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In this paper the author researches the examples of reception of the Antiquity in the works of art commissioned by father and son, humanists and warriors, Petar (died 1440) and Koriolan Cippico (1425 to 1493). Petar was one of the first Dalmatians who transcribed Roman inscriptions in Dalmatia. He also transcribed some works of ancient Greek and Roman writers. His son distinguished himself as a writer of the book ’’De Bello Asiatico“ (1477) in which he described the battles of great Venetian admiral Pietro Mocenigo in Levant (eastern Mediterran, Greek and Balkan area) from 1470 to 1474. The author will show that some of the works of art they have comissioned cannot to be understood without a deeper insight into their vast antiquarian culture. In the first part of the paper the author would focus on the portrait in relief of a man in profile located next to the entrance to the first floor of the so called ’’small Cippico palace“ in Trogir, which once belonged to the Cippico family. The identification of this portrait has been the subject of debate for decades. The author argues that based on the clothing the man sculpted on the relief could be identified. In the second part of the paper the author focuses on the Trogir codex, dated around 1436, in which there are several transcripts of ancient texts and texts from the 15th th century made by Petar, that deal with the reception of the ancient history and ancient heritage. The special attention will be dedicated to one of the miniatures that illuminate that codex. Radoslav Bužančić had identified the portrait of Julius Caesar in an antique portrait of a man wearing a wreath painted in the initial „C“ on f. 1. The initial belongs to the transcript of the 15th Dialogue of Death by Lucian. A possible model for the miniature will be suggested in the paper. Father and son Cippico, prominent humanists from Trogir, like Florentine humanists of the Quattrocento, idolized the ancient Roman Republic, its military system and its army which consisted of of citizens-soldiers, based on the obligation of all male citizens to go into military service. Roman civis armatus was a measure of patriotism, martial virtue (bellica virtus) and love of freedom for the Cippicos of Trogir, as well as for the most prominent Italian condotieri of the time. Bearing all this in mind the author also focuses on the previously neglected Petar's transcript in the Trogir codex, one of the famous treatises entitled ‘’De militia“ (1421), written by the Florentine historian Leonardo Bruni, showing to which extent it shaped political attitudes of Koriolan Cippico. These attitudes are reflected in the portrait that he ordered for the so called’’small Cippico Palace“.

The Cathedral of St. James in Šibenik represents the most important architectural achievement of the Renaissance on the eastern coast of the Adriatic Sea. Its exceptional, in many respects unusual and still enigmatic structure, characterized primarily by the peculiar stone barrel vaults, designed and for the most part built by Niccolo di Giovanni Fiorentino (1475-1506/1536). If we consider that such unique combination of structural and formal solutions has never reoccurred, not even in smaller-size regional religious or secular architecture, it is obvious that before us stands a great and so far insufficiently researched experiment. Therefore, this article will try to reveal the origin of these specific construction techniques, and will try to answer the question of how such a technological experiment contributed to the formal innovations, namely their pure all'antica appearance. It will also analyse these issues in the context of what has been called “the creative freedom of the peripheral milieu” – a theoretically specified framework defined by the Croatian art historian Lj. Karaman (1963). Il Duomo di San Giacomo di Sebenico rappresenta la più importante realizzazione architettonica del Rinascimento sulla sponda orientale dell’Adriatico. La sua eccezionale e per molti versi inconsueta ed enigmatica struttura si distingue soprattutto per le particolari volte a botte costruite in pietra, progettate e per la maggior parte costruite da Niccolò di Giovanni Fiorentino (1475-1506/1536). Alla luce del fatto che questa singolare combinazione di soluzioni costruttive e formali non è stata più riutilizzata, neanche in dimensioni ridotte, risulta chiaro che il Duomo di Sebenico costituisce un eccezionale, creativo ed audace sperimento architettonico. Lo scopo di questo lavoro è quello di indagare l’origine di queste specifiche tecniche costruttive, e di offrire una risposta alla domanda sul contributo che questo esperimento tecnologico avrebbe potuto avere alle innovazioni formali, soprattutto al loro carattere all’antica. Infine, questi problemi vengono affrontati pure nel contesto della cosiddetta “libertà di creazione in periferia”, concetto teorico definito dallo storico dell’arte croato Lj. Karaman (1963)., Il Capitale culturale. Studies on the value of cultural heritage, N° 10 (2014): Periferie. Dinamiche economiche territoriali e produzione artistica

Niccolò di Giovanni Fiorentino

Article presents as yet unattributed relief of an angel in Zadar National museum to Niccolo di Giovanni Fiorentino. By comparison of its morphological and tipological features with few of the Fiorentino's sculptures in Trogir and Sibenik, Zadar angel is attributed to the very hand of the Tuscan master and loosely dated with the only known Zadar archival document, that of the commission by benedictine abbot Deodat Venier in 1485.

Značaj katedrale sv. Jakova u Šibeniku za pojavu i razvoj renesansne arhitekture na Jadranu, ali općenito i za arhitekturu Quattrocenta, već je odavno uočen, no usprkos tome njezino mjesto još uvijek nije jasno pozicionirano, a niti je njezina uloga adekvatno valorizirana. Razloge tome treba tražiti u činjenici što još uvijek ne postoji jedna precizna kronologija gradnje i što stoga još uvijek ne postoje usaglašena mišljenja o tome tko je i kada projektirao jedinstvene bačvaste svodove-krovove i kupolu katedrale - u stilskom ali i graditeljskom pogledu nesumnjivo njezine najveće vrijednosti. U osnovi sve postojeće dvojbe u vezi s nastankom katedrale koncentrirana su oko dva pitanja: prvo, da li je njezin jedinstveni pokrov nastao već po zamisli Jurja Dalmatinca, protomagistra koji 1441. preuzima gradilište katedrale i vrši izmjene na već započetom djelu, ili je čitav gornji dio katedrale nastao po projektu Nikole Ivanova Firentinca koji kao njegov nasljednik preuzima gradilište 1475. g. i sljedećih 30-tak godina radi na njezinom dovršenju? Drugo pitanje tiče se uloge i značaja šibenske katedrale u genezi &laquo ; trolisno zaključenog pročelja&raquo ; - da li je to rješenje poniklo u Šibeniku, s obzirom da logično proizlazi iz poprečnog presjeka crkve, ili je, pak, natalo pod utjecajem Leona Batiste Albertija i njegova projekta za hram u Riminiju te potom postalo uzorom za Codussijevo riješenje na crkvi San Michelle in Isola u Veneciji? U izlaganju se na osnovu analize renesansnih motiva, njihova porijekla, ali i načina na koji su oni korišteni pri artikulaciji zidova svetišta, uspostavlja precizna kronologija izgradnje i definira jasna granica između ostvarenja dvojce arhitekata u ključnom periodu nastanka zidova i svodova apsidalnih kapela (1461-75). Kako promjenu stila između dvije faze i djela dvojce arhitekata istovremeno prate i značajne promjene u konstrukciji, pa i prostornoj koncepciji, o kojima se do sada posvećivalo malo pažnje, problem autorstva gornjeg presvođenog dijela katedrale riješava se isticanjem analognih i za konačan izgled presudnih promjena u arhitektonskoj strukturi crkve. Stoga se idejno riješenje gornjeg djela katedrale pripisuje Nikoli Ivanovom Firentincu i veže za njegov projekt dovršenja katedrale kojega je on izradio od trenutka preuzimanja gradilišta do potpisivanja prvog desetgodišnjeg ugovora za vođenje katedrale (1475-77). Na kraju se razmatra problem geneze &laquo ; trolisnog crkvenog pročelja&raquo ; šibenske katedrale Sv. Jakova u kontekstu srodnih jadranskih riješenja u Riminiju (Tempio Sigismunda Malateste, Leona Battiste Albertija) i Veneciji (S. Michele in Isola, Maura Codussija).