Papers by Daniela Matetić Poljak
Pet antičkih kapitela iz KaštelSućurca
Vjesnik za arheologiju i historiju dalmatinsku, Dec 28, 2018
U radu je provedena tipološko-stilska analiza pet antičkih kapitela koji se danas nalaze na podru... more U radu je provedena tipološko-stilska analiza pet antičkih kapitela koji se danas nalaze na području Kaštel Sućurca. Autorice temeljem komparacija i analogija s istraženim kapitelima na području Rimskoga Carstva predlažu njihovu okvirnu dataciju. Kao komparativni materijal donose i srodne primjerke pronađene na prostoru između Splita i Trogira.This paper presents a typological and stylistic analysis of five Roman capitals presently located in the area of Kaštel Sućurac. Relying on comparisons and analogies with published capitals from the territory of the Roman Empire, the authors suggest their approximate dating. As comparative materials, they also present related examples found in the area between Split and Trogir
Prilog poznavanju antičkih kapitela u Kaštelima u privatnom vlasništvu
Izdanja Hrvatskog arheološkog društva, 2020
ASMOSIA XI, Interdisciplinary Studies on Ancient Stone, Proceedings of the XI International Conference of ASMOSIA, 2018
The Baroque intervention in the Chapel of St. John of Trogir introduced new Baroque polychromy in... more The Baroque intervention in the Chapel of St. John of Trogir introduced new Baroque polychromy into the Renaissance chapel. The change was induced by new windows, which let more light in, the building of an altar (on which the renewed Gothic chest with the relics of the Saint was placed) and new paving. The endeavour, in which the entire population of the town took part was noted by its contemporaries -the historians Ivan Lucić and Pavao Andreis, who recorded the course of the project, meticulously noting details of the purchase and provenance of the marble spolia.
Pleterni ulomci iz predromaničke crkve Svete Marije na Poljudu
Le décor architectural du Palais de Dioclétien à Split
L'objet de cette recherche est d'etablir le corpus du decor architectural du Palais de Di... more L'objet de cette recherche est d'etablir le corpus du decor architectural du Palais de Diocletien a Split (Croatie) et d'offrir une etude elaboree en trois parties : l'etude des motifs appliques, l'etude typologique des elements architectonique et l'etude du decor en contexte. Les elements classifies dans le catalogue incluent : les elements conserves "in situ", les fragments decouverts lors de differentes missions acheologiques et les fragments reutilises dans les epoques ulterieures, ainsi que les elements qui ont ete trouves dans le Palais, mais dont l'appartenance est en question. Le decor du Palais represente le corpus le plus complet des sites tetrarchiques sur la formation duquel, on peut distinguer les influences des traditions micro-asiatiques, syriennes, occidentales et des traditions de la cote orientale de l'Adriatique. Son style se monte comme un style original, a typologie elaboree dans laquelle on a introduit des nouveaux types.
Coloured marbles in Diocletian's Palace in Split
Diocletian's palace in Split, as a palace of the retired tetrarch, was loxuriously decorated ... more Diocletian's palace in Split, as a palace of the retired tetrarch, was loxuriously decorated with coloured marbles. Their use was concentrated in the sacral area (where the colums made of differen types of marbles can still be seen in situ) and many fragments have been found during the archeological excavations, mostly in the southern oart of the Palace (which includes the imperial apartements and the area dividing them from the two temenos). In the medieval period, fragments of coloured marbles were used as spolia. The pulpit of Split Chatedral represents one of the most richly decorated Romanesque items, composed of diferent types of coloured marbles. They can be compared with the fragments found in the Palace. In our opinion, it represent a sort of the catalogue of the coloured marbles used in the Palace.
Le motif du rinceau peuplé dans le palais de Dioclétien à Split
Dioklecijanova palaca u Splitu, sagrađena pocetkom IV. stoljeca, jedna je od najbolje sacuvanih a... more Dioklecijanova palaca u Splitu, sagrađena pocetkom IV. stoljeca, jedna je od najbolje sacuvanih antickih palaca Rimskog carstva. Brojni umjetnici i obrtnici radili su na njenom ukrasavanju, a do danas su se najbolje sacuvali ukrasi od kamena. Osim brackog ili segetskog vapnenca, u velikoj je mjeri koristen i dekorativni kamen grcke, maloazijske i egipatske provenijencije. On se koristio za skulpture, obloge zidova i podova, namjestaj reprezentativnih prostora, ali i za konstruktivne elemente. Ovaj rad temelji se na vizualnoj identifikaciji pojedinih vrsta kamena i biti ce podloga za petrografskoj i mineralosku analizu.
The Use of decorative Stone in Diocletian's Palace in Split
Dioklecijanova palaca bila je uresena skupocjenim dekorativnim kamenom. Od njega su izrađeni elem... more Dioklecijanova palaca bila je uresena skupocjenim dekorativnim kamenom. Od njega su izrađeni elementi arhitektonskih redova, podne i zidne obloge, skulptura i namjestaj. U južnom dijelu palace (rezidencijalna zona, sakralno-funeralna zona, terme), koncentrirana je upotreba tih materijala. Do sada je utvrđeno vise od devetnaest razlicitih vrsta porfira, granita i mramora. Na srednjovjekovnim spomenicima cesta je reutilizacija tih materijala, a propovjedaonica splitske katedrale predstavlja najbolju ilustraciju njihove razlicitosti.
Pet antičkih kapitela iz KaštelSućurca
Le palais de Dioclétien, palais ou villa maritime: réflexion sur le luxe du décor dans la partie résidentielle
Dva azijatska korintska kapitela (spolije) iz Kaštel Sućurca i Kaštel Novoga
Histria Antiqua, Nov 1, 2010
Dioklecijanova palača u Splitu, sagrađena početkom IV. stoljeća, jedna je od najbolje sačuvanih a... more Dioklecijanova palača u Splitu, sagrađena početkom IV. stoljeća, jedna je od najbolje sačuvanih antičkih palača Rimskog carstva. Brojni umjetnici i obrtnici radili su na njenom ukrašavanju, a do danas su se najbolje sačuvali ukrasi od kamena. Osim bračkog ili segetskog vapnenca, u velikoj je mjeri korišten i dekorativni kamen grčke, maloazijske i egipatske provenijencije. On se koristio za skulpture, obloge zidova i podova, namještaj reprezentativnih prostora, ali i za konstruktivne elemente. Ovaj rad temelji se na vizualnoj identifikaciji pojedinih vrsta kamena i biti će podloga za petrografskoj i mineralošku analizu. Konstruktivni elementi-arhitektonski redovi Dioklecijanova palača, tijekom svoje duge povijesti, sačuvala je gotovo u potpunosti pojedine građevine i njihove arhitektonske redove (poput Peristila, unutrašnjosti i periptera Mauzoleja, 1 jugoistočne loggie južnog pročelja). 2
Izdanja Hrvatskog arheološkog društva, Okolica Kaštelanskog zaljeva u prošlosti, Znanstveni skup/ Surroundings of the bay of Kaštela in the past, Conference , 2019
The area of Kaštela contains a large number of capitals from the period of antiquity. This paper ... more The area of Kaštela contains a large number of capitals from the period of antiquity. This paper focuses on five of them, all of which are private possessions belonging to some of the local families. The capitals are located in Kaštel Kambelovac, Kaštel Stari and Kaštel Štafilić. Given that they haven’t been published so far, this is the first time a stylistic and typological analysis has been conducted on these capitals and the first time they have been put in a local and temporal context. Capitals K1, K2, K3 and K4 are made of marble and belong to Corinthian capitals produced in Asia Minor in different periods. Capital K5, however, is a composite one and the only one carved out of limestone. It was probably created in a workshop from this area.
Zbornik radova Filozofskog fakulteta u Splitu, 13, 2020
U članku je provedena stilska i ikonografska analiza konzole s prikazom lava koja je kao spolij b... more U članku je provedena stilska i ikonografska analiza konzole s prikazom lava koja je kao spolij bila ugrađena na zabatu kuće Mangjer u Splitu. Kuća se nalazila na križanju Manđerove i Bribirske ulice. Nakon njezina rušenja, konzola je prenesena u Samostan sestara milosrdnica svetog Vinka Paulskog u Splitu, gdje se i danas čuva. Izvorni arhitektonski kontekst konzole nije poznat. Tipski i stilski srodan joj je par konzola na portalu crkve svetog Mikule (sv. Nikole) u Velom Varošu u Splitu. Autorica ih grupira u krug iste ranoromaničke radionice koja je djelovala koncem 11. i početkom 12. stoljeća. Konzola s kuće Mangjer nastaje nedugo nakon para konzola sa Svetog Mikule. Izradio ju je majstor koji dobro poznaje potonje konzole, vješto kopira njihovu kompoziciju i dimenzije. U oblikovanju zahtjevnijih dijelova (poput lavlje glave ili akantusova lista na konzolici pod lavljom figurom) otkriva nešto slabiji oblikovni kapacitet u odnosu na predložak.
In this paper, the stylistic and iconographic analysis of a console with a depiction of a lion, which was installed as spolia on the gable of the Mangjer house in Split, was performed. The house was situated at the intersection of Manđerova Street and Bribirska Street. After its demolition, the console was transferred to the Monastery of the Sisters of Charity of St. Vincent de Paul in Split, where it is still kept today. The
original architectural context of the console is unknown. In terms of type and style, this console is similar to a couple of consoles on the portal of the Church of St. Mikula (St. Nicholas) in Veli Varoš, Split. The author groups them within the same early Romanesque workshop circle which operated in the late 11th and early 12th centuries. The console from the Mangjer house was created shortly after the abovementioned consoles from Saint Mikula. It was made by a master craftsman who had good
knowledge of the latter consoles, skilfully copying their composition and dimensions. The design of more complex parts (such as the lion’s head or the acanthus leaf on a small console under the lion’s figure), when compared to the original template, reveals a lesser design capacity.
Vratnice Andrije Buvine u splitskoj katedrali: 1214.-2014.: zbornik radova s međunarodnog skupa održanog u Splitu od 23. do 24. rujna 2014. / The doors of Andria Buvina in Split Cathedral: 1214-2014: proceedings of the International Scholarly Conference held in Split from 23th to 24th September 2014, 2020
The corpus of ornaments from the Andrija Buvina's doors of Split’s Cathedral consists of ten moti... more The corpus of ornaments from the Andrija Buvina's doors of Split’s Cathedral consists of ten motifs. The research comprehends its formal and iconographic value. The question of models that inspired Andria Buvina in the elaboration of his motifs is raised. The author seeks to establish to which degree Buvina followed modern Romanesque tendencies and to which degree his work was influenced by local heritage. The study of the iconographical values includes the analysis of particular scenes incorporated in inhabited tendrils, the analysis of the entire ornamental corpus, its place and significance in the iconographic program of the doors.
Vjesnik za arheologiju i historiju dalmatinsku, 2018
This paper presents a typological and stylistic analysis of five Roman capitals presently located... more This paper presents a typological and stylistic analysis of five Roman capitals presently located in the area of Kaštel Sućurac. Relying on comparisons and analogies with published capitals from the territory of the Roman Empire, the authors suggest their approximate dating. As comparative materials, they also present related examples found in the area between Split and Trogir.
ASMOSIA XI Interdisciplinary Studies on Ancient Stone. Proceedings of the XI International Conference of ASMOSIA, Split, 18–22 May 2015, (eds.Daniela Matetić Poljak, Katja Marasović), 2018
The Baroque intervention in the Chapel of St. John of Trogir introduced new Baroque polychromy in... more The Baroque intervention in the Chapel of St. John of Trogir introduced new Baroque polychromy into the Renaissance chapel. The change was induced by new windows, which let more light in, the building of an altar (on which the renewed Gothic chest with the relics of the Saint was placed) and new paving. The endeavour, in which the entire population of the town took part was noted by its contemporaries - the historians Ivan Lucić and Pavao Andreis, who recorded the course of the project, meticulously noting details of the purchase and provenance of the marble spolia.
Dva azijatska korintska kapitela (spolije) iz Kaštel Sućurca i Kaštel Novoga (Two Asian Corinthian Capitals (spolia) from Kaštel Sućurac and Kaštel Novi)
Kaštelanski zbornik , 2017
Both capitals reflect the principles of sculpting the classical Corinthian capital that lasted un... more Both capitals reflect the principles of sculpting the classical Corinthian capital that lasted until the end of the 3rd century. Each having two ranks of leaves, caulicoles, calyces and a pair of helices and volutes, they both count among "normal" Corinthian capitals. Since these are spolia, the lack of the original architectural complex renders the age determination more difficult. Produced in grey marble, they are probably products of Proconese provenance. The age of Salona witnessed frequent imports of capitals made of Proconese marble (testified by numerosu spolia in Split, Trogir and Salona). With the absence of any systematic research of this phenomenon that could at least offer a rough time span of the capital s import and more precise age determination of the use of specific types, the authors propose they be loosely dated to the 3rd century.
Uploads
Papers by Daniela Matetić Poljak
In this paper, the stylistic and iconographic analysis of a console with a depiction of a lion, which was installed as spolia on the gable of the Mangjer house in Split, was performed. The house was situated at the intersection of Manđerova Street and Bribirska Street. After its demolition, the console was transferred to the Monastery of the Sisters of Charity of St. Vincent de Paul in Split, where it is still kept today. The
original architectural context of the console is unknown. In terms of type and style, this console is similar to a couple of consoles on the portal of the Church of St. Mikula (St. Nicholas) in Veli Varoš, Split. The author groups them within the same early Romanesque workshop circle which operated in the late 11th and early 12th centuries. The console from the Mangjer house was created shortly after the abovementioned consoles from Saint Mikula. It was made by a master craftsman who had good
knowledge of the latter consoles, skilfully copying their composition and dimensions. The design of more complex parts (such as the lion’s head or the acanthus leaf on a small console under the lion’s figure), when compared to the original template, reveals a lesser design capacity.