Papers by Mateja Jerman
Portal: godišnjak Hrvatskoga restauratorskog zavoda, vol.1, no.15, 2024
U župnoj crkvi svetog Blaža u Vodnjanu od 1984. godine izložena je Zbirka sakralne umjetnosti koj... more U župnoj crkvi svetog Blaža u Vodnjanu od 1984. godine izložena je Zbirka sakralne umjetnosti koja se posebno ističe po brojnosti relikvijara različite tipologije i materijala. Većina tih predmeta u vodnjansku je crkvu došla iz kolekcije venecijanskog slikara Gaetana Grezlera (o. 1764.-1846.) koji je u ovo istarsko mjesto doselio 1818. godine. Osim nadaleko poznatih mumificiranih svetačkih tijela, Grezler je u svojoj zbirci posjedovao i stotinjak staklenih, metalnih i drvenih moćnika s gotovo 300 relikvija različitih svetaca. U ovom se radu izloženi relikvijari analiziraju prvenstveno prema materijalu njihove izrade te ih se grupira prema tipologiji oblikovanja i vremenu nastanka. Po prvi se put donosi povijesno-umjetnička interpretacija staklenih relikvijara nastalih na Muranu, kao i drvenih moćnika, a saznanja o već poznatim primjerima relikvijara izrađenih od plemenitih metala dopunjuju se novim rezultatima istraživanja.
Patrons, Intermediaries, Venetian Artists in Vienna & Imperial Domains (1650-1750), 2022
M. JERMAN, DONORS OF VENETIAN LAMPS IN THE CHURCHES OF RIJEKA 7 In the workshop «Il Trionfo» Bish... more M. JERMAN, DONORS OF VENETIAN LAMPS IN THE CHURCHES OF RIJEKA 7 In the workshop «Il Trionfo» Bishop of Pula Giuseppe Maria Bottari (1695-1729) procured altar candlesticks on two occasions, in 1711 and 1721. This commission of liturgical objects will be the subject of a special study by the author of this text in the future. 8 The lamp has not been preserved in its original form as it lacks hanging chains and a handle that holds them together. The height of the body of the lamp is 39 cm and the width is 36 cm. 9 PAZZI 1998, p. 122. 10 The inscription was first published by Luigi Torcoletti in the first and only monograph of
Putovima Frankopana, 2018
Since the 12th century until the death of Fran Krsto Frankapan the Lords of Krk, the Frankapans, ... more Since the 12th century until the death of Fran Krsto Frankapan the Lords of Krk, the Frankapans, have, through their political influence and family relations, added to their assets, but also to the treasuries of the sacral institutions in the area of Croatian littoral. Among the art donors from this family Barbara Frankapan should be singled out. She donated to Our Lady of Trsat a panaginica, a small gold medallion with numerous relics around which a skilful goldsmith, by adding some thirty relics of various saints, created one of the typologically most imaginative Gothic reliquaries in the Northern Adriatic. Regardless of a new Renaissance pedestal that was added to it in the 16th century, this precious work of art stresses the complexity of the context of creation of such objects. A small late Gothic boat with a depiction of Annunciation, also located in the Trsat monastery, is also attributed to the same goldsmith. Barbara Frankapan also donated a Gothic monstrance of an architectural typology to the Church of the Assumption of the Blessed Virgin Mary in Rijeka. Sadly, this monstrance has been kept in Italy since 1941. In addition to the great silver altar piece, which is one of only several preserved altar pieces created by goldsmiths in the Adriatic, given to the Krk cathedral by Ivan VII Frankapan, in 1471 the Frankapans also donated a gilded crucifix with jewels to the same treasury. The members of this family donated the majority of objects during the 15th century. Later donations of this type of objects are difficult to identify due to the lack of archival materials. (MJ)
At present time the archives do not reveal much information about the liturgical clothing donated to the churches by the members of the Frankopan family, but some of the prominent commissions have not gone unnoticed. Representative silk altar antependia with figural embroidered compositions created in the 14th century, which, on the bases of stylistic characteristics, are linked to Paolo Veneziano’s workshop, are among such commissions. These include an antependium commissioned for the main altar of the Krk Cathedral, which is nowadays kept in the Victoria and Albert Museum, the antependium from the parish church in Dobrinj, and a fragment of an antependium from the Parish Church of St. Philip and James, which is nowadays kept in the Museum of Arts and Crafts in Zagreb. If we take into consideration objects commissioned by other commissioners, it is possible to partially hypothesise about the contents of the inventory of various goldsmiths’ utility objects or precious silks that this noble family probably kept in their private chambers. (IJT)
This chapter focuses on a particular piece of art. In the Church of St. Quirinius in the town of Krk a silver and gilded altar piece created in 1477 by the master Paulus Koler is kept. This was a bequest of the Count Ivan VII Frankapan, who left one hundred ducats to help make a silver altar piece for the main altar in the cathedral in his will from 1453. The altar piece was completed long before the Count’s death in 1486, that is long before he left the island in 1480, and it was displayed on the main altar of the cathedral until 1826 when it was moved to the side altar of St. Cross. It consists of two registers each of which contains thirteen shallow reliefs which depict a number of saints who were important at that time, including the patron saints of Count Ivan, his famous father, the Ban of Croatia Nikola VI, his wife Elizabeta Mocenigo and their daughter Katarina. The silver Frankapan altar piece from Krk was definitely created under the influence of the famous Pala d’oro from the Dodge’s Chapel, but also under the influence of the altar piece from the Venetian Cathedral of San Pietro di Castello, and represents one of only a dozen preserved altar pieces of this type in the Adriatic. (DC)
Istra u novom vijeku/Istria in the Modern Period, 2017
Crkva svetog Mihovila arkanđela u Žminju, 2017
"La terra di Gemino e posta sovra un colle circondato da mure antiche lontano da Pisino migliaset... more "La terra di Gemino e posta sovra un colle circondato da mure antiche lontano da Pisino migliasette. Ha in mezzo il suo castello rinforzato con torrioni, e in questo vi sono due chiese una di San Michele Arcangelo molto ricca d'argenterie e sacre vesti con un bellissimo organo con quattro cappelle alla moderna adornate, altra SantissimaTrinita piu piccola. In una croce d'argento hanno trovato ottanta reliqiuie, che si tengono con molta venerazione." 1 Tako je novigradski biskup Giacomo Filippo Tomasini (1642. -1655.) zapo čeo opis Žminja, utvrđ enoga grada s dvjema crkvama. Iako raskošno oslikana, mala crkva Presvetoga Trojstva na prelata nije ostavila dojam kao posve obnovljena župna crkva svetoga Mihovila Arkanđela s četirima novim kapelama. Ta je žminjska crkva bila opremljena brojnim liturgijskim predmetima izrađ enima od srebra, a u njezinoj su se sakristiji čuvali vrijedni crkveni paramenti.
Mune i Žejane Maksu Pelozi, 2017
Na fotografiji snimljenoj 1951. godine, prilikom slavljenja mlade mise vlč. Marijana Peloze, brat... more Na fotografiji snimljenoj 1951. godine, prilikom slavljenja mlade mise vlč. Marijana Peloze, brata dr. sc. Maksa Peloze, svećenika i povjesničara, u prvom je planu vidljiv raskošan ophodni križ. Taj se križ i danas čuva u župi svete Marije Magdalene u Velim Munama. Riječ je o srebrnom ophodnom raspelu koje se prema načinu oblikovanja može datirati u 18. stoljeće. Istovremeno je nastao i jedan srebrni ophodni križ sa relikvijama što se čuva u istoj župi, ali je izvorno vjerojatno pripadao crkvi svetog Andrije apostola u Žejanama. Oba su križa rad nepoznatih zlatarskih radionica djelatnih u Veneciji i primjeri su kvalitetne obrade plemenitih metala. U radu se ophodni križevi prvi puta objavljuju te ih se povijesno-umjetničkom analizom smješta u kontekst onovremene mletačke proizvodnje ove vrste liturgijskih predmeta.
The papers surveys the changes of the decorative vocabulary on Venetian chalices produced after t... more The papers surveys the changes of the decorative vocabulary on Venetian chalices produced after the Council of Trent until the mid-eighteenth century. The modifications in compositions of ornamental elements are explained based on examples of previously unpublished chalices kept in monasteries of tertiary Franciscans on the Krk and Cres islands. Through an art history analysis, comparative examples and by reading of goldsmith marks, chalices are linked to master goldsmiths and workshops, and a more exact period of their production is determined with the help of the sazador's markings. Thus, this group of chalices further complements the work of Venetian goldsmith workshops „Orso“, „Bo“, „Croze“ and „Alla Samaritana“. Also, one of the chalices has been linked to a goldsmith Constantin Piazzalongo who flourished between 1592 and 1657. The items analysed in this paper are generally examples of Venetian serial production, among which an early Baroque chalice from the St. Francis monastery in the town of Krk should be singled out. In 1693, the chalice was commissioned by Franciscans Conventuals who inhabited the monastery before the arrival of tertiary Franciscans in 1783. Apart from the very interesting Franciscan iconography, this work of art is linked to the goldsmith workshop „Alla Samaritana“, from which the Franciscans Conventuals of the Our Lady of Mercy monastery in the town of Hvar also placed their commissions.
Hrvatski povjesničari umjetnosti 1: ARTUR SCHNEIDER (1879.-1946.) - Zbornik radova znanstveno-stručnog skupa, Nov 2016
In the fourth campaign of documenting artwork, initiated by the Yugoslovenian academy of science ... more In the fourth campaign of documenting artwork, initiated by the Yugoslovenian academy of science and art, Artur Schneider photographed and catalogued the cultural heritage of Rijeka and the surrounding area in the year 1936. After the sacral buildings and treasuries of Bakar and Kastav, he visited the City museum, then located in Sušak, and the Franciscan monastery in Trsat. There, among other valuables made of precious metals, he noticed a two-headed eagle holding a dragon in its claws. It is the pendant which can today be seen on exhibition in the monastery treasury labeled as an offering of the emperor of the Holy Roman Empire of the German Nation, Charles V. the Habsburg (1519.-1556.). Although many researchers subscribe to the monastery's version of this imperial offering, some historians of art, Artur Schneider included, considered the pendant to be a gift from Charles VI. (1711.-1740.) and therefore dated it to the 18th century. In this paper, this important piece of golden artwork is analysed for the first time, conclusions are drawn about its original appearance and it is placed in the context of the Renaissance goldsmith production.
The aim of this paper is to publish and place in an art-historical context two silver wall candel... more The aim of this paper is to publish and place in an art-historical context two silver wall candelabra with busts of classical antique figures surrounded by intertwined stylized acanthus leaves. The candelabra are kept in the Franciscan convent of Trsat. They were last documented in a photo-documentary campaign by Artur Schneider during the 1930s, and in 1974 they were added to the cultural heritage list as part of the convent's inventory. It is a very valuable set of silver wall candelabra, donated to the Franciscan convent
of Trsat in 1693 by the Holy Roman Emperor Leopold I Habsburg (1658-1705). The author refers to the written sources confirming the commission of the candelabra and analyses the evolution of their peculiar typology. In their design and iconographic programme, judging by the various analogies and graphic models, they corresponded to the production of Augsburg goldsmiths. This hypothesis is supported by the hallmark of the city of Augsburg and another one indicating goldsmith Antoni Grill I, documented in that art centre in the period from 1668-1700.
Parish church of St. Mary’s Assumption in Buzet was built in 1784 on the foundations of an earlie... more Parish church of St. Mary’s Assumption in Buzet was built in 1784 on the foundations of an earlier gothic structure. Since 1511 until the downfall of Venice Republic the town was governed by Rašpor captains placed for a rather short period of 32 months as representatives of the Venetian administration. In the time of their governance the town has flourished culturally and the old gothic church of St. Mary’s Assumption was furnished with new altars and other liturgical equipment. In the treasury of Buzet parish church valuable liturgical items made from precious metals can be found, all dating from the mid 15th until the 19th century. By using contemporary scientific research methodology, this paper analyses items produced in Venetian workshops during the 16th and the 17th centuries. Two processional crosses, one from 1536 and one from the 2nd half of the 17th century are being contextualized within the Venetian goldsmiths’ production of the time by the comparison with the similar examples. Small pax board from the beginning of the 17th century is being precisely dated between 1603 and 1609 or in the year 1629 based on the embossed coat of arms which is being connected to Rašpor captains Marc’Antonio and Nicolò Erizzo. Through the analysis of the heraldry of Venetian noble families it is being confirmed that the patron of the chalice produced in the goldsmith’s workshop Orso was Pietro Emo, another Rašpor captain. Ciborium from 1595 and the aspergillum from the 1st half of the 17th century are being analyzed and also published for the first time.
Zbornik Katedre Čakavskog sabora Kostrena, vol. 5., Apr 2014
The overviews or descriptions of the church furnishings traditionally omit or just touch upon the... more The overviews or descriptions of the church furnishings traditionally omit or just touch upon the liturgical silverware, mentioning it just in order to complete the catalogue. During the middle ages and early modern era it was handmade by artisans. At the beginning of the 19th century, following the developments in technology of making and processing of the objects, the organization of the production underwent some radical changes. In this period several items of liturgical silverware of the Parish Church of St Lucy in Kostrena could be dated. These are: a hitherto unknown monstrance by Karel Tratnik’s goldsmith’s shop from Maribor, a chalice of the unknown provenance, a censer and several candlesticks that could be dated in the period from the second half of the 19th century to the second half of the 20th century. Only a preserved fragment of a reliquary could be dated in the second half of the 18th century. The article discusses and compares the mentioned items to the similar contemporary products. They are also categorized according the type and decorations. The article also discusses extensively the way the goldsmiths’ shops were organized and functioned in the period before the Second World War.
Zbornik Lovranšćine, vol. 3, Apr 2014
The medieval parish church of St George in Lovran was being continuously enlarged and renewed in ... more The medieval parish church of St George in Lovran was being continuously enlarged and renewed in the period between 17th and 19th centuries. These reconstructions resulted in the ordering of several new altars adorned with paintings but also furnished with liturgical silverware. Among approximately ten objects that have been preserved in the parish church, the hitherto unpublished monstrance and chalice stand out by their quality. The monstrance is a typical late Gothic product: it has a rectangular glass vessel surmounted with a rich architectural decoration. It was made in the 16th century but it was rather heavily renovated in the 19th century. The unpublished neoclassical chalice dating in the 19th century has a base adorned with three figures of the personalities from the Old Testament. This characteristic connects it with the similar objects from Dubrovnik and Drvenik.
Czriquenizca 1412. Život i umjetnost Vinodola u doba pavlina, 2012
Czriquenicza 1412. Život i umjetnost u doba pavlina, 2012
U prvom dijelu rada donosi se kratak pregled izgradnje župne
crkve Sv. Jurja u Lovranu. Najstarij... more U prvom dijelu rada donosi se kratak pregled izgradnje župne
crkve Sv. Jurja u Lovranu. Najstariji zapis vezan uz oltare oporuka
je lovranskog župnika Radena iz 1410. godine. Mnogo je opsežnija
Quaderna capituli Lovranensis, koja donosi podatak da su se u
drugoj polovici 16. stoljeća u crkvi nalazila tri oltara. Najvrjednije
podatke donosi pastoralna vizitacija Francesca Bartirome,
generalnog vikara pulskog biskupa Alvisea Marcella (1653.–
1661.), a značajni su i zapisi Johanna Weicharda Valvasora.
U drugom dijelu rada obrađuju se drveni i mramorni oltari
preostali u današnjoj župnoj crkvi te datiraju u 17. ili 18. stoljeće.
Opusu venecijanskog slikara Francesca Potenze pridodaje se
dosad neatribuirana oltarna pala koja prikazuje sv. Antuna
Padovanskog. Drvorezbareni poklopac krstionice povezuje se
s djelatnošću radionice Mihovila Zierera. Svi su sačuvani oltari
tijekom stoljeća višekratno mijenjani te se u tekstu razjašnjavaju
neki aspekti tih intervencija.
Stota obljetnica Crkve Svetog Bartola Apostola u Cerniku, 2009
U Cerniku je, prema izvorima, postojala mala kapela Svetoga Bartola Apostola još u 16. stoljeću. ... more U Cerniku je, prema izvorima, postojala mala kapela Svetoga Bartola Apostola još u 16. stoljeću. Kapela je zbog proglašenja samostalne župe 1830. godine i povećanja broja vjernika morala biti proširena, odnosno, trebala je biti izgrađena nova crkva. Krajem 19. stoljeća župljani pokreću inicijativu u tom smislu te 1903. i 1906. godine daju izraditi dva potpuno različita neostilska idejna projekta u skladu s predviđenim financijskim sredstvima. Odabire se neorenesansno projektno rješenje arhitekta Jurja Chwalea, a izgradnja je nove crkve pod vodstvom lokalnih majstora bila dovršena 1909. godine.
Conferences by Mateja Jerman
Art Readings, Old Art Module: Arts and Archives, 3-5 April 2025, Sofia, Bulgaria, 2025
SOUTHEAST EUROPEAN SILVERSMITHING: Artisans, Donors, and the Concept of Piety During the Early Modern Period, International Conference, 17-18 October 2024, Sofia, Bulgaria, 2024
According to legend, the miraculously transported Holy House from Nazareth stayed on a hill calle... more According to legend, the miraculously transported Holy House from Nazareth stayed on a hill called Trsat above Rijeka (Croatia) from May 10, 1291 to December 10, 1294. It is the house where the event of the Annunciation took place. Its disappearance from Trsat and subsequent appearance in the Italian town of Loreto in the province of Marche saddened the inhabitants and pilgrims from nearby areas. Because of this, the count of Trsat, Ivan V (?–1393), from the family of the Counts of Krk, later called Frankapan, decided to build a chapel in its place in memory of that event. Pope Urban V (1362–1370) even sent a miraculous painting of Our Lady for the chapel, which, according to legend, is the work of St. Luke the Evangelist. Already in the 15th century, the Trsat sanctuary attracted numerous pilgrims, so Count Martin IV Frankapan (d. 1416–d. 1479) decided to build a church with a convent to which he invited the Franciscans from the Bosnian Vicarage. During the early modern period, the sanctuary developed, and at the beginning of the 17th century, it was further popularized by the publications of the Franciscan Franjo Glavinić. Numerous people, among them important members of the Hungarian, German, and Italian nobility as well as the Habsburg emperors, made vows to Our Lady of Trsat with goldsmiths’ works of high artistic quality.
These liturgical objects made of precious metals can be linked to Venetian goldsmiths’ workshops and goldsmiths’ centres in the territory of the Habsburg Empire. A smaller part of them is intended for liturgy, while a larger number of works belong to the category of items that are exhibited in special ceremonies or are part of the equipment of the church interior. This paper will analyse their typology and design in the context of the decorative vocabularies of the stylistic periods during which they were created. The objects will be evaluated in comparison to similar examples preserved in the territory of the former Republic of Venice and the Habsburg Empire. Special attention will be paid to uncovering the circumstances of the commission of the works that indicate the significance of this Franciscan sanctuary on the southwestern border of the Habsburg Empire during the early modern period.
Umetnost in meje, 7-9.10.2024, Brežice, Slovenija, 2024
Jugozapadna granica Habsburškog carstva se veći dio ranog novog vijeka protezala do unutrašnje Is... more Jugozapadna granica Habsburškog carstva se veći dio ranog novog vijeka protezala do unutrašnje Istre i Hrvatskog primorja. U kontekstu crkvene podjele, to je područje bilo organizirano u nekoliko biskupija od kojih su Pulska, Porečka i Tršćanska obuhvaćale i teritorij pod vlašću Republike Venecije. Takve povijesne okolnosti doprinijele su raznolikosti umjetničkih utjecaja prisutnih u inventarima sakralnih objekata tog prostora. Liturgijski predmeti od plemenitih metala u tom smislu ne čine iznimku. Štoviše, nerijetko se u crkvenim riznicama tih pograničnih mjesta istovremeno nalaze zlatarska djela koja se mogu povezati s venecijanskim radionicama, ali i onima aktivnima u najvažnijim zlatarskim centrima Habsburškog Carstva.
U izlaganju će se na primjerima nekoliko crkvenih riznica u Istri i Hrvatskom primorju pokušati rekonstruirati način funkcioniranja tržišta zlatarskim djelima tijekom ranog novog vijeka. Razmatrat će se utjecaj porijekla naručitelja na provenijenciju predmeta, kao i raznolikost tipologije pojedinih predmeta u određenom stilskom razdoblju. Temeljem do sada dokumentiranih inventara crkvenih riznica na području uz jugozapadnu granicu Carstva pokušat će se utvrditi udio venecijanskih zlatarskih djela u njima, kao i moguće razloge koji su doprinijeli raznolikosti umjetničke baštine ovog geografskog prostora.
Nakon raskošnog i dinamičnog baroka te ekstravagantnog rokokoa, europskim je primijenjenim umjetn... more Nakon raskošnog i dinamičnog baroka te ekstravagantnog rokokoa, europskim je primijenjenim umjetnostima, zavladao suzdržani barokni klasicizam. Cvjetne aranžmane, kartuše i vitičaste elemente zamijenila su kompozicijska rješenja s antičkim motivima poput meandara, lovorovih vijenaca i kanelira. Međutim, nove umjetničke tendencije nisu odjednom osvojile tržište zlatarskih djela jer su se istovremeno izrađivali i predmeti u duhu baroknog ili rokoko stila. Zlatarske su radionice, kao i u prethodnim stoljećima, postepeno i oprezno uvodile u ponudu srebrninu s klasicističkim motivima budući da su im najbrojniji kupci pretežito bili članovi klera koji su nerado prihvaćali moderne umjetničke tendencije.
Na nekoliko primjera zlatarskih djela što se čuvaju u crkvenim riznicama u Istri i Hrvatskom primorju analizirat će se raznolikost motiva i složenost kompozicija dekorativnog rječnika baroknog klasicizma.
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Papers by Mateja Jerman
At present time the archives do not reveal much information about the liturgical clothing donated to the churches by the members of the Frankopan family, but some of the prominent commissions have not gone unnoticed. Representative silk altar antependia with figural embroidered compositions created in the 14th century, which, on the bases of stylistic characteristics, are linked to Paolo Veneziano’s workshop, are among such commissions. These include an antependium commissioned for the main altar of the Krk Cathedral, which is nowadays kept in the Victoria and Albert Museum, the antependium from the parish church in Dobrinj, and a fragment of an antependium from the Parish Church of St. Philip and James, which is nowadays kept in the Museum of Arts and Crafts in Zagreb. If we take into consideration objects commissioned by other commissioners, it is possible to partially hypothesise about the contents of the inventory of various goldsmiths’ utility objects or precious silks that this noble family probably kept in their private chambers. (IJT)
This chapter focuses on a particular piece of art. In the Church of St. Quirinius in the town of Krk a silver and gilded altar piece created in 1477 by the master Paulus Koler is kept. This was a bequest of the Count Ivan VII Frankapan, who left one hundred ducats to help make a silver altar piece for the main altar in the cathedral in his will from 1453. The altar piece was completed long before the Count’s death in 1486, that is long before he left the island in 1480, and it was displayed on the main altar of the cathedral until 1826 when it was moved to the side altar of St. Cross. It consists of two registers each of which contains thirteen shallow reliefs which depict a number of saints who were important at that time, including the patron saints of Count Ivan, his famous father, the Ban of Croatia Nikola VI, his wife Elizabeta Mocenigo and their daughter Katarina. The silver Frankapan altar piece from Krk was definitely created under the influence of the famous Pala d’oro from the Dodge’s Chapel, but also under the influence of the altar piece from the Venetian Cathedral of San Pietro di Castello, and represents one of only a dozen preserved altar pieces of this type in the Adriatic. (DC)
of Trsat in 1693 by the Holy Roman Emperor Leopold I Habsburg (1658-1705). The author refers to the written sources confirming the commission of the candelabra and analyses the evolution of their peculiar typology. In their design and iconographic programme, judging by the various analogies and graphic models, they corresponded to the production of Augsburg goldsmiths. This hypothesis is supported by the hallmark of the city of Augsburg and another one indicating goldsmith Antoni Grill I, documented in that art centre in the period from 1668-1700.
crkve Sv. Jurja u Lovranu. Najstariji zapis vezan uz oltare oporuka
je lovranskog župnika Radena iz 1410. godine. Mnogo je opsežnija
Quaderna capituli Lovranensis, koja donosi podatak da su se u
drugoj polovici 16. stoljeća u crkvi nalazila tri oltara. Najvrjednije
podatke donosi pastoralna vizitacija Francesca Bartirome,
generalnog vikara pulskog biskupa Alvisea Marcella (1653.–
1661.), a značajni su i zapisi Johanna Weicharda Valvasora.
U drugom dijelu rada obrađuju se drveni i mramorni oltari
preostali u današnjoj župnoj crkvi te datiraju u 17. ili 18. stoljeće.
Opusu venecijanskog slikara Francesca Potenze pridodaje se
dosad neatribuirana oltarna pala koja prikazuje sv. Antuna
Padovanskog. Drvorezbareni poklopac krstionice povezuje se
s djelatnošću radionice Mihovila Zierera. Svi su sačuvani oltari
tijekom stoljeća višekratno mijenjani te se u tekstu razjašnjavaju
neki aspekti tih intervencija.
Conferences by Mateja Jerman
These liturgical objects made of precious metals can be linked to Venetian goldsmiths’ workshops and goldsmiths’ centres in the territory of the Habsburg Empire. A smaller part of them is intended for liturgy, while a larger number of works belong to the category of items that are exhibited in special ceremonies or are part of the equipment of the church interior. This paper will analyse their typology and design in the context of the decorative vocabularies of the stylistic periods during which they were created. The objects will be evaluated in comparison to similar examples preserved in the territory of the former Republic of Venice and the Habsburg Empire. Special attention will be paid to uncovering the circumstances of the commission of the works that indicate the significance of this Franciscan sanctuary on the southwestern border of the Habsburg Empire during the early modern period.
U izlaganju će se na primjerima nekoliko crkvenih riznica u Istri i Hrvatskom primorju pokušati rekonstruirati način funkcioniranja tržišta zlatarskim djelima tijekom ranog novog vijeka. Razmatrat će se utjecaj porijekla naručitelja na provenijenciju predmeta, kao i raznolikost tipologije pojedinih predmeta u određenom stilskom razdoblju. Temeljem do sada dokumentiranih inventara crkvenih riznica na području uz jugozapadnu granicu Carstva pokušat će se utvrditi udio venecijanskih zlatarskih djela u njima, kao i moguće razloge koji su doprinijeli raznolikosti umjetničke baštine ovog geografskog prostora.
Na nekoliko primjera zlatarskih djela što se čuvaju u crkvenim riznicama u Istri i Hrvatskom primorju analizirat će se raznolikost motiva i složenost kompozicija dekorativnog rječnika baroknog klasicizma.