretto and hospital complexes. It will explore the material implications of public health measures, arguing that they already strongly impacted architectural practice and urban form in the late medieval and early modern periods. By exploring anti-epidemiological and other health-related structures, the session will also address questions of territory, boundary and accessibility. It seeks to explore parallels between urban systems and architectural implications of public health and welfare management in different early modern political realities in the region and beyond by shifting the scholarly gaze between Italy, the lands of the Austrian Crown, and the Balkans, as well as introducing comparisons in the larger Mediterranean area. Papers may, for example, discuss how political and religious implications shaped the architectural culture of health structures in the early modern period. Papers on actors, networks and gender issues related to architecture for health are also encouraged.
Session organiser:
Jasenka Gudelj, Ca’ Foscari University of Venice
Architectural Culture of the Early Modern Eastern Adriatic ERC-CoG n. 865863
Submission guidelines: Submissions through the SAH portal https://www.sah.org/2025/call-for-papers Abstracts must be under 300 words. The title cannot exceed 65 characters, including spaces and punctuation. Abstracts and titles must follow the Chicago Manual of Style. A maximum of three (3) authors per abstract will be accepted. Please attach a two-page CV in PDF format.
Research Interests:
The ERC research project, “Architectural Culture of the Early Modern Eastern Adriatic” (proposal number 865863), hosted by the Ca’ Foscari University of Venice, benefits from the financial support of the European Research Council,... more
The ERC research project, “Architectural Culture of the Early Modern Eastern Adriatic” (proposal number 865863), hosted by the Ca’ Foscari University of Venice, benefits from the financial support of the European Research Council, starting in September 2020.
Historian of art and architecture, Jasenka Gudelj will lead an international research group investigating the impact of shifts within political, religious, cognitive and economic spheres in the borderland area of the Eastern Adriatic coast between 15th and 18th c., with focus on architecture as the most evident materialisation of a culture and its transformations.
We are currently looking for
three pre-doctoral fellows
with outstanding projects in one of the following research areas relevant to the ERC action:
• Early Modern Territoriality and Venetiatization: urban changes and public buildings in the Eastern Adriatic;
• Catholic revival and religious architecture of the eastern Adriatic: Valier’s visitation and its aftermath;
• Military architecture between theory and practice of the Early Modern Eastern Adriatic.
The successful candidates will enrol in a PhD program at the Department of Philosophy and Cultural Heritage, History of Art Curriculum.
A research proposal (of maximum 14,000 characters, including spaces, 1,5 spaced, languages: English, Italian) should be submitted including a survey of state of the art and a final bibliography (bibliography is excluded from the 14,000 characters). Preference will be given to candidates with basic knowledge of Croatian language.
Deadline: 21th April at 13:00 (Italian time)
Link:
For the details and the submission, please follow the instructions in the call on the University official website:
(English) http://www.unive.it/phd-degrees
(Italian) http://www.unive.it/dottorati
https://www.unive.it/pag/7738/
The submission should be sent following the procedure as indicated in the University website.
If you have questions, please contact us.
For enquiries relative to the call and the administrative procedures: phd.application@unive.it ,
or the Department of Philosophy and Cultural Heritage at: ricerca.fbc@unive.it
For questions on the ERC action, you can contact the Principal Investigator, Jasenka Gudelj: adriarchcult@gmail.com
Historian of art and architecture, Jasenka Gudelj will lead an international research group investigating the impact of shifts within political, religious, cognitive and economic spheres in the borderland area of the Eastern Adriatic coast between 15th and 18th c., with focus on architecture as the most evident materialisation of a culture and its transformations.
We are currently looking for
three pre-doctoral fellows
with outstanding projects in one of the following research areas relevant to the ERC action:
• Early Modern Territoriality and Venetiatization: urban changes and public buildings in the Eastern Adriatic;
• Catholic revival and religious architecture of the eastern Adriatic: Valier’s visitation and its aftermath;
• Military architecture between theory and practice of the Early Modern Eastern Adriatic.
The successful candidates will enrol in a PhD program at the Department of Philosophy and Cultural Heritage, History of Art Curriculum.
A research proposal (of maximum 14,000 characters, including spaces, 1,5 spaced, languages: English, Italian) should be submitted including a survey of state of the art and a final bibliography (bibliography is excluded from the 14,000 characters). Preference will be given to candidates with basic knowledge of Croatian language.
Deadline: 21th April at 13:00 (Italian time)
Link:
For the details and the submission, please follow the instructions in the call on the University official website:
(English) http://www.unive.it/phd-degrees
(Italian) http://www.unive.it/dottorati
https://www.unive.it/pag/7738/
The submission should be sent following the procedure as indicated in the University website.
If you have questions, please contact us.
For enquiries relative to the call and the administrative procedures: phd.application@unive.it ,
or the Department of Philosophy and Cultural Heritage at: ricerca.fbc@unive.it
For questions on the ERC action, you can contact the Principal Investigator, Jasenka Gudelj: adriarchcult@gmail.com
Research Interests:
Dubrovnik, Centre for Advanced Academic Studies (CAAS) The workshop aims at bringing together specialists and doctoral students from various academic backgrounds, focusing on art historical methodology in researching visual phenomena... more
Dubrovnik, Centre for Advanced Academic Studies (CAAS) The workshop aims at bringing together specialists and doctoral students from various academic backgrounds, focusing on art historical methodology in researching visual phenomena related to the expression of proto-national identities of the immigrant communities in the Early Modern period. The specific thematic focus of Dubrovnik workshop is the formation of proto-national networks of so-called Schiavoni/Illyrians between Italy and Eastern Adriatic coast and their impact on the transmigration of artists and architectural and artistic objects and designs, taken as a paradigmatic case study for a number of important research problems of art history as a global discipline. The formation of structured groups within immigrant communities in Early Modern Italy, such as confraternities and colleges, has long been recognised as one of the main vehicles of integration into the host society, while also functioning as centres of the formulation of proto-national identities, inevitably based on their " Otherness ". In order to function on both practical and symbolic level, these institutions created buildings and artworks, which reveal rivalries and alliances between different national groups and the host society hierarchy, especially in multi-layered urban contexts and artistic centres such as Rome, Bologna or Venice. Emerging from the experience of historical and contemporary exiles and their relevance for current debates on identity and history, related art-historical discourses also include analysis of collective patronage specific iconography and choice of artists, bordering with migration studies, confraternity studies, musicology and history of language and literature. Additionally, these " national " hubs abroad can also be seen as a loose network which enables mobility and encounters of artists and patrons as well as the circulation of knowledge, artworks and projects between Italian artistic centres and the lands of immigrants' origin, intersecting with diplomatic networks and the Republic of letters. Moreover, these were also Early Modern channels for international help in cases of natural disasters, such as earthquakes or fires, or similar events that necessarily changed the visual and architectural culture of a place. Therefore, the study of the network in question enriches the understanding of agents and vehicles of transmigration of forms and visual norms outside (or parallel to) the post-colonial discourse, enabling a better understanding of processes of creation, diffusion and consumption of the visual language. The specific case of Dubrovnik, a semi-independent maritime Republic through the Early Modern period, and, more broadly, historical confraternities and colleges of immigrants and students arriving to Italy from the area broadly coinciding with present-day Croatia, Slovenia, Bosnia and Hercegovina and Montenegro,
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Statistika bibliografskih podataka o projektima, znanstvenicima i znantsvenim institucijama.
... Publisher: Università Ca' Foscari Venezia. Issue Date: 11-apr-2008. ???metadata.dc.rights???: ©Jasenka Gudelj, 2008. ???metadata.dc.degree.name???: Storia dell'architettura e della città, Scienze delle arti,... more
... Publisher: Università Ca' Foscari Venezia. Issue Date: 11-apr-2008. ???metadata.dc.rights???: ©Jasenka Gudelj, 2008. ???metadata.dc.degree.name???: Storia dell'architettura e della città, Scienze delle arti, Restauro. ???metadata.dc.type???: Doctoral Thesis. ...