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Grgur Garbin († 1621), captain of artillerymen, and his house in Zadar
Get PDFU radu se na temelju arhivskih i terenskih istraživanja donose nove spoznaje o luneti portala s nekadašnje kuće obitelji Garbin u Zadru, danas ugrađenoj u kuću u Ulici Mate Karamana. Preciznije se blazonira grb u luneti portala te ga se dovodi u vezu s kapetanom zadarskih topnika Grgurom Garbinom. Plemićka obitelj Garbin podrijetlom je iz Paga, a jedna grana prešla je početkom 17. stoljeća u Zadar. Zaključuje se da je luneta portala izrađena malo nakon 1609. godine kada prema arhivskim dokumentima Grgur Garbin kupuje kuću u blizini samostana sv. Dimitrija u Zadru. Utvrđuje se položaj kuće te se donose novi arhivski podatci iz života Grgura Garbina i njegovih potomaka. Saznaje se da je njegov sin Ivan Grgur (Zan Gregorio) zanimanjem bio zlatar.On the basis of the conducted archival and field research, the author presents new knowledge regarding the portal lunette earlier home of the Garbin family in Zadar, today built into the front facade of the house in Mate Karaman Street. The author describes the coat of arms in the portal lunette, and consequently – since it shows a cannon and a male head with the characteristic hat – brings it into connection with Grgur Garbin, captain of the Zadar artillerymen. In the 17th century, this type of hat – decorated with long feathers and identical to the one on Garbin’s grave – made an integral part of the uniform of Venetian commanders holding the rank of captain; this counts for artillery units, too. The noble Garbin family originates from the island of Pag, and one family branch moved to Zadar at the beginning of the 17th century. It is concluded that the portal lunette was built just after the year 1609, when – according to the archival documents – Grgur Garbin had bought a house near the monastery of St. Demetrius in Zadar. The author sets the accurate location of Garbin’s house and brings fresh archival data from the life of Grgur Garbin and his descendants. Record on the death of Grgur Garbin, captain of the Zadar artillerymen, was entered into registry books under the date 25 January 1621, and he was buried in the church of St. Demetrius near his family home. Grgur Garbin had two sons, both born in Zadar – Marco Antonio, baptised on 29 April 1609, and Ivan Grgur, baptised on 21st March 1611. Based on recent archival research, the author further learned that Garbin’s son Ivan Grgur, who died in Zadar in 1646, was professional goldsmith
Contributions to the Study of Venetian Baroque Altars and Sculpture in Dalmatia and the Kvarner Gulf: Marco Torresini and Carlo Tagliapietra
Get PDFU prvom dijelu rada bočni oltari sv. Križa i sv. Spiridona u Novoj crkvi u Šibeniku i bočni oltar (s kipom Srca Isusova) u župnoj crkvi Rođenja Blažene Djevice Marije u Malom Lošinju na osnovi tipoloških osobina i upotrebe karakterističnih dekorativnih elemenata pripisuju se Marcu Torresiniju. Donose se i nova zapažanja o kiparskoj opremi Torresinijevih oltara. U drugom dijelu pobliže se analiziraju kipovi Vjere i Nade s glavnog oltara župne crkve sv. Tome apostola u Tkonu na otoku Pašmanu te se temeljem usporedbe s drugim kiparevim djelima pripisuju Carlu Tagliapietri.Archival documents have revealed that the Venetian architect Marco Torresini (1668 – after 1731) executed a number of altars in Dalmatia distinguished by characteristic typological features and the use of decorative elements (Kali, Ist, Kraj, Premuda, Zadar/Obrovac, Šibenik, Žman, Split, Nerežišće, Bol, Trogir, Ždrelac, Molat, Tisno, Jezera and the tabernacle in Tisno; he is also considered the author of tabernacles on altars in Kraj and Ždrelac). The author advances the attribution of two side altars in Nova crkva (New Church) in Šibenik to Marco Torresini, dedicated to the Holy Cross and St Spyridon respectively and conceived in a similar manner with the exception of the form and decoration of the central niche. Torresini is also proposed as the author of the side altar in the right aisle of the parish church of the Birth of the Blessed Virgin Mary in Mali Lošinj, which features a relief of the Madonna and Child on the antependium and two angel figures on the sides of the tympanum. The altar can be dated to the third or fourth decade of the 18th century. Although archival records mention Torresini as sculptor, it remains unclear whether he personally executed some of the sculptural elements applied to his altars. Besides affinities with previously analysed sculptures on some of his altars, further similarities are revealed by the comparison of the figures of the Madonna and Child on the antependium of the altar in Mali Lošinj with the figures of two kneeling angels on the tabernacle of the altar in Kraj. Furthermore, statues of angels placed on the tympanum of the altar in Mali Lošinj show similarities with angels on the tympanums of Torresini’s altars in Premuda, Molat and Žman. Previous research has revealed that statues of St Simon with Child, St Thomas the Apostle, Faith and Hope on the high altar of the parish church of St Thomas the Apostle in Tkon on the island of Pašman show affinities with the works of Alvise Tagliapietra (1670–1747). The altar’s architectural frame displays common features with the Dalmatian altars erected by brothers Vicko and Pio Dall’Acqua between 1744 and 1801. The author provides a thorough stylistic analysis of the statues of Faith and Hope from the altar in Tkon and ascribes them to Alvise’s son and collaborator Carlo Tagliapietra on the basis of marked similarities with the sculptor’s works in Lentiai (Belluno) and with angels on the high altar of the church of the Assumption of the Blessed Virgin Mary (“Our Lady of Angels”) in Veli Lošinj. The sculptural oeuvre of Carlo Tagliapietra is characterized by homogeneity in terms of style and quality, as well as by a determined dependence on the models acquired through collaboration with his father. These models could have been further exploited after his taking over the workshop which produced one of the most important ensembles of Venetian 18th-century sculpture, which opens the possibility of future identification of other works which would enlarge his sculptural oeuvre
Putto on the High Altar of the Church of St Francis in Zadar: a Proposal for the Workshop of Giusto Le Court
Get PDFU radu se analizira mramorni putto smješten u vrhu polukružnog zabata glavnog oltara crkve sv. Frane u Zadru. Prije pripisivan Francescu Cavrioliju, putto se u ovom radu na osnovi podrobnije tipološke i stilske analize smješta u ambijent najznačajnijega venecijanskog kipara 17. stoljeća Giusta Le Courta i njegove radionice.According to the contract drafted on Wednesday, 30 January 1669 in Venice, the execution of the high altar of the Church of St Francis in Zadar, dedicated to Our Lady of Mount Carmel, was a joint undertaking of Baldassare Longhena and Gerolamo Garzotti. The contract with the masters was signed by Antonio Ferrari and Franchin Bonicelli on behalf of the commissioner, the Confraternity of Our Lady of Mount Carmel which had its seat in the Church of St Francis. According to the terms of the contract, Longhena and Garzotti promised to construct the altar within a year and a half, agreeing to make it equal in architecture, sculpture, quality of execution, shape and style to the today inexistent high altar of the Church of San Daniele in Venice, but with an addition of a marble putto on the altar gable. Earlier scholars attributed the said putto figure to Francesco Cavrioli, who was considered the author of the marble statues of St Anthony of Padua with Child Jesus and St Jerome from the same altar. On the basis of a thorough typological and stylistic analysis, as well as comparison with other works such as angel and putto figures and profile reliefs and busts, the author dismisses Cavrioli as the creator of the Zadar putto and proposes its association to the circle of the most important Venetian sculptor of the 17th century Giusto Le Court and his workshop
Several Roman, Milanese and English 18th- and 19th-Century Silver Objects in Northern Dalmatia
Get PDFAutor na temelju novih terenskih istraživanja i prepoznavanja utisnutih žigova piše o rimskim, milanskim i engleskim umjetnički oblikovanim predmetima od srebra koji se čuvaju u samostanima, crkvama i zbirkama na prostoru sjeverne Dalmacije (Zadar, Nin, Novigrad, Pag, Dobropoljana na otoku Pašmanu). U radu se analiziraju radovi rimskog majstora Giuseppea Tofanellija, milanskih majstora Francesca Ceppija, Cristofora Corbelle i Emanuelea Cabera i jedan svijećnjak srebrnara Johna Parsonsa iz engleskog grada Sheffielda.On the basis of recent field research and identification of hallmarks, the paper discusses Roman, Milanese and English silver objects preserved in convents, churches and collections in northern Dalmatia (Zadar, Nin, Novigrad, Pag, Dobropoljana on the island of Pašman). The author analyses works by the Roman master Giuseppe Tofanelli, by Milanese masters Francesco Ceppi, Cristoforo Corbella and Emanuele Caber, as well as a candlestick produced by John Parsons, a silversmith from the English town of Sheffield
Andrea Galeazzo i spomenici generalnim providurima Leonardu Foscolu i Lorenzu Dolfinu u Šibeniku
Get PDFBased on new archival findings, the paper examines the activity of Venetian stone carver and sculptor Andrea Galeazzo (c. 1614 – after 1653), author of the today lost monuments of governors general of Dalmatia (Provveditori Generali di Dalmazia) Leonardo Foscolo (1647) and Lorenzo Dolfin (1653) in Šibenik, and discusses the typology of such public monuments in Dalmatia in relation to important examples of funerary monuments in Venice.U radu se na osnovi novih arhivskih istraživanja govori o venecijanskom klesaru i kiparu Andrei Galeazzu (oko 1614. – nakon 1653.), autoru danas nestalih spomenika generalnim providurima Leonardu Foscolu (1647.) i Lorenzu Dolfinu (1653.) podignutih u Šibeniku. Na osnovi nekih važnih venecijanskih primjera nadgrobnih spomenika raspravlja se i o tipologiji ove vrste javnih spomenika u Dalmaciji
Tršćanski kipari Luigi Conti i Giovanni Marin i njihova djela na Gradskom groblju u Zadru
No full textU radu se analiziraju djela kipara Luigija Contija (1839. – 1904.) i njegovog nećaka kipara Giovannija Marina (1875. – 1926.) iz Trsta na starome Gradskom groblju u Zadru. Njihova djela potvrđuju dobre umjetničke veze između Trsta i Zadra na prijelazu stoljeća, kao i upućenost lokalnih naručitelja u suvremene trendove na području arhitekture i skulpture sepulkralnog karaktera. Donoseći nova saznanja o pojedinim grobnicama, njihovim autorima, naručiteljima i vlasnicima, rad dodatno potkrepljuje već ranije prepoznatu iznimnu spomeničku vrijednost staroga zadarskoga groblja i upućuje na daljnja istraživanja nadgrobne arhitekture i skulpture ovog kompleksa
Two Lost Portraits and a Document from Šibenik for Giovanni Antonio Zonca
Get PDFU prvom dijelu rada objavljuju se fotografije nestalih portreta Lovre Fondre (1644.–1709.) i neznanog ratnika iz obitelji Detrico. Portreti su bili u vlasništvu Lugija Felicinovića i Francesca Damiani di Vergada u Zadru. Spominje ih Giuseppe Sabalić u svojoj knjizi »Pitture antiche di Zara« (Zadar, 1912.), ali ne donosi njihove fotografije. Fotografije obaju portreta koje se objavljuju u ovom radu čuvaju se u Državnom arhivu u Zadru i vjerojatno su rađene u vrijeme Sabalićeva istraživanja zadarskog slikarstva. Sačuvane su u posebnom albumu i nisu upotrijebljene u njegovoj knjizi. U drugom dijelu rada donosi se arhivski dokument iz 1695. godine koji govori o narudžbi slike za samostan sv. Dominika u Šibeniku kod Giovannija Antonija Zonce (1652.–1723.) čime se proširuje lista značajnih venecijanskih slikara koji su u 17. stoljeću radili za dalmatinske naručitelje.In his monograph “Pitture antiche di Zara” (Zadar, 1912), cultural worker, writer and scholar of painting Giuseppe Sabalich (1856 – 1928) described paintings preserved in private collections of bourgeois and noble families in Zadar, as well as in their houses and summer residences on the islands and in the hinterland. Several photographs, probably taken in the course of his research of painting in Zadar but not included in the book, are held by the State Archives in Zadar. The author publishes the photograph of a portrait of Lovro
Fondra and the photograph of a portrait an unknown warrior from the Detrico family, both previously unpublished. At the time of Sabalich’s work on the book, the first portrait was owned by Luigi Felicinović,
and the second by Francesco Damiani di Vergada. The portrait of Lorenzo Fondra (Šibenik, 1664 – Zadar, 1709) is especially important for the cultural history of Croatia as it represents one of the most prominent personalities of Venetian Dalmatia in the second half of the 17th and early 18th century who made important contributions to various fields, from literature and legal studies to historiography and diplomacy. The second portrait depicts an individual from one of the most distinguished noble families in Zadar, whose members
held high offices in the service of the Venetian Republic. The history of the portraits after the publication of Sabalich’s monograph remains unknown, if they were preserved at all. The author also publishes a newly found archival document preserved in the State Archives in Zadar, dated 1695 and related to a painting commissioned from Venetian painter Giovanni Antonio Zonca (1652 – 1723) for the Dominican convent in Šibenik. The document states that Fr Frane Parčić, prior of the convent of St Dominic in Šibenik, authorized Fr Gerolimo Galante and Fr Giovanni Alvise Cornelio to act on his behalf in the disagreement over an already commissioned painting. Zonca’s work cannot be identified among the preserved paintings in the Dominican convent in Šibenik, so it is possible that the painting was never finished or delivered. Nonetheless, the document represents a valuable testimony that Giovanni Antonio Zonca produced paintings not only for patrons in Venice and the neighbouring cities, but also for patrons from Dalmatia
Nova istraživanja i dopune o graditeljima mramornih oltara u Zadru: Antonio Peschiera, Baldassare Garzotti, Pietro Coste i Girolamo Girardi
Get PDFIn the first part of the paper, on the basis of written sources from the monastery of St. Francis, it is concluded that in 1663, Venetian altar builder Antonio Peschiera erected the altar in the chapel of the Immaculate Conception of the Blessed Virgin Mary at the church of St. Francis in Zadar. It has been presumed that the new altar had been built in order for the silver relief of the Blessed Virgin – work from the second half of the 16th century, originating from Venetian goldsmith’s workshop – to be exhibited thereon. The second part of the paper offers an analysis of the contract on the erection of the altar of St. Benedict at the church of St. Chrysogonus of 1700, which is in safekeeping at the State Archives in Venice (Archivio di Stato di Venezia). The contract states that according to the wish of Cristofor Novati, prior of the monastery of St. Chrysogonus, with the approval from all the monks, it was decided to erect an altar in honour of St. Benedict and other saints of the Benedictine order. To this end, Zaccaria Gabrielli, steward of the monastery San Giorgio Maggiore in Venice, was authorized to choose the design for the altar and to conclude the contract with Baldassare Garzotti. The document confirms earlier conclusions and provides new knowledge on this altar, the stone and marble types used, and the author Baldassare Garzotti himself. Though the said altars have not been preserved, the analyzed archive documents present a valuable tribute to the expertness regarding the builders of marble altars from the circle of Baldassare Longhena in Dalmatia. The third part of the paper offers an analysis of the newly discovered archive data, which have confirmed earlier attributions for three side altars erected 1732–1743 at the church of St. Francis in Zadar to Pietro Coste. It has furthermore been confirmed that the side altar of St. Peter Alcantara at the same church was in 1732 designed by Venetian altar builder Girolamo Girardi. Girardi made in Venice all the altar parts, which were subsequently put together at the church of St. Francis by Pietro Coste.Autor na temelju novih arhivskih istraživanja u prva dva poglavlja rada donosi do sada nepoznate podatke o graditeljima mramornih oltara iz kruga Baldassarea Longhene u Zadru. Na temelju zapisa iz samostanskog arhiva utvrđuje se da je venecijanski oltarist Antonio Peschiera 1663. godine podigao oltar u crkvi sv. Frane u Zadru. U drugom dijelu rada analizira se ugovor o gradnji oltara sv. Benedikta u crkvi sv. Krševana iz 1700. godine koji se čuva u Državnom arhivu u Veneciji. Dokument potvrđuje ranije zaključke i donosi nova saznanja o ovom oltaru i njegovu graditelju Baldassareu Garzottiju. Iako se ovi oltari nisu sačuvali, analizirani arhivski dokumenti vrijedna su dopuna poznavanju djelatnosti venecijanskih oltarista u Dalmaciji. U trećem dijelu rada analiziraju se novopronađeni arhivski podatci koji potvrđuju ranije atribucije triju bočnih oltara podignutih 1732. – 1743. godine u crkvi sv. Frane u Zadru Pietru Costi. Također se utvrđuje da je bočni oltar sv. Petra Alkantranskog u istoj crkvi 1732. godine projektirao venecijanski oltarist Girolamo Girardi. Girardi je dijelove oltara izradio u Veneciji, a u crkvi sv. Frane sastavio ih je u cjelinu Pietro Coste
Going Beyond Counting First Authors in Author Co-citation Analysis
Get PDFThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
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