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U doktorskom radu Sakralna arhitektura Zlatka Ugljena predstavljene su sakralne građevine koje je projektirao arhitekt Zlatko Ugljen od početka njegova stvaralaštva krajem 60-ih godina 20. stoljeća do danas. U radu su analizirani, istraženi i interpretirani svi Ugljenovi realizirani i nerealizirani sakralni projekti. Objašnjeni su izvori Ugljenova specifičnoga arhitektonskog izričaja koji sintetizira modernizam – kao osnovno stilsko polazište – ali i postmodernizam i tradicijsko graditeljstvo bosanskohercegovačkog prostora. Pozornost je stavljena na interpretaciju eksterijera i dizajna interijera, a građevine su promatrane u teološkom, povijesnom, teritorijalnom i kulturološkom kontekstu prostora u kojima su sagrađene. Pored popisa i analize, u radu se donose i valoriziraju postojeće interpretacije Ugljenovih sakralnih objekata od strane istraživača iz zemalja nekadašnje Jugoslavije, ali i drugih svjetskih teoretičara arhitekture i publicista. Ugljenova sakralna arhitektura (realizirani i nerealizirani projekti za islamske i katoličke bogomolje) postavljena je u teorijski okvir kritičkog regionalizma, ali i kulture sjećanja jer je ona – sa svojim specifičnostima – bitan čimbenik pri promatranju tradicijskih prepleta različitih vjerskih i identitetskih zajednica koje obitavaju na istom prostoru. Svi objekti popraćeni su fotografijama, skicama, tlocrtima i prikazima projekata te njihovim eventualnim objašnjenjima. U radu je pozornost stavljena na proces nastanka i realizacije projekata te su ti procesi potkrijepljeni sadržajima iz arhivskih dokumenata i brojnih intervjua koje su dali sudionici i svjedoci nastanka projekata. Sadržaj disertacije zaokružen je katalogom u kojem se donose pojedinosti o projektima te intervjuom sa Zlatkom Ugljenom u kojem autor govori o osobnim i profesionalnim iskustvima te razmišljanjima o sakralnoj arhitekturi. U širem smislu, disertacija se bavi analizom moderne i postmoderne islamske i katoličke sakralne arhitekture u Bosni i Hercegovini, ali i u regiji i svijetu, uz osvrt na društvene i političke prilike koje su utjecale na nju. Zlatko Ugljen's religious architecture represents an indispensable segment not only of the author’s creative work, but also of the overall contemporary catholic and islamic religious architecture in Bosnia and Herzegovina and in the region. Zlatko Ugljen designed more than 200 buildings in his career, and was presented with various awards both at local and international level. As a professor at the Faculty of Architecture in Sarajevo, he educated many generations of architects. However, the greatest contribution to the regional architecture Ugljen gave through his 28 projects for 29 religious buildings. Considering that Ugljen's work in religious architecture is, regardless of this fact, underrepresented in professional and scientific journals, the primary goal of this doctoral dissertation is to consolidate, analyze and evaluate Ugljen's realized and unrealized sacral projects. One of the objectives of this paper is to present them and place them into the context of both the world and regional architectural frameworks in order to get a clearer picture of the author's contribution and significance in contemporary architecture of Bosnia and Herzegovina. The intention of this paper is, inter alia, to systematize Ugljen's sacral oeuvre in chronological terms, then to research and analyse the documentation that is available concerning his sacral projects, as well as the articles published on those projects, and to offer an interpretation of the design features and point out to different circumstances and needs in which those designs were developed. Ultimately, the aim of the dissertation is to lay foundations for stylistic distinction between modernism and postmodernism in Ugljen's oeuvre, and to point out to significant influence of critical regionalism on his creative work . In the broad sense, the dissertation analyzes modern and postmodern religious architecture in Bosnia and Herzegovina (Catholic and Islamic) in social and political contexts that influenced its development, construction and deterioration. The dissertation is structured around a thematic-chronological framework. It is composed of an introduction, six sections and a conclusion. The introduction, set as the first section, is followed by the second section with a historical overview of modern architecture in Bosnia and Herzegovina and the region in the 20th century. The historical overview opens with an analysis of the development of the Bosnian style at the beginning of the 20th century, which marked the birth of modernism, the protagonists of which influenced Ugljen's understanding and creation of architecture. Furthermore, a brief insight follows into the history of architecture in Bosnia and Herzegovina between the two world wars. This period is presented more broadly in theoretical terms through the analysis of the history of architecture in Europe in the 1920s and 1930s through an overview of developments in architecture in the Kingdom of Serbs, Croats and Slovenes, respectfully, the Kingdom of Yugoslavia in that period. After overview of the European and regional architectural scene, special attention is devoted to the history of the architecture in Bosnia and Herzegovina between the two world wars, with information on the most important architects, buildings and stylistic features, followed by an insight into history of architecture in Bosnia and Herzegovina after the World War II. Considering that development of the prewar architecture was heavily influenced by the world and regional ideological and stylistic tendencies, this section focuses primarily on the world's most important theoretical guidelines, stylistic tendencies and architects. In the third section, the social and political events after the World War II in Yugoslavia and Bosnia and Herzegovina are discussed, because they directly affected the position of the Islamic Community and the Catholic Church, which commissioned Ugljen's projects. Furthermore, the dissertation provides an insight into the position of the Islamic Community and the construction of Islamic religious buildings in Bosnia and Herzegovina from the end of the World War II to the present, considering that the position of the Islamic Community directly and indirectly defined the conditions for designing mosques. Before moving to the analysis of stylistic features of the mosques in that period, the dissertation lists the ideas and guidelines for the construction of modern mosques in the second half of the 20th century in the world. The fourth section describes and analyzes Zlatko Ugljen’s life and career, followed by description and interpretation of his sacral projects. Sections 5 and 6 elaborate on the projects for realized and unrealized religious buildings of Zlatko Ugljen following the same methodological approach, meaning that projects are analyzed chronologically, by the year of their creation, divided along the two phases: projects made in the 20th century (Section 4) and those made in the 21st century (Section 5). The sixth thematic unit applies the same approach and deals with the projects created in the 21st century, when the architect in some works moved away from modernism as a stylistic expression and adopted contemporary stylistic tendencies following the idea of critical regionalism. After the analysis and interpretation of the design features of the religious buildings, the Section 7 focuses on the specifics of the stylistic expression of Zlatko Ugljen, analyzing the sources of Ugljen's specific architectural expression, which synthesizes modernism, as a basic stylistic starting-point, postmodernism and the influence of traditional architecture through the theoretical guidelines of critical regionalism. Furthermore, the sources and features of Ugljen's sacral opus are explained, taking into consideration the stylistic genesis and influences in his work, resulting in an analysis of the design features of the religious buildings. Considering that co-authoring was an important segment of Ugljen’s career, the paper also elaborates on his associates/co-authors and their influence on each other. The interiors for churches, the use of symbols and iconography, the treatment of the climate interrelation, the choice of materials and spatial concepts were also analyzed. The time determinant as a parameter according to which the sacral projects were analyzed was derived from the stylistic features of Ugljen’s projects. They were analyzed with regard to the placement of the realized or unrealized facility in a certain environment, the analysis being supported with an explanation of the needs and reasons for which the facilities were designed, as well as the historical context in which they were built or should have been built. In addition, Ugljen’s sacral projects are placed within the framework of religious architecture in BiH. This content is additionally enriched with excerpts from interviews with Ugljen's most important associates and co-authors (Nina Ugljen Ademović, Branko Tadić, Husejn Dropić and Fr. Marko Karamatić). The research is based on the heterogeneous materials, such as: encyclopedias, books, archival and project documentation, critical reviews, newsletters, notes, interviews, newspaper articles and photo-documentation, taken from the Archives of the Episcopal Ordinariate in Mostar, Franciscan Library in Mostar, Historical Archives in Sarajevo, Archives of the Riyasat of the Islamic Community in Sarajevo, the Matica Srpska Library in Novi Sad, the National and University Library in Zagreb and the City Library in Mostar. Significant documents were provided by the Archives of the Behram-Bey’s Madrasa and the Islamic Center in Tuzla, as well as by the Franciscan Parish Archives in Tuzla, Žeravac and Zabilje. These archives contain various documents that helped us to get more information and a better understanding of the processes of creation and construction of the facilities: conceptual or detailed design projects, work diaries, tenders, contracts, opinions of commissions, changes, offers, invoices and sketches. Design sheets for churches and mosques built before the 1990s, with the exception of St. Peter and Paul’s Church in Tuzla, are not available any more, as they were mostly destroyed during the war. The completeness of the processing of the material was affected by the fact that certain documentation was nonexistent, because if it had been available, it could have significantly supported the precise analysis of the proportions and other constructive values of these realized objects and thus contributed to the formal analysis of Ugljen's religious projects. The description and analysis of the construction of Ugljen's sacral projects presented in this paper, relying on projects and personal insights from the field research, can help further evaluation and research of his work in the future. Ugljen has won numerous domestic and international awards and some of its sacral buildings can be found in world-renowned publications on this topic. The religious architecture of Zlatko Ugljen belongs to the most praised, but also the most disputed parts of his work. Religious projects, built during the six-decade long creative period of Zlatko Ugljen, had different fates: two buildings were left unfinished, one was destroyed in the war, eighteen were realized, whereas eight projects remained unrealized. Thus, Ugljen's sacral opus is not large, but viewed within the history of contemporary architecture of Bosnia and Herzegovina, it has attracted the greatest interest of the world and regional public.

Secesija je umjetnički stil koji se razvio u 19. stoljeću u Beču u Austriji. Stil je koji se najviše očitovao u arhitekturi, iako je ostavio svoj trag i u slikarstvu i kiparstvu. U to vrijeme velik broj umjetnika studirao je u Beču, tadašnjem glavnom gradu Austro-Ugarske Monarhije. Među njima je bio i Kamilo Tončić. Ovaj rad prikazuje rad tog velikog splitskog arhitekta i građevinara. U poglavljima su opisana njegova djela, utjecaj i doprinos gradu Splitu. Nakon studiranja je odlučio ukrasiti nekoliko veličanstvenih zgrada u secesijskom duhu. Potpuno je projektirao zgradu Sumpornih toplica, Hrvatski dom te privatnu vilu. Sudjelovao je u brojnim obnovama te preinakama zgrada. Velik utjecaj ostavio je na kulturu grada svojim arhitektonskim djelima, osnivanjem muzeja te organizacijom raznih manifestacija. Osnovao je Obrtnu školu, Etnografski muzej i Galeriju umjetnina. Bio je jedan od organizatora „Prve dalmatinske umjetničke izložbe“, 1908. godine, u Splitu. Bio je osnivač i raznih umjetničkih društava. Povremeno se privatno bavio slikanjem i bilježenjem ornamentnih narodnih šara., Secesison is an artistic style that developed in the 19th century in Austria, Vienna. It is the style that is most evident in architecture, although it has left its mark in both painting and sculpture. At that time, a large number of artists studied in Vienna, the capital of the Austro-Hungarian monarchy in that time, among whom was Kamilo Tončić. This thesis follows the great architect and builder from Split, Kamilo Tončić. The chapters describe his works and his influence and contribution to the city of Split. After studying, he decided to decorate Split with several magnificent buildings in the seccession style. He completely designed the building of the Sulfur Spa, the Croatian Home and his private villa. He also participated in numerous renovations and alterations to buildings. He left a great influence on the culture of the city, not only with architectural works but with the founding of museums, the organization of events. He founded the Crafts School, the Ethnographic Museum and the Art Gallery. He was one of the organizers of an important exhibition of the First Dalmatian Art Exhibition in Split in 1908, and participated in the founding of various art groups. Occasionally he was privately engaged in painting and noting ornamental folk patterns.

Rad donosi pregled arhitekture otoka Paga od 4. do 11. stoljeća te pregled društvenih i povijesnih zbivanja u ovom vremenskom razdoblju. U prvom dijelu rada iznose se geografske karakteristike i reljefna obilježja otoka kao početna odrednica oblikovanja povijesnog pejzaža. Poseban naglasak stavljen je na teritorijalno-administrativnu podjelu koja Pag izdvaja kao jedinstven otok Jadrana, podijeljen u dvije županije. Rad se temelji na terenskom istraživanju i pregledu sve relevantne literature, kao i najznačajnijih arheoloških istraživanja lokaliteta. Promjene u paškom pejzažu su, osim geografskim odrednicama, definirane povijesnim prilikama i zbivanjima na otoku, u njegovoj regiji, kao i na širem europskom području. Teorijski okvir ovih promjena opisan je kroz važnija politička i društvena zbivanja od vremena antike pa sve do kasnog srednjeg vijeka, iako je primarni fokus rada na vrijeme od 4. do 11. stoljeća. Pregled procesa transformacije povijesnog pejzaža otoka Paga prikazan je od vremena gradnje prvih rimskih vila na istočnoj obali Jadrana, preko fortifikacijske arhitekture kasne antike, do ranokršćanske i ranosrednjovjekovne sakralne arhitekture. Naposljetku, iznosi se prikaz svih poznatih lokaliteta od sjevera do juga otoka, s pregledom najvažnijih saznanja iz literature i istraživanja, kao i spomen na neke lokalitete koji još nisu potvrđeni ili nisu ostali sačuvani. Korpus antičke i srednjovjekovne arhitekture otoka Paga značajno se smanjio kroz stoljeća, bilo djelovanjem prirodnih sila, bilo ljudskom rukom pa tek rijetki primjeri mogu svjedočiti o promjenama koje su otok i stanovništvo doživjeli kroz povijest. Malobrojni ostaci stoga pozivaju na daljnja istraživanja, valorizaciju i prijeko potrebnu zaštitu. The paper provides an overview of the architecture of the island of Pag from the 4th to the 11th century and an overview of the social and historical events during this period. In the first part of the paper, the geographical features and the relief of the island are presented as the first determinants of shaping the historical landscape. Special emphasis is placed on the territorial-administrative division that sets Pag apart as a unique island in the Adriatic, divided into two counties. The paper is based on field research and a review of all relevant literature, as well as the most significant archaeological excavations of sites. The changes in the landscape of Pag are, not only geographically conditioned, but also determined by the historical circumstances and events on the island, in the region and in the wider European area. The theoretical framework of these changes is described through the most important political and social events from antiquity to the late Middle Ages, focusing on the period from the 4th to the 11th century. An overview of the process of transformation of the historical landscape of the island is given, from the time of the construction of the first Roman villas on the eastern coast of the Adriatic, through the fortification architecture of late antiquity, to the early Christian and early medieval sacral architecture. Finally, an account of all known sites from the north to the south of the island is presented, with an overview of the most important findings from literature and research, as well as mention of some sites that have not yet been confirmed or preserved.The number of ancient and medieval architecture on the island of Pag has decreased significantly over the centuries, either due to natural forces or human influence, so only rare examples can testify to the changes the island and its population have experienced throughout history. The few remains therefore call for further research, valorization and much-needed protection.

U ovom radu upoznajemo se s gradom Venecijom, njegovim nastankom, geografskim smještajem i jedinstvenim načinom organizacije i rasta kako bi mogao funkcionirati na najbolji način. Materija je prikazana kronološki po povijesnim razdobljima razvoja grada od samog početka sve do danas. Kod Venecije je specifično da je topografija u velikoj mjeri utjecala na strukturu grada gdje je dominantnu ulogu imala voda. Uz topografiju i ljudska aktivnost, kao i kultura, utjecali su na urbanistički razvoj grada što je tijekom tisućljetnog postojanja Venecije dovodilo do niza zahvata u urbanističkom pogledu. U arhitekturi je također došlo do velikih promjena što je najuočljivije na zgradama, kanalima, pješačkim stazama, mostovima i okolišu. Sve te promjene vidljive su kroz analizu kartografskih prikaza i fotografija kroz stoljeća., In this paper, we discuss the city of Venice, its origin, its geographical position, founding, and the unique ways it grew and organised itself in order to function the best it could. The contents are presented chronologically, following the city's development from its very beginnings all the way until today. Venice is special as topography has greatly influenced the city's structure, with water being a core factor. In addition, human activity and culture also had a great effect on its urbanistic development, which led to a series of impressive architectural feats throughout the millennia that completely changed the look of the city. These changes are most visible on buildings, canals, walkways, bridges, and the environment. All said changes are presented through the analysis of cartographic representations and photographs throughout the centuries.

Tijekom razdoblja srednjeg vijeka arhitektura i glazba odražavale su međusoban utjecaj u mnogim aspektima. Tu činjenicu prvenstveno potvrđuje sustav harmonijskih proporcija na kojima se obadvije umjetnosti temelje, a koje počivaju na zakonima broja pitagorejske teorije. Navedena teorija bazirana je na muzičkom raciju kojeg čine omjeri intervala savršenih konsonanca: oktave (1:2), kvinte (2:3) i kvarte (3:4). Prostorna elevacija i odnos elemenata opatijskih crkava i katedrala višestruko dokazuju primjenu omjera muzičkih intervala u pogledu arhitektonskih proporcija. S druge strane, kameni muzički traktat u deambulatorumu Angelorumu opatijske crkve samostana Cluny otkriva kompleksnu glazbenu simboliku u kontekstu Boetijevog djela De institutione musica koji će izvršiti snažan utjecaj na srednjovjekovno poimanje harmonije i glazbenih proporcija. Sinergija glazbe i arhitekture očituje se i u njezinim akustičnim odlikama. Mnoge srednjovjekovne crkve u svojoj su unutrašnjosti otkrile ,,akustične posude’’ implementirane u zidove, svodove i apside čija je funkcija bila rezonancija ili apsorpcija određenih frekvencija. Nastale su po uzoru na akustični mehanizam brončanih echea kojeg Vitruvije opisuje u svom traktatu o arhitekturi De architectura libri decem, a koji je sadržavala svaka samostanska i katedralna knjižnica onog doba. Akustični efekti u srednjovjekovnim se crkvama postižu i zahvaljujući jeci koju stvaraju konkavni elementi i zaobljene prostorne površine poput svodova i apsida. Nalik instrumentu, crkva je u suglasju sa svojim akustičnim odlikama produžavala trajanje nota i obogaćivala zvuk monodije gregorijanskih korala. In the medieval period of European history architecture and music resembled each other in many ways. In the first place we see it in the system of harmonic proportions which links architecture to music by means of Pythagorean theory. This theory is based on the musical ratios of the perfect intervals such as octave (1:2), perfect fifth (2:3) and perfect fourth (3:4). Space organisation and structure of the abbey churches and cathedrals shows alignment of musical ratios with architectural proportions. On the other hand, the musical treatise carved in stone in the deambulatorum Angelorum of Cluny reveals complexity of music symbolism in the context of Boethius De institutione musica which will have great impact on medieval understanding of harmony and musical proportions. Also, sinergy between music and architecture is visible in its acoustical aspects. Many churches in their interior revealed ,,acoustic pots’’ which were implemented into the walls, vaults and apses, and whose function was sometimes resonance, and sometimes absorption. They were established on the acoustical ideas of bronze echea by Vitruvius who explained this system in his architectural treatise De architectura libri decem which was common literature among medieval libraries. Acoustic qualities of medieval churches are also formed by their long reverberation due to concave and curved surfaces and elements such as vaults and apses, and are important part of their cultural heritage. They acted like instruments which prolonged duration of the notes and helped developing full sound of monophonic Gregorian chants.

Monografska tema disertacije pod nazivom Arhitekta Rudolf Tӧnnies – život i djelo, obuhvaća kao što i sam naslov ističe nekoliko značajnih i za budući period afirmacije, etabliranja i razvoja kao arhitekta, podataka vezanih za obiteljske prilike i predispozicije prema budućem radu, stavljajući ipak težište na period stvaralaštva u BiH. Kako je djelatnost arhitekta Rudolfa Tӧnniesa u Hrvatskoj kratkotrajna i neznatna, u Sloveniji vezana za aktivnosti tvrtke Obnova, gradbena družba z.o.z. Ljubljana, a u Beču ograničena isključivo na 11 tipskih projekata oficirskih paviljona, oni su samo dijelom analizirani, ostavljajući prostora za budući istraživački rad na temu stvaralaštva van granica BiH. S obzirom da je Sarajevo, odnosno BiH prostor u kojem arhitekt ostvaruje najznačajniji doprinos graditeljskom naslijeđu austrougarskog perioda utoliko rad pokazuje analizu, opise, valorizaciju i komparaciju svih realiziranih i nerealiziranih projekata, samostalnih i u suradnji s vodećim arhitektima Monarhije, dokumentuje i potvrđuje iznesene činjenice, putem očuvane projektne dokumentacije i relevantne pisane građe (podataka iz personalnih listova, objavljene i neobjavljene arhivske građe te iznimno domaće literature). Kao glavna odrednica u atribuciji korištena su tri osnovna izvora – podaci iz personalnog lista Rudolfa Tӧnniesa, zatim projektna dokumentacija i pisana građa Arhiva BiH (akti vezani za Građevinsko odjeljenje Kraljevske Zemaljske Vlade za BiH, točnije ureda za zgrade). Obimom najveći dio rada ipak obuhvaćaju realizirani projekti pretežno u Sarajevu, ali i drugim gradovima u BiH, zatim slijede suradnje, pa nerealizirani projekti i na koncu ostale vrsta radova (makete, skice uređenja enterijera, dodijeljenih nagrada, priznanja i dr.) The dissertation titled “Architect Rudolf Tӧnnies – his life and works“, covers, like the title itself suggest, important facts that influenced his future period of affirmation, establishment and development as architect and artist-cum-designer, such as the facts relating to his family circumstances and predispositions for his future work, but focusing primarily on his creative period in BiH. As the activities of Architect Rudolf Tӧnnies in Croatia were brief and negligible, in Slovenia they were related to the activities the Company Obnova, gradbena družbaz.o.z. Ljubljana, and in Vienna limited only to 11 standardized designs for officers' pavilions, these have only been partially analysed, leaving an opportunity for a future researcher to explore his works outside the borders of BiH. Considering that Sarajevo or BiH is where the Architect made his most significant contribution to the architectural heritage of the Austro-Hungarian period, this paper analyses, describes, valorises and compares all of his finished and unfinished designs, independent and those done in cooperation with the leading architects of the Monarchy. The facts presented here are documented and corroborated by evidence, such as preserved design documents and relevant written materials (data from his personal files, published and unpublished records and exceptionally locally found reference materials). In terms of referencing, three sources were used – information from personal file of Rudolf Tӧnnies, the design documents and written materials from the Archive of BiH (documents relating to the Construction Department of the Royal National Government for BiH, more specifically, the Building Construction Department). In terms of scope, the paper mostly focuses on the projects implemented in Sarajevo as well as those in other towns in BiH, this is followed by his collaborations, then his unimplemented projects and finally other works (such as: scale models, sketches for interior design, awards and recognitions received, etc.)

Rad donosi pregled dosadašnjih saznanja o elafitskom otoku Šipanu na temelju kojih se pretpostavlja njegov razvoj za vrijeme kasne antike i ranog srednjeg vijeka. Nedostatkom pisanih izvora sve do 13. stoljeća kada je i prvi put službeno zabilježen kao dio dubrovačkog izvangradskog područja i neprovođenjem sustavnih arheoloških istraživanja, na otoku se danas u tragovima nazire svako razdoblje. S obzirom na to da se Šipan od samih početaka, pa sve do danas gledao kao dio Elafitskog otočja, a ne kao zasebna cjelina, prva poglavlja će povijesnim pregledom antike na otocima i društveno-političkih zbivanja za vrijeme kasne antike i ranog srednjeg vijeka na širem, dubrovačkom području, uvesti u sam kontekst tog perioda. Također, predstaviti će se i nalazi otoka Koločepa i Lopuda koji doprinose pretpostavkama o razvoju Šipana. Glavni dio rada je katalog s detaljnim opisima sakralne gradnje tog vremena na Šipanu. Rad će se zaključiti s nekim završnim razmatranjima o razvoju otoka u tom razdoblju i njegovom povezanosti s Dubrovnikom. The paper presents an overview of current knowledge of the Elaphite island of Šipan on which the assumption of its development during late antiquity and the early Middle Ages is based on. Due to the lack of written sources up until the 13th century, when the island was also first recorded officially under the authority of Dubrovnik, and the lack of systematic archaeological research of the island, today its history can be seen only in traces. Given that Šipan has always been seen as a part of the Elaphite Islands, and not as a separate entity, the first part will give an insight of remains found on the islands and a historical overview of the socio-political events in the area of Dubrovnik during late antiquity and the early Middle Ages as an introduction to the context of that period. The main part of the paper will be presented as a catalogue of sacral architecture of the island of Šipan from 4th until 11th century with detailed descriptions. The conclusion of the paper will be in the form of some final reflection about the development of Šipan during that period and its connection to Dubrovnik.

Iako su rad i život Ivana Meštrovića (1883.–1962.) predmet brojnih izučavanja, klasična komponenta njegova stvaralaštva nije do sada bila protumačena i objedinjena. Ona se formalno i tematski prepoznaje u svim segmentima njegova umjetničkog, arhitektonskog, pedagoškog i esejističkog djelovanja, te se analizira u tri glavne cjeline, koje vremenski obuhvaćaju prva dva desetljeća 20. stoljeća, međuratno razdoblje i poslijeratnu fazu. Jedan je od rezultata istraživanja, koji se odnosi na prvu cjelinu, uvođenje pojma utopijske skulpture, izlučenog iz konceptualne i povijesne reperkusije Partenona na europsku skulpturu kraja 19. i prve polovice 20. stoljeća. On se tumači na primjeru Vidovdanskoga hrama. Francuski kipari pružaju glavni komparativni materijal na temelju kojeg se uočava Meštrovićeva transgresija od prihvaćanja načela fragmentarne skulpture i asamblaža, arhajskoga monumentalizma i neoklasicizma. U međuratnom razdoblju klasična komponenta prepoznaje se kao stil sâm (neoklasicizam). On je zamjetan na monumentalnim skulptorskim i arhitektonskim djelima, koja održavaju ideje moći i stabilnosti. Razdoblje „povratka redu“ korespondira s tezama antimodernizma, programatski formuliranima u esejima o Michelangelu Buonarrotiju. Posljednje razdoblje shvaća se kao rekapitulacija stečenog iskustva, iskazanog kroz zreli ekspresionizam, realizam, autoreferencijalni neoklasicizam i pastišni eklekticizam ili eklektički monumentalizam. Eklektički pristup tradiciji autentičan je umjetnikov iskaz; taj iskaz je kompleksan (opreka modernizam – antimodernizam) i neusporediv s drugim hrvatskim i europskim kiparima i arhitektima. Meštrovićev se klasični, mnogofasetni identitet potvrđuje kao ključna odrednica njegova opusa, bez koje ga je nemoguće cjelovito interpretirati i kontekstualizirati u okviru modernoga hrvatskog i europskog kiparstva. Iako je većina ostvarenja općepoznata, ona do ovog istraživanja nisu bila cjelovito objedinjena kroz kategorizaciju, koja sagledava stilsko i tematsko formiranje – od antičkih uzora do neoklasicizma. Although for more than a century now the life and work of Ivan Meštrović (1883–1962) have been studied by numerous research scholars, both foreign and domestic, the classical component of his artistic work has never to date been interpreted, contextualised and brought together between the covers of a single work. In this research, this component has been identified formally and thematically in Meštrović’s sculpture, in his architecture, in the drawing, painting and printmaking that also constitute parts of his oeuvre, in his teaching at the Zagreb Academy of Fine Arts and in his writings about art. The classical component, which is considered to be one of the most important characteristics of the work of this artist and architect, is analysed in three main units, covering in terms of time the first two decades of the 20th century and the interwar and post-war phases. In the introductory part, after the chronological framework of the discussion of Meštrović’s art is established, the frame of reference for the concept of the classical component is addressed. It presumes the internalisation and reinterpretation of patterns of theme and composition from a number of periods of art history. Meant here are Antiquity (the period that extends from the appearance of writing in the 4th millennium BC, via the civilisations of Mesopotamia and Egypt down to the collapse of the Roman Empire), the Renaissance (in the oeuvre of Meštrović this mainly means invoking the art of Michelangelo Buonarroti) and the Neoclassicist period. Then the definition of terminology is addressed (archaism, the archaic and archaistic style, the influences of the Bronze Age and classicism as against Neoclassicism), as well as the determination of the chief comparative context, which is French modern sculpture. In addition, to reinforce the need for the study – in terms of the framework of the problem given – reference is made to recent domestic and international exhibition and publishing projects, and to texts in which modernism is redefined precisely in relation to the reinterpretation of the classical tradition. In the first two decades, the presence of classical elements is interpreted as one of the tendencies associated with the stylistic formations of Impressionism, Secession, Symbolism and Expressionism. Keeping up with references to classical culture can be discerned at the very beginnings of the artist’s engagement with sculpture, during the Vienna years (1900–1907), when Meštrović quite plainly advanced negative views about the tradition. In connection with the comparative context, the familiarity of Meštrović’s French critical fortune is expanded, that is, the reception of his participation at the most important exhibitions of the time in 1908 and 1909 (Salon d’Automne, Salon de la Société nationale des beaux-arts). The transition from rejection of the classical tradition to invocation of it, from the development of the lexis of (monumental) archaism to (monumental) neo-classicism is observed through a comparison with French sculptors, with Auguste Rodin, Antoine Bourdelle and Aristide Maillol, who had defined the relation of modern sculpture and Ancient and Renaissance art. Here Rodin’s invention of fragmentary sculpture and assemblage needs particularly to be picked out and attention drawn to the fact that Meštrović was the first Croatian sculptor to employ it. One result of the research into the problem was the introduction of the concept of utopian sculpture. It is derived from the conceptual and historical repercussions of the architecture of the sculpture of the Parthenon on European sculpture of the end of the 19th and the first half of the 20th century. The concept is interpreted with use of the St Vitus Day Temple (1908–1912) and, pursuant to the stylistic and ideological similarities, it is expanded to several other contemporary examples, mainly of Czech and French artists. The temple itself, and the Kosovo Cycle and the Prince Marko Cycle that belong to it, are described in detail and analysed in order to be able to distinguish the finer features of the appropriation of Ancient sculptural and architectural motifs, elements and symbolic meanings. The second decade of the last century was marked by the sculptor’s consideration of Ancient iconographic templates (Venera pudica) and motifs (women dancing) that enabled Meštrović to develop the theme of the female nude further. He also went on pondering the male nude in two directions – the archaic, heroic monumentalism (the monument Victor, Belgrade, 1913) and the anti-hero (for example, Pensive Youth, London, 1915). Subsequently in the thesis through all the periods and within all the units, there is a continued interpretation of reliefs and medals that prove to be particularly suitable for the depiction of the adoption of classical formal patterns, and for the reception of the then current stylistic tendencies (modernism). In the interwar Zagreb period (1922–1942), the classical component can be identified as the main determinant of the style, as the style itself, then (Neoclassicism). This stylistic tendency is perceptible in the monumental sculptural and architectural productions, which reflect the idea of power and stability, for which an ideal framework can be found in elements taken from Antiquity, the Renaissance and Neoclassicism. In the design of the nudes and works of religious topics, Meštrović often resorts to the repertoire of forms and themes that were established by Michelangelo. The focus of the research is on the importance of the sculptural workshop, its role in the transmission of knowledge, skills and the return to the sources of classical, Mediterranean culture. In the case of Meštrović, the problem of workshop is seen through the short-lasting workshops organised for the purpose of his monumental and architectural projects, then through the activity and formation of young sculptors in his studios, and through the organisation and reform of teaching at the Academy of Fine Arts in Zagreb, where he was president and professor. The characteristics of the phenomenon identified as “the return to order” correspond with the thesis of anti-modernism, which he programmatically formulated in essays about Michelangelo (Ivan Meštrović, “Michelangelo (an introduction to a study)” of 1926; Ivan Meštrović Conversations with Michelangelo, 2007; Ivan Meštrović, Michelangelo – essays of an artist about an artist, 2010) and embodied in his own works, which were supposed to be a model for the younger generation of artists and avert them from the destructive influences of the avant-garde. In these essays, he joined the string of French artists who in a similar way had engaged with the Italian sculptor (Rodin, Émile Bernard). It should be pointed out that antimodernism is not necessarily not-modern, that is, outside the currents of the time in which it came into being, which, among other things, is confirmed by Meštrović’s sensitivity to current artistic and political circumstances. In the context of Meštrović ’s reception of Michelangelo, it should be pointed out that in this thesis for the first time his long-lasting engagement with the theme of Moses (1915– 1952) and with portraits of Michelangelo, done in the media of sculpture and drawing is analysed and presented as a whole for the first time. In this part of the thesis, there is discussion of Meštrović’s monumental and architectural oeuvre, to which a particular quantitative impetus was imparted in the third and fourth decades of the century, during which Meštrović won his place as the main state sculptor of the Kingdom of the Serbs, Croats and Slovenes, later known as the Kingdom of Yugoslavia. Because of the closeness with political circles (with, for example, the Karađorđević and Masaryk families) and thanks to the success of his international exhibitions he had a large number of commissions for public sculpture in Croatia, other parts of Yugoslavia and in Europe, the USA and South America, Since these projects have been discussed in previous researches, the objective of the current investigation was to establish the typological development (the equestrian monument, for example, the motif of the winged goddess of victory, Nike) and his correlation with the classical tradition (for example, derivations of the architectural vocabulary of the ancient world, the variation of the ancient structure of temple and its adjustment to contemporary needs of a public and a personal purpose). Still, the dissertation includes some unknown facts and material related to the Speer Memorial of Denver, which was never brought to fruition (1934). The discussion is expanded to Croatian and European (Czech and Latvian) production of monuments, by the consideration of the influence of Meštrović’s public sculpture on the formation of the following generation of Croatian and Slovene sculptors (the defining of the Zagreb Sculpture School) and on the reception of Neoclassicism and monumentalism in the public sculpture of central and northern Europe. The last period of Meštrović’s life and work in Rome, Switzerland and the USA (1942– 1962) is seen as a recapitulation of the experience garnered up to that time. Stylistic derivations are recognised as mature Expressionism, realism and self-referential Neoclassicism. The latter inclination is a confirmation of the long duration of the classical tradition that is sketched out in the thematic stratum (mythology, religion) and in compositional self-referential and referential (Michelangelo, Rodin, Bourdelle) figurativeness. The interpretation is expanded to the phenomenon of eclecticism, that is, of the eclecticism of the pastiche, of eclectic monumentalism, which is attributed in this dissertation above all to his architectural designs (the Njegoš Mausoleum at Lovćen, 1924–1974) and to his sculptural productions in all periods. An eclectic approach to the tradition and to his own artistic past is the authentic expression of this artist. Accordingly, he is both polyvalent and complex (the opposition of modernism and anti-modernism) and is not comparable to other Croatian and European sculptors and architects. The thesis also introduces some little known (for instance, two sculptures on the topic of the slave of 1903) or completely unknown productions (for example, the drawing Source of Courage, 1906 (?) published in the journal Český svět in 1909). From the beginning of his career, from his days as a student in Vienna, right until the last, the American, period, it is possible to recognise and track, with complete clarity, the artist’s specific manner of referring to and reinterpreting classical (mythological, for example) subjects, as well as approaches to form and composition (for example, the different versions of the depiction of Aphrodite or Venus – Venera pudica, Aphrodite, Anadyomene and so on), from sources in Antiquity, which necessarily include not only Greek and Roman but also other ancient world traditions, as well as from the Renaissance and Neoclassicism. Hence this research too was oriented to the chronological coverage of stylistic appropriations of classical motifs, through all the phases of the artist’s work, Nevertheless, sometimes, for the sake of comprehensiveness and readability, a given subject will be covered together in a sub-chapter with productions from different periods (for example, the theme of Domagoj’s Archers, Venera Pudica, Moses, Pietà, the historical origins of memorial architecture and so on). Finally, although most of the works from the periods mentioned are universally known and have been presented in previous interpretations, until this research they were not discussed in a single place and contextualised through stylistic treatment and categorisation that covers stylistic and thematic formation, from ancient sources up to Neoclassicism. The research was founded mainly on works and documents kept in the Ivan Meštrović Museums (Meštrović Atelier in Zagreb, Meštrović Gallery in Split) but also on those to be found in other domestic and foreign museums, libraries, state and private archives. Prior research was crucial – that devoted to Ivan Meštrović, anti-modernism and that addressing the international context. Meštrović’s writings about Michelangelo, the publications he possessed, his collection of photographs and reproductions of Ancient and Renaissance art and architecture tell of his continued and dedicated study of historical periods, the lessons of which he deliberately incorporated into his own productions and adjusted to the current moment and visual style. This thesis shows that Meštrović’s classical, multi-faceted identity is a key determinant of his creative work, which cannot without it be interpreted integrally and contextualised within the framework of modern Croatian and European sculpture.

Sakralna arhitekura Vrličkog kraja je itekako bogata s obzirom na teritorijalnu površinu kraja. Kraj je značajan i po postajanju triju različitih vjeroispovijesti: katoličke, pravoslavne te grkokatoličke. Najviše sakralnih objekata nalazi se u gradu Vrlici, kao regionalnom središtu. Dugogodišnja povijest kršćanstva na ovom području rezultirala je velikim brojem sakralnih objekata te načina i stilova gradnje. Većina crkava potječe iz 19. ili 20. stoljeća te dijele razne slične karakteristike. Mnoge crkve su bivale rušene te kasnije obnavljane, a razlog su brojni ratovi vođeni na ovom području. To je razlog slabijeg uvida u način gradnje starijih crkava, a pritom treba spomenuti i slabu dokumentaciju i arheološko istraživanje te uništavanje starijih zapisa. Mnoge crkve i danas su u kultu te se u njima vrše pregradnje, manje ili veće intervencije, što u nekim slučajevima negativno utječe na očuvanje njihova izvornog oblika., The sacral architecture of the Vrlika region is very rich considering the territorial area of the region. The region is also significant for the emergence of three different religions: Catholic, Orthodox and Greek Catholic. Most sacral buildings are located in the town of Vrlika, as the center of the region. The long history of Christianity in this area has resulted in a large number of sacral buildings and ways and styles of construction. Most of the churches date from the 19th or 20th century and share various similar characteristics. Many churches were demolished and later rebuilt, and the reason is the numerous wars fought in this area. Therefore, we have a weaker insight into the construction of older churches, and we should mention the weak documentation and archaeological research and the destruction of older records. Many churches are still in the cult and are being rebuilt, more or less intervened, which in some cases negatively affects the preservation of their original form.

Grad Varaždin započeo je svoj razvoj tijekom 12. stoljeća. Uz kraljevsku utvrdu kao okosnicu, razvilo se trgovište naseljeno doseljenicima (hospites), uglavnom njemačkoga porijekla. Od samih početaka razvoja grada pa sve do sredine 19. stoljeća na području današnjega Varaždina postojale su dvije administrativne jedinice – Slobodni kraljevski grad Varaždin čiji su stanovnici slobodni ljudi i Starogradska varaždinska općina čiji su stanovnici podložnici utvrde. U ekonomskome i urbanističkome smislu ove dvije upravne jedinice zajednički se razvijaju na sjecištu prometnih pravaca što je rezultiralo prisutnošću različitih kulturnih utjecaja. Varaždin je u 15. i 16. stoljeću urbanistički bio podijeljen na „unutarnji“ dio grada, odnosno jezgru opasanu obrambenim zidinama i bedemima i „suburbium“, odnosno predgrađa, nezaštićena od eventualne ratne opasnosti i napada. Istraživanjima je utvrđeno da tijekom 16. stoljeća urbanistička cjelina Varaždina poprima svoj prepoznatljivi današnji identitet. U centru grada formira se novi pravokutni trg s vijećnicom kao osnovnim akcentom koji postaje komunalni centar grada. Tijekom 15. i 16. stoljeća Varaždin je u povijesno-umjetničkom smislu obogaćen važnim arhitektonskim i likovnim ostvarenjima koja nose pečate stilova koji su u to vrijeme vladali na području srednje Europe. Ovim radom ta su ostvarenja prezentirana i valorizirana. Istražujući sakralne građevine utvrđeno je da se pri obnovi i rekonstrukciji župne crkve sv. Nikole u 15. stoljeću koristio kasnogotički stilski izričaj. Zaključeno je kako tadašnja obnova crkve nosi potpis dvaju najznačajnijih donatora – kraljevski, putem Korvinovoga grba uklesanoga na ključni kamen i gradski, putem kamenoga klesanog grba grada Varaždina ugrađenoga izvana u toranj crkve. Nadalje, istražena je varaždinska utvrda Stari grad. Radi se o najslojevitijem građevinskom kompleksu na području Varaždina sa sačuvanim građevinskim dijelovima od 13. do 20. stoljeća. Ovom disertacijom istražene su, valorizirane i prezentirane građevinske faze 15. i 16. stoljeća kada je srednjovjekovna utvrda transformirana u renesansnu utvrđenu rezidenciju. Istražen je i valoriziran sačuvani sloj 15. i 16. stoljeća u komunalnoj, javnoj i stambenoj arhitekturi grada. Sačuvane građanske kuće iz 16. stoljeća pripadaju istome tipu organizacije prostora i prate renesansne trendove srednjoeuropskih strujanja u izgradnji gradske arhitekture. Tijekom istraživanja istaknulo se nekoliko graditelja i klesara kao tipičnih predstavnika stila koji je u njihovo vrijeme prevladavao na području srednje Europe. Graditeljska i klesarska radionica u službi Hermana Celjskog ostavila je značajan trag na dva građevinska sklopa u gradu u prvoj polovici 15. stoljeća. Na južnoj kvadratnoj kuli varaždinske utvrde ostavili su svoj potpis u vidu klesarskih znakova, dok se na gradskoj vijećnici autorstvo iste radionice pretpostavlja na temelju stilske analize. Domenico dell'Aglio kao vodeće ime Austrotalijana ostavio je značajan trag na preobrazbi varaždinske utvrde i ona je do danas očuvana većim dijelom u renesansnome oblikovanju. Njegovi nasljednici i suradnici Juraj Flajšman i Giovanni Aglio koji su ostali raditi u gradu Varaždinu stilski su autori niza građanskih kuća u Varaždinu. The city of Varaždin began its development during the 12th century. Next to the royal fortress as the backbone, a market town developed, inhabited by immigrants (hospites), mostly of German origin. From the very beginning of the development of the city until the middle of the 19th century there were two administrative units in the area of today's Varaždin - the free royal city of Varaždin whose inhabitants were free people, and the Varaždin old town municipality whose inhabitants were subjects of the fortress. In economic and urban terms, these two administrative units were developing together and intertwined at the intersection of traffic routes, which resulted in the presence of different cultural influences. In the 15th and 16th century Varaždin was urbanistically divided into the "inner" part of the city, the core, surrounded by defensive walls and ramparts, and the "suburbium", the suburbs, unprotected from possible war dangers and attacks. Research has revealed that during the 16th century, the urban ensemble of Varaždin got its recognizable present-day identity. In the city center, a new rectangular square was formed with the Town hall as the main accent, and it became the municipal center of the city. During the 15th and 16th century, Varaždin was historically and artistically enriched with important architectural and artistic achievements that bear the hallmarks of the styles that prevailed in Central Europe at that time. With this dissertation, these achievements are presented and valorized. While exploring the sacral buildings, it was discovered that during the 15th century renovation and reconstruction of the parish church of St. Nicholas a late Gothic stylistic expression was used. It was concluded that the restoration of the church, carried out at the end of the 15th century bears the signature of the two most important donors - the royal, with the Corvinus coat of arms carved on a keystone and the municipality with the coat of arms of Varaždin carved on a stone and built into the church tower. Furthermore, the Varaždin fortress Stari grad was explored. It is the most layered building complex in the area of Varaždin with preserved construction interventions from the 13th to the 20th century. The construction phases of the 15th and 16th century, when the medieval fortress was transformed into a Renaissance fortified residence were researched, and are valorised and presented in this dissertation. The preserved constructional layer of the 15th and 16th century in the communal, public and residential architecture of the city has been researched and valorized. Preserved civic houses from the 16th century all belong to the same type of spatial organization and follow the Central European Renaissance trends in the construction of urban architecture. During the research, several builders and stonemasons stood out as typical representatives of the style that prevailed in Central Europe at the time. The construction and stonemason's workshop in the service of Herman Celjski left a significant mark on two construction sites in the city in the first half of the 15th century. On the southern square tower of the Varaždin fortress, they left their signatures in the form of stonemason's signs, while on the town hall the authorship of the same workshop is assumed on the basis of stylistic analysis. Domenico dell'Aglio as the leading name of the Austro-Italians left a significant mark on the transformation of the Varaždin fortress which, for the most part, preserved his Renaissance design to this day. His successors and associates Juraj Flajšman and Giovanni Aglio, who remained to work in the city of Varaždin, are the stylistic authors of a number of civic houses in Varaždin.

Bauhaus, škola primijenjenog dizajna, arhitekture i umjetničkog oblikovanja, djelovala je u razdoblju od 1919. do 1933. godine u Weimaru, potom Dessau i Berlinu. S ciljem povezivanja svih likovnih umjetnosti, kako bi se zadovoljile potrebe društva i stvorila masovna proizvodnja visoke estetske vrijednosti. Unatoč svom kratkom postojanju, ostavila je velik trag u svim medijima umjetnosti 20. stoljeća od arhitekture, slikarstva, grafike, fotografije, filma do tekstilnog dizajna. Utjecaj Bauhausa na hrvatsku arhitektonsku scenu posebno će biti vidljiv u zagrebačkoj sredini tijekom 20. stoljeća gdje je sve više umjetničkih časopisa izvještavalo o profilu, programima i radovima te avangardne škole. No, do kraja 1950-ih postaje jasno da je u Jugoslaviji doseg kulture ograničen socijalističkim režimom. Također je nemoguće imenovati sve arhitekte druge polovice 20. stoljeća na koje je Bauhaus imao utjecaja stoga sam izdvojila samo nekoliko autora kao što su Stjepan Planić, Drago Ibler, Bernardo Bernardi, Vjenceslav Richter te ostali. Dok će slikarstvo u prvoj polovici 20. stoljeća biti važan dio nacionalne kulture kojim će se promicati osjećaje nacionalne pripadnosti kao što to čini grupa Zemlja, a tek će u drugoj polovici 20. stoljeća obuhvatiti primjere modernističkog slikarstva. Stoga ću prvenstveno istaknuti članove skupine EXAT-51 koji su kod nas uveli apstrakciju, protiv socrealizma. Osim arhitekture i slikarstva, važno je istaknuti i tekstilni dizajn kojem će najviše pridonijeti djelovanje Otti Berger, zatim fotografija, film i grafički dizajn gdje se također uvode elementi apstrakcije., The Bauhaus, a school of applied design, architecture and artistic design, operated from 1919 to 1933 in Weimar, then Dessau and Berlin. In order to connect all the fine arts, in order to meet the needs of society and create mass production of high aesthetic value. Despite its short existence, it has left a big mark in all media of 20th century art from architecture, painting, graphics, photography, film to textile design. The influence of the Bauhaus on the Croatian architectural scene is especially visible in the Zagreb environment during the 20th century, where more and more art magazines reported on the profile, programs and works of this avant-garde school. But by the end of the 1950s, it became clear that the reach of culture in Yugoslavia was limited by the socialist regime. It is also impossible to name all the architects of the second half of the 20th century that were influenced by the Bauhaus, so I singled out only a few authors such as Stjepan Planić, Drago Ibler, Bernardo Bernardi, Vjenceslav Richter and others. While painting in the first half of the 20th century is an important part of national culture that promoted feelings of national belonging as does the group called Zemlja, and only in the second half of the 20th century includes examples of modern painting. Therefore, I will primarily highlight the members of the EXAT-51 group who have introduced abstraction against social realism in our country. Apart from architecture and painting, it is important to point out the textile design to which Otti Berger's work contributed the most, followed by photography, movie and graphic design, where there are also elements of abstraction.

U okviru ovog diplomskog rada ponuđen je prijedlog projektne nastave na primjeru grada Korčule. Predloženi projekt sastoji se od pripremne faze za rad na terenu, terenske nastave na Korčuli te završne faze predstavljanja i vrjednovanja projekta. Kao završni proizvod projekta planirana je izložba učeničkih fotografija. Kulturno-povijesnu baštinu Korčule učenici upoznaju pripremajući izlaganja istraživačkih tema Geografski smještaj i povijesne okolnosti grada Korčule; Fortifikacija i urbanizam grada Korčule, Stambena arhitektura grada Korčule, Sakralna arhitektura grada Korčule, Kiparska baština grada Korčule i Slikarska baština grada Korčule uz mentorsku podršku nastavnika. Ovakva projektna nastava omogućuje da učenici na aktivan način upotpune znanje o bogatoj korčulanskoj kulturno-povijesnoj baštini koja je nedovoljno zastupljena u srednjoškolskoj nastavi predmeta Likovna umjetnost. This diploma paper proposes project education on the example of the City of Korčula. The proposed project consists of a preparatory phase for field work on Korčula, the field classes themselves, and a final phase of project presentation and evaluation. An exhibition of student photographs is planned as the project’s final product. Students get acquainted with the cultural and historical heritage of Korčula by preparing presentations on research topics Geographical location and historical circumstances of the City of Korčula; Fortification and urbanism of the City of Korčula; Residential architecture of the City of Korčula; Religious architecture of the City of Korčula; Sculpture heritage of the City of Korčula, and Painting heritage of the City of Korčula, under their teacher’s mentorship. This kind of project education allows students to actively enhance their knowledge of the rich cultural-historical heritage of Korčula, which is insufficiently represented in the curriculum of the high school subject Visual arts.

This paper investigates the links between architecture and its social purpose and focuses specifically on the building and institution known today as the Public Open University Zagreb (Pučko otvoreno učilište Zagreb – POUZ), which was previously called Moša Pijade Workers' (and People's) University (Radničko (i narodno) sveučilište "Moša Pijade" – RANS). The paper examines the innovative and experimental nature of the architectural concept of socially engaged architecture as part of the societal modernisation of the 1950s and 1960s, as well as changes to its function up to the present post-socialist condition. The authors discuss the complex relationship between employees, beneficiaries, programmes and the architectural design and the political, economic and social context. The aim is to explore sociocultural categories and how culture, work, education and the city interacted with one another during different time periods. By using theoretical and methodological insights gleaned from cultural anthropological approaches to space and architecture, the paper demonstrates how the identity, significance and values ascribed to the production of public space were shaped, medialized and modified through time., U radu se istražuju poveznice između arhitekture i njezine društvene uloge na primjeru zgrade i ustanove Pučkog otvorenog učilišta Zagreb (POUZ), nekada Radničkog (i narodnog) sveučilišta "Moša Pijade" (RANS). Težište je na inovativnom i eksperimentalnom karakteru arhitektonskog koncepta društveno angažirane arhitekture u kontekstu modernizacije društva 1950-ih i 1960-ih godina, kao i na promjenama njezine funkcije u postsocijalističkom razdoblju. Autorice istražuju kompleksan odnos zaposlenika, korisnika, programa i arhitektonskog dizajna s jedne, te političkog, ekonomskog i društvenog konteksta s druge strane. Cilj je istražiti sociokulturne kategorije i odnose između kulture, rada, obrazovanja i grada u različitim razdobljima. Pritom se, korištenjem kulturnoantropoloških teorijskih i metodoloških pristupa prostoru i arhitekturi, razmatra kako su se identitet, važnost i vrijednosti koje su pripisivane javnom prostoru oblikovali, medijalizirali i mijenjali tijekom vremena.

Na osnovi podataka iz deskriptivno pisanog zapisnika pastoralne vizitacije krčkog biskupa Stefana Davida sastavljenog 1685. godine, ali i ostalih arhivskih izvora što se čuvaju u Biskupijskom arhivu u Krku, Tajnom vatikanskom arhivu te Državnom arhivu u Veneciji, u disertaciji je učinjena rekonstrukcija izgleda interijera, točnije liturgijske opreme kaptolskih crkava na otoku Krku u prvoj polovini 17. stoljeća. Riječ je o sedam najznačajnijih, župnih crkava na području tadašnje krčke biskupije, u gradu Krku i povijesnim otočnim kaštelima: katedrali Uznesenja Marijina u Krku, crkvi Uznesenja Marijina u Omišlju, crkvi sv. Ivana Krstitelja u Baški, crkvi Uznesenja Marijina u Vrbniku, crkvi sv. Stjepana u Dobrinju, crkvi sv. Apolinara u Dubašnici te crkvi sv. Kuzme i Damjana u Poljicama. Podaci iz zapisnika biskupa Davida u disertaciji su analizirani i sustavno prezentirani prema tipu liturgijske opreme redoslijedom brojnosti, odnosno opsega opisa. Najveća je pažnja posvećena brojnim opisima oltara i oltarnih retabla, njihovoj ikonografskoj, tipološkoj i stilskoj analizi, kao i analizi materijala izrade, autora te patronatu nad oltarima. Prema brojnosti podataka, a potpuno u duhu posttridentske obnove, slijede opisi relikvija, a zatim liturgijskog posuđa, ruha i paramenata te ostale liturgijske opreme poput svetohraništa, korskih klupa, krstionica i liturgijskih knjiga. Kao važan instrument provedbe crkvene reforme analizirane su i odredbe vizitatora što se tiču popravaka stare i nabave nove liturgijske opreme, a s posebnom su pažnjom analizirani naručitelji i donatori, među kojima se ističe figura krčkog biskupa i apostolskog nuncija u Luzernu Giovannija della Torrea (Venecija, oko 1556. – Padova, 1623.). Usporedbom podataka iz zapisnika biskupa Davida s onima iz zapisnika apostolske vizitacije Agostina Valiera sastavljenog 1579. godine zaključuje se da su krčke crkve tijekom prvog posttridentskog stoljeća doživjele brojne promjene i obnovu liturgijske opreme. Dinamiku promjena, prvenstveno nabave novih oltara i oltarnih pala, točnije prihvaćanja novih kultova, primjerice Gospe od Ružarija i Gospe od Karmela, moguće je pak pratiti usporedbom s podacima iz zapisnika apostolske vizitacije Ottavijana Garzadorija sastavljenog 1625. godine. Iz niza zaključaka prezentiranih u disertaciji izdvajaju se oni o materijalu izrade te provenijenciji oltara i oltarnih retabla. Čini se da su u 17. stoljeću svi oltarni retabli u krčkim kaptolskim crkvama bili izrađeni od drva, pozlaćeni i polikromirani, moguće uz izuzetak tek kamenog ili mramornog glavnog oltara sa srebrnom palom u katedrali, što svjedoči o tadašnjem ukusu naručitelja iz mletačke periferije. Također je moguće zaključiti da je liturgijska oprema do početka 17. stoljeća poglavito bila naručivana u Veneciji, dok su se nakon ratifikacije mira u Madridu 1617. godine otočni naručitelji i donatori u znatnoj mjeri okrenuli podalpskim centrima Habsburške Monarhije. Terenskim istraživanjem utvrđeno je da je od liturgijske opreme što se navodi u Davidovu zapisniku do danas sačuvano vrlo malo, uglavnom kao posljedica barokizacije u 18. te purifikacije tijekom 19. i 20. stoljeća. The reconstruction of the interior reported in the dissertation, and precisely the reconstruction of the liturgical furnishings of the capitular churches on the island of Krk in the first half of the XVII century, is based on the data from the descriptive records of the pastoral visitation of the Bishop of Krk, Stefano David, composed in 1685, as well as on other archival sources kept in the Diocesan Archives in Krk, in the Vatican Secret Archives, and in the National Archives in Venice. Those include the seven most significant churches in the area of the diocese of Krk from that period, in the town of Krk and in the historical island castles: Assumption of Mary Cathedral in Krk, Assumption of Mary Church in Omišalj, Church of St. John the Baptist in Baška, Assumption of Mary Church in Vrbnik, Church of St. Stephen in the castel of Dobrinj, Church of St. Apollinaris in Dubašnica, and the church of St. Cosmas and Damian in Poljice. The data from the record composed by the Bishop David have been analysed and systematically presented in the dissertation according to the type of liturgical furnishing, number of items, and scope of description. Most attention and space has been given to the numerous descriptions of altars and retables, to their iconographic, typological and style analysis, as well as to the analysis of the material, authors and patrons of the altars. Thoroughly in the spirit of the period after the Council of Trent, the descriptions of the relics are listed according to the number of data available, and they are followed by the descriptions of liturgical vessels, vestments and paraments, as well as other liturgical furnishing like tabernacles, choir stalls and liturgical books. As an important instrument for the implementation of the church reform, the provisions of the visitators have been analysed, and they relate to the repair of old, and the procurement of new liturgical furnishing. The commissioners and donors have been analysed with particular attention: among them the figure of the Bishop of Krk, and Apostolic Nuncio in Lucerne, Giovanni della Torre (Venice, around 1556 - Padua 1623) stands out. By comparing the data from the record written by Bishop David with those from the record of the apostolic visitation of Agostino Valier, composed in 1579, it can be concluded that the churches on the island of Krk during the first century after the Council of Trent, experienced numerous changes and renewals of the liturgical furnishing. The dynamics of changes, primarily the procurement of new altars and altarpieces, and more precisely the acceptance of new cults, e.g. Lady of the Rosary, and Lady of Mount Carmel, can be followed if compared with the data from the record of the apostolic visitation by Ottaviano Garzadori, composed in 1625. Among a wide range of conclusions presented in this dissertation, the ones regarding materials and altar and retables provenance stand out. It seems that in the XVII century all altar retables in capitular churches on the island of Krk were made of wood, they were gilded and polychrome, with exception of stone or marble high altar with a silver altarpiece in the cathedral, which testifies the taste of the commissioners from the Venetian periphery from that period. Moreover, it can be concluded that the liturgical furnishing up to the beginning of the XVII century was mainly ordered in Venice, while after the ratification of the Treaty of Madrid in 1617 the commissioners and donors from the island turned to the subalpine centres of the Habsburg Monarchy. Field research led to the conclusion that a very limited quantity of liturgical furnishing has been preserved to date, as mentioned in David’s record, and it is mainly the consequence of baroquising in the XVIII century and purification in the XIX and XX century.

Monolithic columns played a central role in the formation of a distinctive Roman architecture, especially in the periods when they were not widely produced. First, the earliest monolithic columns used in Rome during the Republican period arrived as spoils of war taken from cities in the Hellenistic east. From the beginning, architects in Rome found ways to integrate these impressive blocks into their architecture and even to invent new building types in order to accommodate the vast number of columns on hand. Second, this idea of centering the design of a new building around an accumulated set of monolithic columns was revived in the late Roman period, and is seen at many Constantinian and later churches in Rome and the provinces. Remarkable is the persistence and wide spread of this habit, which extends through Medieval, Renaissance, and even Baroque times.

Interdisciplinary Studies on Ancient Stone

Vjekoslav Alois Bastl (1872.-1947.) jedan je od predvodnika hrvatske arhitektonske protomoderne na početku dvadesetog stoljeća. Arhitekt češkog porijekla proveo je većinu života u Zagrebu gdje je realizirao većinu projekata tijekom gotovo četiri desetljeća duge karijere. Prošao je razvojni put od prvotnog obrazovanja u duhu historicizma, preko projektantskih faza secesije i neoklasicizma do završnog razdoblja pod utjecajem internacionalnog stila. Temeljnu naobrazbu završio je na Kraljevskoj obrtnoj školi u Zagrebu gdje je u razdoblju od 1892. do 1896. godine pohađao novoosnovano arhitektonsko usmjerenje Razdjela za obrazovanje graditelja i pomoćnog im osoblja. Praksu je stekao u vodećem zagrebačkom projektantskom i građevinskom poduzeću na prijelomu stoljeća, poduzeću Hönigsberg i Deutsch od 1895. do 1899. godine. Angažman svjedoči o rano iskazanom talentu i sposobnosti mladog Bastla. U kratkom roku je prošao put od suradnika do glavnog projektanta i zgradom Pečić (Zagreb, Ilica 43, 1899.) uveo bečki modernizam oslonjen na vagnerijansku secesiju u poduzeće i zagrebačku arhitekturu. Ključno razdoblje njegove karijere započelo je obrazovanjem na Akademiji likovnih umjetnosti u Beču na Specijalnoj školi arhitekture pod vodstvom profesora Otta Wagnera od 1899. do 1902. godine. Tijekom trogodišnjeg školovanja na prestižnom europskom studiju arhitekture Bastl je uspješno usvojio i počeo primjenjivati temeljne postulate novog pristupa projektiranju. Studentski projekti nastali pod utjecajem secesije svjedoče o visokoj razini razumijevanja modernističkih težnji u pristupu funkciji, konstrukciji i estetici. Pokazuju primjenu tlocrtnih modela, oblikovnih obrazaca i dekorativnih motiva karakterističnih za Wagnerovu školu, ali uz neizostavnu Bastlovu inovativnost. Zbog toga je njegove radove prepoznala i visoko valorizirala inozemna, a zatim i domaća arhitektonska kritike. Dokaz su objave u bečkim stručnim časopisima i nagrade koje je primio: Gundelova nagradu Akademije likovnih umjetnosti u Beču za diplomski rad palače Znanstvenog udruženja za okultizam pored Pariza (1902.) i nagrada za natječajni projekt župne crkve Leonovog društva u Beču (1902.). Novitetima primijenjenim u studentskim radovima poslužio je kao inspiracija pojedinim europskim arhitektima te se upisao u povijest srednjoeuropske i hrvatske arhitekture. Povratkom u Zagreb 1902. godine Bastl je nastavio raditi u matičnom poduzeću Hönigsberg i Deutsch u kojem je u razdoblju do 1906. godine ostvario niz autorskih projekata i suradnji u duhu secesije. Najveći broj odnosi se na ugrađene najamne stambeno – poslovne zgrade privatnih investitora koje se ističu kvalitetnom tlocrtnom dispozicijom i inventivnim rješenjima oblikovanja eksterijera prepoznatljivih u gradskim vizurama. Najviši dosezi Bastlove kvalitete i kreacije povezani su sa zgradama Trgovačko – obrtnog muzeja (danas Etnografskog muzeja, Zagreb, Trg Mažuranića 14, 1902.-1903.) te palače Hrvatsko – slavonske zemaljske centralne štedionice (Zagreb, Ilica 25/Gundulićeva 2), posljednjeg projekta na kojem je surađivao unutar poduzeća Hönigsberg i Deutsch. Od 1906. godine projektirao je samostalno u vlastitom ateljeu. Motiv za osamostaljenje bila su ograničenja rada u velikom poduzeću, ali i udruživanje druge generacije akademski obrazovanih arhitekata s ciljem promicanja arhitektonske struke i suvremenog pristupa projektiranju. Zajedno s Viktorom Kovačićem, Stjepanom Podhorskym i Edom Schönom Bastl je 1905. godine pokrenuo osnivanje Kluba hrvatskih arhitekta koji je ostvario velik napredak za arhitektonsku profesiju. Odlazak iz poduzeća odrazio se i na Bastlov odmak od dotadašnjeg stilskog izričaja. Napustio je secesiju i pod utjecajem europskih arhitektonskih trendova postupno prihvatio neoklasicizam koji je interpretirao u vlastitoj individualiziranoj varijanti. Nakon nekoliko godina obilježenih sudjelovanjima na natječajima i s vrlo malo realiziranih projekata, stečeno iskustvo i ugled kapitalizirao je radom na nekoliko javnih zagrebačkih zgrada koje je financirala državna ili gradska uprava. Ističu se projekti Kraljevskog sveučilišnog ludžbenog zavoda (1913.-1914.), Ekonomsko-komercijalne visoke škole (1927.-1928.) i Gradske tržnice Dolac (1926.-1930.), najvećeg projekta realiziranog u suradnji s Karlom Vajdom. Najznačajnija inozemna izvedba bio je Dom Činovničke zadruge u Beogradu (Ulica kralja Milana 16/Dobrinjska, natječajni rad 1912., realizacija 1922.-1923.) koji je predstavljen na EXPO-u u Parizu 1925. godine. Posljednji projekti nastali krajem dvadesetih i početkom tridesetih godina dvadesetog stoljeća nastali su pod utjecajem internacionalnog stila unutar kojeg nikada nije ostvario vrhunsku kvalitetu ranih radova. U ovoj fazi istakao se projekt rekonstrukcije župne crkve sv. Petra s dogradnjom župnog stana u Zagrebu (Vlaška 93, 1930.-1932.). Osim projektantskog rada velik dio radnog vijeka proveo je kao profesor na Državnoj srednjoj tehničkoj školi u Zagrebu, a paralelno se tijekom čitavog života bavio astrološkom i okultnom problematikom. Vjekoslav Alois Bastl zajedno s Viktorom Kovačićem drži poziciju vodećeg hrvatskog protomodernista. Razlog je rano prihvaćenje modernističkih stavova i realizacija projekata visoke kvalitete na početku dvadesetog stoljeća, u vrijeme kada Kovačićevo promicanje teorijskih stavova stjecajem okolnosti nije bilo praćeno adekvatnim brojem izvedbi. U kasnijim razdobljima od strane arhitektonske kritike nije prepoznat kao vodeći hrvatski arhitekt. Unatoč tome, specifičnom interpretacijom neoklasicizma i realizacijom projekata velikih javnih zgrada tijekom druge i treće dekade potvrdio se kao kvalitetan predstavnika generacije te zajedno s Kovačićem, Ehrlichom i Schönom pripada značajnim arhitektima prve polovice dvadesetog stoljeća. Vjekoslav Alois Bastl (1872-1947) is one of the forerunners of early modern Croatian architecture at the beginning of the 20th century. The architect of Czech background spent most of his life in Zagreb, where he realised the majority of his projects during almost four decades of his career. His development went from the beginnings of his education in the spirit of Historicist architecture, through phases of designing in the styles of Secession and Neoclassicism, to the final stage where he was under the influence of International style. He finished his basic training in The Arts and Crafts School in Zagreb, where, from 1892 to 1896 he attended the newly found architectural Department for the education of builders and support staff. He worked as an intern in Zagreb’s leading designer and building atelier at the turn of the century, the Hönigsberg and Deutsch Bureau from 1895 to 1899. This engagement is the proof of an early developed talent and competence of young Bastl. In very short time, he worked his way up from an associate to the main architect, and with the Pečić building (Zagreb, 43 Ilica St., 1899) introduced Viennese modernism relying on Wagnerian Secession to both the Bureau and Zagreb architecture. The crucial period in his career started with the education at the Academy of Fine Arts in Vienna, Special School of Architecture department, under the leadership of professor Otto Wagner, from 1899 to 1902. During the three-year education at this prestigious European university of architecture, Bastl successfully implemented and started applying basic postulates of the new approach to design. Student projects made under the influence of Secession witness his high level of understanding modernist pursuits in their approach to function, construction, and aesthetics. They show the application of ground plan models, design patterns and decorative motifs characteristic for the Wagner school, but with an indispensable touch of innovation from Bastl himself. That was the reason why his work was acknowledged and highly acclaimed from the architectural critics from both home and abroad. Proof can be seen in Viennese scientific magazines, which published his work, and in the rewards he was given: The Gundel prize of The Academy of Fine Arts in Vienna for the graduate work of Palace of the Scientific Occult Society near Paris (1902), and the prize for the competition project of parish church of the Leon Society in Vienna (1902). The novelties, which he applied in his student’s work, served as an inspiration to some European architects, thus making his mark in the history of the mid-European and Croatian architecture. Returning to Zagreb in 1902, Bastl continued to work in his parent bureau Hönigsberg and Deutsch, where, until 1906 he made a lot of author projects and cooperation in the Secessionist spirit. The majority of the projects refer to residential and commercial buildings owned by private investors, which are distinguished by their high quality ground plans and innovative solutions of exterior design, recognizable within the city vista. The highest peaks of Bastl’s quality and creation are visible in the buildings of The Museum of Trade and Crafts (today the building of Ethnographic Museum, Zagreb, 14 Mažuranić Square, 1902-1903), and in the palace of The Central Savings Bank of Croatia and Slavonia (Zagreb, 25 Ilica St./2 Gundulićeva St.), the last project he cooperated on within Hönigsberg and Deutsch Bureau. Since 1906, he started working independently, in his own studio. His motives for independence were not only the restrictions of working within a large bureau, but also the merging of the second generation of highly educated architects with the aim of promoting the architectural trade, as well as modern approach to designing. In 1905, together with Viktor Kovačić, Stjepan Podhorsky and Edo Schön, Bastl initiated the founding of the Club of Croatian Architects, which was a great step forward in the architectural profession. Leaving the Bureau, Bastl was further removed from his former style. He left the Secession, and slowly, under the influence of European trends, embraced the Neoclassicism, which he interpreted in his highly individualised version. The next few years were marked by participation in competitions and very few carried out projects. Then his experience and reputation were justified when he was commissioned to design some public buildings in Zagreb, financed by the state or city administration. Among the most important projects are: The University Institute of Chemistry (1913-1914), the Economic-Commercial High School (1927-1928), and Dolac City market (1926-1930), the biggest project realised in cooperation with Karlo Vajda. The most important work abroad was The Clerks’ Bank in Belgrade (16 King Milan St./ Dobrinjska St., project 1912, execution 1922-1923), presented in EXPO in Paris 1925. The last projects made out at the end of 1920s and the beginning of 1930s, show the influence of the international style, within which Bastl never accomplished the high quality of his early works. In this phase, one work is distinguished, and that is the project of the reconstruction of the parish church of St.Peter’s, and the flat annex for a resident priest in Zagreb (93 Vlaška St., 1930-1932). Apart from his work as an architect, Bastl spent a good part of his life as a teacher at State Polytechnic School in Zagreb, and took a keen interest in astrology and the occult throughout his life. Vjekoslav Alois Bastl together with Viktor Kovačić holds the position of a leading figure of the early modern architecture in Croatia. The reason lies in the early acceptance of modernist movement and realisations of high quality projects at the beginning of the 20th century, at the time when Kovačić’s promotion of theoretical opinions were not followed by adequate number of executions. In later periods, architectural critics did not accept his status as one of the leading Croatian architects. Despite that, by special interpretation of Neoclassicism and the realisation of projects of large public buildings during the 1920s and 1930s, Bastl affirmed himself as a representative of a generation of a great quality, and together with Kovačić, Ehrlich and Schön, belongs to important architects of the first part of the 20th century.

Istraživanje spomenika iz razdoblja socijalizma u Hrvatskoj autorica je provela primjenom dvaju metodoloških pristupa koji se zasnivaju na pretpostavci o nužnosti uvida u cjelinu građe – što je omogućeno formiranjem korpusa s ukupno 1737 kataloških jedinica okupljenih u operativnoj bazi podataka – kao i o potrebi poznavanja društveno-povijesnog konteksta nastanka spomenika, temeljem čega je razrađen model dinamičkog polja produkcije spomeničke plastike, nastale u promatranom povijesnom razdoblju. Ove pretpostavke definirale su dva komplementarna metodološka pristupa – empirijsko istraživanje i katalogiziranje građe te historiografsko istraživanje konteksta njezina nastanka – koji određuju osnovnu strukturu doktorskog rada, podijeljenog na tri poglavlja. Nakon iznošenja ciljeva i hipoteza istraživanja, pojašnjena su teorijska polazišta na kojima je autorica zasnivala pristup povijesnoumjetničkom i kulturno-povijesnom fenomenu spomenika, dan je pregled korištenih izvora i dosadašnjih istraživanja u polju spomeničke produkcije poslijeratnog razdoblja te su naznačena ključna obilježja korpusa (tematski i vremenski opseg), predstavljena primjenom kvantitativne analize prikupljenih podataka. Drugo poglavlje donosi rezultate historiografskog istraživanja i dubinske analize društveno-povijesnog konteksta u kojem spomenici nastaju. Njima su ustanovljeni parametri za elaboraciju kontekstualnih uvjeta nastanka spomenika, koji su rezultirali prijedlogom modela dinamičkog polja spomeničke produkcije. Model funkcionira kao osnova za razumijevanje složenog međuodnosa društvenih aktera koje je autorica identificirala kao ključne u procesu nastanka spomenika u promatranom razdoblju (naručitelj, autor, kritičar i korisnik). Opisom naručiteljskih struktura i zakonodavnog okvira podizanja spomenika (javni natječaji, modeli financiranja), identifikacijom različitih razina produkcije spomenika, proizašlom iz kvantitativne i prostorne analize podataka o autorima spomenika, te sagledavanjem utjecaja likovne kritike i modela korištenja spomenika na produkciju i tipologiju spomeničke plastike, ostvareni su interpretativni parametri za analizu cijeloga korpusa, tj. fenomena spomeničke produkcije u razdoblju socijalizma. Analiza provedena u trećem, središnjem poglavlju disertacije temelji se na empirijskom istraživanju same građe i donosi prijedlog tipologije s opisom karakteristika pojedinih tipova, kategorija, potkategorija i varijanti spomenika, pojašnjenih na odabranim primjerima. Zahvaljujući velikoj količini podataka, analiza korpusa oslonjena je na mogućnosti koje pružaju digitalni alati za sistematizaciju, obradu i vizualizaciju podataka. Takva je metodologija pružila mogućnost objektivne analize čitavog korpusa koja je rezultirala prvom tipologije spomeničke plastike iz razdoblja socijalizma. Opis svih tipoloških skupina upotpunjen je dijagramima i prostornim prikazima geografske distribucije spomenika na području Hrvatske. Tipološka klasifikacija korpusa zasnovana je na prepoznavanju osnovnih konstruktivnih elemenata spomenika (arhitektonskih, kiparskih, slikovnih te pomoćnih/utilitarnih). Polazeći od uočenih, karakterističnih načina kombiniranja i suodnosa konstruktivnih elemenata, predložena tipološka klasifikacija spomeničke plastike iz razdoblja socijalizma dijeli građu na četiri temeljne tipološke skupine: osnovni, kompozitni, konstruktivno-inovacijski i prostorni tip spomenika. Unutar svakog od četiri osnovna tipa spomenika prepoznaje se određeni broj podskupina obilježenih sličnom ili identičnom koncepcijom dominantnih konstruktivnih elemenata (arhitektonskih, kiparskih, slikovnih), odnosno specifičnim načinom organizacije prostora, kada je riječ o prostornom tipu spomenika. Temeljem tih specifičnosti, definirane su i niže hijerarhijske razine predložene tipološke klasifikacije, pa u tom smislu svaki tip spomenika ima svoje kategorije, potkategorije i/ili varijante. Intencija ove tipološke klasifikacije bila je da omogući – između ostalog – i uvid u genezu tipoloških inovacija spomeničke plastike iz razdoblja socijalizma što su se odvile onkraj (pred)postavljenih granica umjetničkih medija i arhitektonskih praksi uključenih u nastanak ovoga segmenta hrvatske poslijeratne baštine. Usložavanje međuodnosa konstruktivnih elemenata spomenika, kao i usložavanje (su)odnosa spomenika prema okolnom prostoru, rezultira tipološkim inovacijama koje su i – iz perspektive poslijeratne europske spomeničke skulpture – kvalitativni specifikum ovoga korpusa. Relacija spomenika prema okolnome prostoru u tom je smislu posebice značajna, a zbog činjenice da njegova protežnost i artikulacija postaju ne samo važnim činiteljima proizvođenja simboličkih značenja, uglavnom usko vezanih uz konkretne historijske događaje ili historijsku auru mjesta, nego i generiranja novih oblika komunikacije s posjetiteljem. The two methodological approaches that have been applied to the research of the. monuments from the socialist period in Croatia were based on the presumptions that the typology cannot be modelled without the overview of the whole material (empirical/infield research), and that the knowledge on the social and historical context of monuments’ origin is the basis for their interpretation (historiographical research). The first was conducted by forming a corpus of 1737 entities collected in the functional data base, while the second was based on the proposed dynamic model of memorial production in the socialist period. These two complementary methodological approaches define the three-part structure of the thesis. In the first part, after having defined the aims and hypotheses of the thesis, the author elaborates theoretical foundations for the understanding of the monument as an art-historical and cultural-historical phenomenon. She further gives an overview of the archival and secondary sources and previous scientific research in the field of monumental production of the post-war period, and emphasizes key features of the corpus (its thematic and temporal scope), presented by the use of the quantitative data analysis. The second chapter of the thesis brings forward the results of the historiographical research, i.e. the thorough analysis of the social and historical context in which monuments were being produced. Thus defined parameters for the elaboration of the contextual condition of the creation of monuments, resulted in the proposed model of the dynamic field of memorial production. The model functions as the basis for the understanding of the complex interrelations between the social actors identified as the key protagonists in the process of the creation of monuments (commissioner, author, /art/critic and user). The interpretative parameters for the analysis of the corpus, i.e. of the production of monuments in the socialist period, were based on the following thematic foci: the description of commissioning procedures and the legal framework of the monuments’ construction (public competitions, models of financing); the identification of various levels of the production of monumental sculpture, derived from the quantitative and spatial data analyses regarding the authorship of the monuments; the influence of contemporary art criticism on the production of monuments; and the influence of the ritual practices and the social use of monuments on their typological features. The analysis of the third, central chapter of the thesis is based on the empirical research of the material, which resulted in the typology model. The features of each level of typology – type, category, subcategory and variant – is described and explained on selected case studies. Due to the quantity of the data in the corpus, the analysis partially relies on the use of new digital tools for the systematization, processing and visualisation of the data. Such methodology resulted in the objective analysis of the whole corpus, and offers the first typology model of monuments from the socialist period. The description of each typological level is supplemented with diagrams and maps showing the spatial distribution of monuments in Croatia. Typological classification is based on the recognition of the basic constructive elements of monuments (architectonic, sculptural, pictorial and auxiliary). Based on the characteristic ways of combining the constructive elements and their specific interrelation, the proposed typological classification is divided into four basic typological groups: basic, composite, constructive-innovative and spatial type of monument. Within each type there is a number of recognisable typological groups, marked by similar or identical conception of the dominant constructive elements (architectonic, sculptural, pictorial), or by the specific model of spatial organisation of the elements, when it comes to the spatial type of monument. Based on these parameters, the author defines and describes hierarchically lower levels of typological classification. Thus, each type of monument is divided into several categories, subcategories and/or variants. One of the aims of such typological classification is to enable the genealogy of typological innovations in the field of memorial production from the socialist period, which emerged beyond the presupposed limits of artistic media and architectonic practices that were included in the origin of this segment of Croatian post-war memorial heritage. The higher level of the complexity of the interrelations between the constructive elements, as well as their interactivity with the surrounding space, resulted in typological innovations, which are – as seen from the perspective of the European post-war memorial production – qualitative exceptions of this corpus. Especially important are new types of relations established between monuments and their spatial context, which emerged from the fact that their structural features and formal articulation of elements carry new symbolic meanings – which are in most cases closely related to historical events or the historical aura of the space – and generate new modes of communication with visitors.

U istraživanju za ovu je disertaciju obuhvaćeno 13 župnih crkava i 34 područnih kapela zabilježenih u kanonskim vizitacijama Varaždinskog arhiđakonata iz 17. stoljeća. Navedeni je Arhiđakonat formiran uz ostalih 13 kao dio Zagrebačke biskupije u vremenu srednjega vijeka. Arhivski izvori iz vremena 14. i 15. stoljeća svjedoče da su na njegovom području u to vrijeme postojale župne crkve, no više podataka o njihovom izgledu, kao i o izgledu područnih kapela doznaje se tek iz prve sačuvane posttridentske vizitacije iz 17. stoljeća. Iz tog se vremena u Nabiskupijskom arhivu u Zagrebu čuva sveukupno 28 zapisnika pohoda u razmaku od 1638. do 1698. godine. Zapisnici predstavljaju najranije sačuvane posttridentske vizitacije i kao takvi jedinstvena su vrsta arhivskih izvora za povijesnoumjetničko istraživanje, budući da su u tom vremenu crkve prilagođene reafirmiranom Rimskom obredu potvrđenom na Tridentskom saboru (1544.-1563). Taj je sabor jedan od najvećih crkvenih sabora u povijesti zasjedao u dvadesetak godina s ciljem očršćivanja Katoličke crkve nakon širenja protestantizma diljem Europe. Razdoblje provede dekreta i odredbi potvrđenih na Saboru naziva se još i vrijeme katoličke obnove. Za njenu provedbu na prostoru Zagrebačke biskupije veliku je ulogu imao biskup Juraj II. Drašković, koji je bio i jedan od aktivnih sudionika na Saboru. Jedna od saborskih pitanja bile su i kanonske vizitacije. Izvršavale su se od vremena srednjega vijeka, no u predtridentskom vremenu izgubile su svoj značaj da bi na saboru ponovno bile uspostavljene kao komunikacijski medij između pape, biskupa i nižeg svećenstva., cilj vizitacija bio je nadzor nad pastoralnim radom. Taj je nadzor u ostalo uključivao i kontrolu stanja arhitekture, oltara, propovjedaonica, crkvenog posuđa i ruha pojedine crkve. U 17. stoljeću kanonske pohode Varaždinskog arhiđakonata obavljali su arhiđakoni ovlašteni od strane biskupa. Pohodi su se obično odvijali u prvoj polovici godine i trajali bi otprilike tridesetak dana. U tom vremenskom okviru vizitatori su pohodili svih 13 župnih crkava i prosječno 30-tak kapela. Izvršavale su se dvije vrste pohoda, temeljni (visitatio fundamentalis) i redoviti. Zapisi su strukturirani u poglavlja po uzoru na tada vodeći priručnik o posttridentskoj obnovi sakralne arhitekture i njene opreme Instructiones fabrice et suppellectilis ecclesiastice autora Karla Boromejskog. Do danas su sačuvane četiri temeljne vizitacije i 24 redovite Arhiđakonata Varaždin. Čuvaju se u Nadbiskupijskom arhivu i pisane su u srednjovjekovnoj varijanti latinskog jezika. Za ovu je disertaciju provedeno arhivsko istraživanje zapisnika te terensko istraživanje spomenika na svim lokalitetima. Svi relevantni podaci koji se tiču arhitekture, oltara, propovjedaonica, crkvenog ruha i posuđa izdvojeni su iz zapisnika i sistematizirani te komparirani sa stanjem na terenu koje čini šest župnih crkva i 15 kapela. Uz to, konzultirana je sva relevantna znanstvena i stručna literatura koja se odnosi na društvenu i crkvenu povijest te povijest umjetnosti. Dosadašnja istraživanja preostalih spomenika potvrdila su da je izvorno riječ o jednobrodnim longitudinalnim građevinama sa užim i nižim poligonalnim svetišem. U posttridentskom razdobljeu obnovljene su sukladno odredbama Tridentskog sabora. U funkcionalnom pogledu arhitektura je ojačana propisanim kvalitetnijim materjalima te su izgrađene sakristije. U unutrašnjojsti oprema su novim oltarima, propovjedaonicama kao i crkvenim ruhom i posuđem. Većina sačvanih građevina podvrgnuta je građevinskim zahvatima u narednim stoljećima (18. i 19.st.) tako da su danas sklop gradnji iz više stoljeća. Podaci iz kanonskih vizitacija doprinose spoznaji o arhitektonskom stanju i opremi građevina u vremenu 17. stoljeća s obzirom na predtridentsko razdoblje, u vremenu nakon Sabora (17.st.), te u poznavanju promjena iz kasnijih stoljeća. Uz to, otvaraju pitanja o odnosima patrona naspram župnih crkava kao i o vanjskoj opremi koja će biti rasvijeteljna budućim istraživanjima. The research of the dissertation has covered thirteen parish and thirty-four filial chapels recorded in seventeenth-century canonical visitations of the Archdeaconry of Varaždin, one of fourteen archdeaconries of Zagreb diocese. Although certain documents from the fourteenth and fifteenth century do mention religious buildings in that area, the posttridentine canonical visitations are the first known written sources to offer comprehensive and rather detailed information on their architectural shapes, interior furnishings and liturgical objects. The visitation records dating from 1638 to 1698 (kept in Zagreb Archdiocese Archives) are the oldest sources of their kind for the Archdeaconry of Varaždin. Their importance for art-historical research lies in the fact that it was precisely during the seventeenth century that churches in that area had been adapted to suit the demands of the Roman Rite, officially prescribed by the decrees of the Council of Trent (1544–1563). The Council, one of the largest ecumenical councils in the history, met for twenty years to invigorate the renewal of Roman Catholic Church after the spread of Protestantism. Being one of the active participants of the Council sessions, Bishop Juraj II Drašković of Zagreb had also a crucial role for the implementation of its deliberations in his diocese. Canonical visitations were one of the major topics on Council’s agenda. Although bishops had been periodically visiting churches under their jurisdiction throughout the medieval times, in pre-tridentine period the duty was often neglected and lost much of its significance. The Council re-established the responsibility of prelates therein, thus reaffirming visitations as a principal means of communication between a pope, bishops and lower clergy. Their main purpose was to monitor and correct anything concerning the cure of the souls. Amongst other, visitation reports included systematically gathered data on buildings and their interiors that were relevant for the Divine service. In seventeenth century, canonical visitations of the Archdeaconry of Varaždin were performed by archdeacons authorised by bishop. They were usually carried out in the first part of the year and would last approximately a month during which the visitators would examine 219 the conditions of all thirteen parish churches and thirty filial chapels. There were two basic types of visitations, resulting in two types of visitations reports. Fundamental visitations (visitationes fundamentales) that were performed every five years produced comprehensive accounts on visited parishes and their churches, whereas those made in course of the 'regular', yearly visitations deal only with the changes that have happened since the last visit. The records of four fundamental and twenty-four 'regular' visitations of the Archdeaconry of Varaždin, are preserved until the present day. They are written in Latin and most of them are not published. The structure of the records, i.e. the sequence of chapters and their contents, strictly follows the directions given in Charles Borromeo's book Instructiones fabricae et suppellectilis ecclesiasticae. Being unquestionably the most important reference work of its time for the subject-matter, it was also most influential 'handbook' for the postcouncil renewal of church buildings and their interiors. The comprehensive study of the archival material and field research of preserved monuments has been conducted for the dissertation. All data concerning the architecture, interior furnishings, and inventory of the parish and filial churches (e.g. altars, pulpits, liturgical fabrics and vessels, books, etc.) were excerpted, systemized and compared to the actual condition of each building. As a matter of fact, up to the present day only six parish churches and fifteen chapels have retained their seventeenth-century appearances. Furthermore, in order to interpret the different phenomena, all relevant scientific and professional literature has been studied, particularly the art history works, but also those regarding social and ecclesiastical history of the period within the wider geographical area. The research has confirmed that, in the seventeenth century, the majority of parish churches and filial chapels in Varaždin Archdeaconry belonged to a traditional (i.e. the medieval) type which combined single-nave timber-roofed longitudinal body with narrower and lower vaulted polygonal sanctuary. In course of the examined period all of them have been gradually altered, renewed and embellished according to Council decrees. In view of functionality, their architectural shapes were enhanced using the prescribed materials of better quality. Wooden parts of the church complexes (e.g. belfries, auxiliary structures) were replaced by masonry structures and most parish churches had their sacristies added. Interiors were abundantly furnished with new altars and pulpits; new liturgical fabrics and vessels were provided. 220 The concluding chapters address issues which reveal most significant differences with regard to the previous (i.e. pre-tridentine) period. Particular attention is given to the profound changes in the 'iconography' of church interiors as well as the overall dynamics of the implementation of Tridentine regulations. As regarding the frequency and the amount of investment, the evident fluctuations in the numbers of liturgical vessels confirm the practice according to which major building campaigns were preceded by converting the value of precious metal objects into the money. Along with the analysis of the positions of churches within the seventeenth-century network of roads and settlements, the role played by feudal lords acting as church patrons deserved to be emphasized. However, most of the examined buildings underwent significant reconstructions during the following (eighteenth and nineteenth) centuries. That is precisely the reason why the records of canonical visitations proved to be of more importance for the study of the past architecture than expected.