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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
Sculptor Giovanni Depaul from Trieste and the bust of Paško Bakmaz at the City Cemetery of Zadar
Get PDFNakon uvodne rasprave o osnutku i povijesti izgradnje Gradskog groblja u Zadru, u radu se analizira bista zadarskog posjednika, trgovca i dobrotvora Paška Bakmaza (1820. – 1887.) postavljena
u obiteljskoj kapeli koja se istovremeno valorizira kao vrijedno djelo neostilske grobišne arhitekture. Umjetnički vrijednu bistu Paška Bakmaza izradio je poznati tršćanski kipar Giovanni Depaul (1825. – 1919.) pa je ona važan doprinos boljem poznavanju i valorizaciji skulptore na zadarskom groblju. Objavljuju se i arhivski podatci o dogradnjama i proširenju Gradskog groblja između dva svjetska rata, kao i o podatci iz biografje Paška Bakmaza i drugih članova obitelji Bakmaz koji su pokopani u istoj obiteljskoj kapeli.The City Cemetery of Zadar was built in 1820 after the Austrian Government passed a law prohibiting traditional burials in tombs located inside and around city churches, and the first burials in the new cemetery were carried out already in January of the following year. In the meantime, the cemetery was extended and expanded. In 1922, a memorial chapel was built for Italian soldiers who died in the First World War (Sacrario Militare). In 1926, a new portal was built to enter the old part of the cemetery. After the extension from the north side in the direction of the old cemetery, annexes with the necessary rooms were built in 1934, along with a new monumental portal in the form of a triumphal arch with an attic and three openings. Over time, the area of the cemetery was filled with numerous chapels, tombs, sculptures and tombstones of exceptional artistic quality and cultural and historical value. Two neo-style connected chapels belonging to the Perlini and Bakmaz families were built along the eastern part of the wall surrounding the oldest part of the cemetery. The chapels have facades shaped in the same way using and combining architectural and decorative motifs taken from the Romanesque style. In the interior of the chapel, along with other components of the sepulchral theme, the marble bust of Paško Bakmaz (1820 - 1887) stands out primarily for its artistic value. A native of Mratov (Promin), Paško Bakmaz acquired a large fortune in Zadar as a merchant and landowner. He is known primarily for his entrepreneurial and charitable activities, and a major cultural and educational donor. The author’s signature is engraved on the back of the bust: “G. DEPAUL,” indicating that the author of the bust is the famous Trieste sculptor Giovanni Depaul (1825-1919). Among the sculptors active in Trieste during the second half of the 19th century, Giovanni Depaul holds a prominent place primarily as the author of grave portraits and public sculptures. He is one of the first Trieste sculptors to assert himself on the Italian national sculpture scene. In accordance with his academic education, he creates works inspired by classical forms, which are perfect in their technical performance and realistic in their depiction of reality. This particularly comes to the fore in portraiture, where he approaches the anatomical shaping of characters and their psychological characterization in a naturalistic way. The described skill that Depaul mastered in creating realistic portraits can also be recognized on the
bust of Paško Bakmaz, who is shown as a man in his mature years. A wrinkled forehead and an aquiline nose stand out on a bony face, while a moustache and long sideburns complete the physiognomy. He stares into the distance with his living eyes open and he is dressed in a suit, waistcoat and shirt with a high collar with a bow tied around his neck. It could be argued that the sculptor managed to depict not only the fashion of that time but also the spirit and character of Paško Bakmaz. With his bust of Paško Bakmaz, Giovanni Depaul Bust joins a larger number of previously recognized sculptors working in Trieste (Ivan Rendić, Giacomo de Simon, Leone Bottinelli, Luigi Conti, Giovanni Marin) who are represented by their works for local clients in the Zadar old cemetery as well as in the city and its surroundings
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
Oltar Sv. Jeronima u crkvi Sv. Šime u Zadru i radionica Bettamelli = The altar of St Jerome in the church of St Simeon at Zadar and the Bettamelli workshop
No full textThe Altar of St Jerome in the Church of St Simeon at Zadar and the Bettamelli Workshop
Get PDFU radu se na temelju arhivskih podataka govori o oltaru Sv. Jeronima u crkvi Sv. Šime u Zadru. Od ranije se zna da je oltar dala podići i o njegovu se uređenju brinula bratovština hrvatskih i albanskih vojnika (Croatti a cavallo i Soldati Albanesi) u službi Mletačke Republike, osnovana 1675. godine u Zadru. Novim je arhivskim istraživanjima utvrđeno da je dana 26. rujna 1694. godine bratovština odobrila izdatak u iznosu od 200 srebrnih dukata, namijenjenih venecijanskim klesarima braći Bettamelli kao predujam za izradu oltara te da su radovi na njegovu podizanju započeti u travnju 1696. godine. Na temelju zapisa o gradnji oltara iznijeta je pretpostavka da se grb na istočnom pilastru stipesa oltara, ranije povezivan s predstavnicima obitelji Civran, odnosi na zadarskog plemića i istaknutog zapovjednika u mletačkoj vojsci, Šimuna Fanfognu (Zadar, 7. travnja 1663. - Lendinara, 6. ožujka 1707.) koji je obavljao i dužnost prokuratora oltara. Brojni radovi na uređenju oltara i kapele Sv. Jeronima obavljani su i tijekom čitavog 18. stoljeća, a na njima su bili uposleni brojni mjesni majstori različitih struka: graditelji Antonio Piovesana (1742.) i Antonio Bernardini (1789.), oltarist Girolamo Picco (1756.), marangon Domenico Tomaselli (1743.), kovač Antonelli (1744.) te zlatari Zorzi Cullisich (1738.), Nicolò Giurovich (1752.) i Giuseppe Rado (1755.). Donose se još neke zanimljivosti vezane uz uređenje oltara i djelovanje bratovštine Sv. Jeronima.Based on the book, the full title of which is Registro delle Administrationi de Signori Governatori di San Gerolimo della Nation Oltramarinna in Dalmatia et Albania, this paper discusses the altar of St Jerome in the church of St Simeon at Zadar. It is already known that the altar was commissioned and maintained by the confraternity of Croatian and Albanian soldiers (Croatti a cavallo and Soldati Albanesi) founded in 1675 at Zadar, who were in the service of the Venetian Republic. New archival research has established that on 26 September 1694 the confraternity authorized the expense of 200 silver ducats intended for two Venetian carvers, the Bettamelli brothers, as a down payment for the making of the altar. The work on the altar began in April 1696 and several local master craftsmen took part in it: Zanotti, Rodo and Radičić, as well as smith Rosini. Since the Bettameli brothers, the makers of the altar of St Jerome, are not mentioned in the records by their first names, it should be noted that an altar-maker of the name of Alberto Bettamelli from Venice was responsible for the construction of the high altar and its tabernacle in the cathedral of St Maurus at Maniago (Friuli), as we learn from a contract made in 1693. Alberto Bettamelli also made the tabernacle in the parish church at Marsure (Aviano, Friuli). Bortolo Betamelli (Bettamelli), a tagliapietra, is mentioned between 1646 and 1682 in the ledgers containing contracts of apprenticeship to various sculptors, stone-cutters and carvers kept by the Giustizia Vecchia, a magistracy which supervised the activities of Venetian guilds. Two tabernacles have been attributed to the Bettamelli workshop: one on the high altar of the parish church at Maniago Libero (Maniago, Friuli) of 1694, and one in the parish church at Provesano (Friuli).
Based on the records about the construction of the altar of St Jerome, it can be suggested that the coat of arms (composed of a cartouche with a shield emblazoned with a left-facing rampant lion and the initials C.C.S.F. above) depicted on the east pillar of the altar base, previously linked to the members of the Civran family, refers to Šimun Fanfogna (Zadar, 7 April 1663 - Lendinara, 6 March 1707), a Zadar nobleman and distinguished commander in the Venetian army who was the caretaker of the altar.
The altar of St Jerome together with the surrounding area inside the church aisle - also called the chapel of St Jerome - represented an isolated unit delineated by a balustraded rail which could be used separately from the rest of the church, on certain occasions and festivities, by the members of the confraternity as well as the representatives of local and regional Venetian government at Zadar, and ecclesiastical and other dignitaries. Numerous works on the decoration of the altar and chapel of St Jerome were carried out throughout the whole of the eighteenth century and large numbers of local craftsmen skilled in different arts were engaged in them. Over a number of years, the Registro mentions the builders Antonio Piovesana (1742) and Antonio Bernardini (1789), the altar-maker Girolamo Picco (1756), the marangon Domenico Tomaselli (1743), blacksmith Antonelli (1744) and the goldsmiths Zorzi Cullisich (1738), Nicolò Giurovich (1752) and Giuseppe (Josip) Rado (1755). A number of other interesting pieces of information concerning the decoration of the altar and the activity of the confraternity of St Jerome is also presented
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
The Venetian indorador Pietro Sandrioli and Wooden Altar Superstructures in Rab and Šibenik
Get PDFNa temelju novih istraživanja u Državnom arhivu u Zadru autor donosi do sada nepoznate podatke o drvenim oltarnim palama u Rabu i Šibeniku. Pietro Sandrioli indorador iz Venecije obvezuje se 1623. godine da će u crkvi benediktinki Sv. Andrije u Rabu izraditi drvenu oltarnu palu i sliku na platnu sa prikazom Bogorodice sa Sv. Dominikom, Sv. Katarinom Sijenskom i otajstvima Presvetog Ružarija. Isti se majstor, uz indoradora Zuannu Voicovicha i druge neimenovane majstore, spominje i 1628. godine u svezi radova na nekadašnjem glavnom oltaru crkve Sv. Dominika u Šibeniku. Novim čitanjem od prije poznatog arhivskog izvora donose se novi podaci i zaključci o nekadašnjim drvenim oltarima Sv. Vinka Fererskog i Imena Božjeg u crkvi Sv. Dominika u Zadru i ulozi koju je u njihovoj izradio mogao imati indorador Pietro Salamone. U radu se raspravlja i o tome da li se indoradori Pietro Salamone i Pietro Sandrioli bez obzira na podatke iz arhivskih dokumenata mogu smatrati jedinim majstorima zadarskih oltara i rapske drvene pale.Based on new archival research, the article focuses on previously unknown information about wooden altarpieces in Rab and Šibenik. The documents created by the Rab notary Ivan Božidar Kašić, which are kept
in the State Archive at Zadar, contain a contract about the making of a wooden superstructure (palla) for the high altar in the Church of St. Andrew and its original altar painting. The contract bears the date of 19 April 1623 and obliges Piero Sandrioli, an indorador and resident of Zadar, to make an altarpieces according to a set design, fifteen-feet high and nine-and-a-half-feet wide, together with a canvas painting of the Blessed Virgin Mary and paintings depicting the scenes of the Most Holy Rosary. He was required to paint the figure of St. Dominic to the right of the Virgin, the figure of St. Catherine of Siena to her left, and, next to the Virgin’s feet at the bottom of the painting, the scenes on the topic of the Most Holy Rosary. The rest of the altarpieces had to correspond to the aforementioned design in all respects. The whole structure (probably referring to the wooden superstructure and the painting) had to be carved, delivered to the Church of St. Andrew and set up on the altar at the expense of Pietro Sandrioli. Once in Rab, after the delivery of the wooden altarpiece and the painting, Sandrioli was also required to gild the altarpiece. The entire task had to be completed by the following December. As soon as the work was completed, Sandrioli was to be paid the amount of 250 ducats and here it is mentioned that he had already received 360 lire. Apart from the described altar superstructure from Rab, the same mistro Pietro Sandrioli da Venecia indorador is mentioned in connection to the making of the former high altar in the Church of St. Dominic at Šibenik. This document of 13 June 1628 has been preserved in the records of the Šibenik notary Ante Vrančić which are also kept in the State Archive at Zadar. The document states that Lorenzo Corradis, a representative and intermediary on behalf of the confraternity of the Virgin of the Most Holy Rosary from the Church of St. Dominic, paid Pietro Sandrioli, the indorador of Venice, 376 lire which is also confirmed by a receipt issued for the services of carving and painting undertaken in Venice for the wooden high altar of the Virgin of the Most Holy Rosary.
As confirmed by Pietro Sandrioli himself, only 180 of those 376 lire had been spent and he owed Lorenzo Corradis the amount of 196 lire. In other words, he owed him the amount which could be somewhat higher or lower than the stated sum but which would correspond to the amount of money that was actually spent. The next step was to see a Venetian notary who was to issue Corradis with a confirmation that the amount of 180 lire was spent to pay for the work of the master craftsman, and this would guarantee that the money was indeed spent. For this purpose, the indorador Pietro Sandrioli, in the company of the aforementioned witnesses, promised and committed to provide a trustworthy and original confirmation issued by a Venetian notary in which these master carvers and painters would state the exact cost of their work while under oath. Then, he would bring or send this confirmation from Venice by the end of the following January. In the event of Sandrioli’s failure to send or bring the confirmation by the end of the following January, he was to be replaced by another master indorador, Zuanne Voicovich, who would be responsible for the payment of the 196 lire in full. Although this document merely regulates some expenditures, it can still be used to establish that the work on the wooden high altar for the Church of St. Dominic at Šibenik was begun before 13 June 1628 when, it seems, it was still ongoing; that the majority of work was done in Venice, and that the indoradori Pietro Sandrioli and Zuanne Voicovich were involved in the production together with numerous unnamed master wood-carvers and painters. It may be concluded that Sandrioli and Voicovich were at that time in Šibenik together, and that they worked on the completion of the altar, decorating it with gilding. Since Pietro Sandrioli was mentioned in the Rab document of 1623 as a resident of Zadar, it can be suggested with a high degree of certainty that he worked for the commissioners who were based in the capital of Dalmatia and its environments. In Venice, the term indoradóri or doradóri denoted those craftsmen who used gold or silver foils to decorate various hand-made objects, most frequently those made of wood. The Indoradóri did not have a guild of their own but formed one of the branches of the confraternity of painters, a member of which, between 1597 and 1610, was a certain Piero de Zen Sandrioli, probably the same master craftsman who worked on the wooden altarpieces at Rab and Šibenik. On the basis of the analysis of archival records and other examples of the production of carved and gilded wooden altars in seventeenth-century Venice and Dalmatia, it is concluded that the making of the wooden altar superstructure from Rab was a task shared by a number of master craftsmen who specialized in the various aspects of carpentry such as the marangoni, tornitori, figuristi, ornatisti and indoradori. Pietro Sandrioli, apart from being responsible for the tasks of an indorador, probably acted as an intermediary of sorts between them and the commissioners. After Pietro Salamone (Hvar, Zadar) and Jacopo Costantini (Trogir), Pietro Sandrioli is the third Venetian indorador to have worked for Dalmatian patrons in the late sixteenth and the early decades of the seventeenth century. Since the indorador Costantini also made the canvas painting of the Virgin and Child with St. Dominic and a donor for the wooden altar in the Dominican church at Trogir, it can be assumed that the indorador Sandrioli may have also been responsible for the painting of the now lost Virgin of the Most Holy Rosary with SS Dominic and Catherine of Siena, which was inset in the wooden altar superstructure of the main altar of the Church of St. Andrew
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