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Konzervatorsko-restauratorska istraživanja

Tijekom konzervatorsko-restauratorskih istraživanja na Velikom Taboru 2009. i 2010. godine, pronađen je određen broj do sada nepoznatih klesarskih znakova na kamenim elementima. Novopronađeni znakovi su dokumentirani i predstavljeni u ovom tekstu uz ostale, otprije poznate i do sada objavljene znakove. U tekstu se također velikotaborski znakovi povezuju prema oblikovnim karakteristikama sa srodnim uočenim i zabilježenim znakovima na području Hrvatske, Slovenije, Austrije i Njemačke., Stone-masonry markings are considered to be a visible evidence of organized stone-masonry workshops. According to different opinions about their meaning, they could have represented a way of dividing tasks or the calculation of executed work, but they certainly marked authorship. In Central Europe, the markings occurred in the second half of the 12th century. They were awarded for life, after years of training and could not be arbitrarily modified, sold or donated. Stone markings are generally found on carved stone in the interior as well as on the facades of sacral and secular edifices. Their shapes are based on geometric networks, constructed by dividing, rotating and combining basic geometrical figures such as the circle, square and triangle. This is also the reason for their similarity. In our region, the markings on the western facade of the thirteenth century Cistercian church in Topusko, as well as those on the Zagreb cathedral, on parts built in the second half of the 14th and during the 15th century, have been recognized as the oldest. During the conservation and restoration research conducted by the Croatian Conservation Institute in 2009 and 2010 at Veliki Tabor, stone-masonry markings were found and in a much greater number than anticipated. There is no data on the builders and masons who were engaged in the construction of Veliki Tabor at the beginning of the 16th century, but they did leave behind some kind of signatures, or better said markings engraved on the castle’s stone surfaces. A total of 40 stone-masonry markings, one coat of arms, one year and a few letters on door and window panes were found in Veliki Tabor. A part of it was known from earlier. What is new are a few markings on the cordon cornice of the northwestern tower (A), then those on the south tower (C) and in particular the markings on the consoles on the first floor of individual towers. They were not identified thus far because of their height and the way they were carved. Stone-masonry markings at Veliki Tabor appear on window and door frames in the palace, on some parts of the cordon cornice of towers A and C, the consoles that carry the first floor of towers A and B, and on the portal frame of the chapel in tower C. According to how they are formed, they can be roughly divided into five groups, which suggest that at least five groups of masons worked on the construction of Veliki Tabor. The first group consists of markings in the palace, which is morphologically most diverse and, according to the chronological development of certain parts of the castle; we could conclude that they are the oldest. We can add the marking on the moulded fragment found in the southern tower (B) to them, as well as the one on the secondarily fitted window frame in tower A. The most numerous group consists of the markings on the cordon cornice of tower A, 17 of them, following the stone-mason‘s coat of arms near the main entrance. What follows is a group of five markings on three consoles in tower B and a group of four markings on the portal of tower C. The next group consists only of two markings: the one on the console of tower A and the one on the cordon cornice of tower C. The markings are geometric, with the exception of the two in the palace, which are very simple and consist of curved lines, unlike other markings. Their dimensions vary, from 2 to 8 cm in height and 2–7 cm in width. They were etched in two ways: they were carved with a chisel or etched. Most were carved with a chisel, leaving a deeper or a more shallow grooved slot, which is difficult to evaluate given the degree of preservation. Less of them were etched using a pointed object that left a thin line, (five markings on three consoles of tower B). Among the markings in the palace, there are also four letters carved on the upper outside part of the window frame on the third floor. Besides this inscription, we also found the year 1598 carved on the lintel stone frame of the doors leading from the gallery to the connecting wing space on the first floor, in the northern part of the complex, as well as the year 1580, scratched into the plaster of the wall next to the stone portal in the entrance lobby. Next to stone masonry markings, there are also auxiliary markings and signs for mounting that have not been counted. They were found on the outer surfaces of the stone carved elements, particularly on console sides. They are scratched in the surface of the stone in the form of simple straight lines, with the aid of which it was easier to design their profiles and install them. Some markings in Veliki Tabor are similar in construction and design to some earlier ones, mentioned in literature. These are the ones that occurred in the period between the 14th and 16th century in north-western Croatia (Zagreb Cathedral, Church of St. John the Baptist in Kloštar Ivanić, Pauline Monastery church in Lepoglava, the castle in Valpovo, Church of the Blessed Virgin Mary of Miracles in Oštarije) and the central European region (in Slovenia in the church of Our Lady of Mount Ptujska, church of St. Andrew in Šalek, and the church of St. Daniel in Štanjel as well as in the church of St. Magdalene in Magdalensberg in Austria, and the medieval house „Altstadt Juwelier“ in Nuremberg, Germany). Recognizing stone masonry markings and defining their features and similarities can be of aid in the reconstruction of the stages of construction and the number of masons engaged in building it, as well as possible relation with other buildings. At the same time, the fact that they can appear in greater and smaller versions, occur over an extended period of time and at multiple unrelated sites, should also be taken into consideration.

Konzervatorsko-restauratorska istraživanja

Utvrda je podignuta oko starije peterokutne građevine. Četiri nejednake masivne polukružne kule povezane kurtinama oblikovane su elementima arhitekture talijanskih kaštela 15. stoljeća. Hrvatski restauratorski zavod je provodio istraživanja tijekom kojih je stečen uvid u prvotni izgled utvrde. Također je utvrđeno kako je u dva navrata sustavnim preoblikovanjem obrambenih otvora poboljšana učinkovitost obrane. Koncept i zahtjevna izvedba utvrde premašuju potrebe zaštite pojedinačnog vlastelinstva. Dok se naknadni zahvati mogu smjestiti u 16. stoljeće, otkriće prvotnih otvora na obodnim zidovima, karakterističnih za obrambenu arhitekturu 15. st., osnažuje pretpostavku o izgradnji u vrijeme vladavine Matijaša Korvina., John Corvinus’ donation of feudal possession of Vrbovec to brothers Rattkay – including the town of Tabor in the western part of Zagorje County, in the 15th century governed by the Counts of Cilli and Vitovac – is confi rmed by two preserved documents. An irregularly shaped defensive wall was erected around the older, pentagonal building, along the edge of an enclosed hill plateau. It consists of four distinct massive semicircular towers connected by ramparts, featuring architectural elements of 15th-century Italian castles. The original layout of the fort was revealed in the course of conservation research conducted by the Croatian Conservation Institute (Hrvatski restauratorski zavod), which determined the tower height and storey disposition, the inclination and shape of the roof, the level of inter-storey constructions, positions of openings towards the wooden courtyard ambulatory and the shape and alternating rhythm of defensive openings on peripheral walls. It has been determined that the fort’s effi ciency was improved by transformations of defensive openings on two distinct occasions. While subsequent interventions can be dated in the second and last quarter of the 16th century, there is no record of the construction itself. The foundation and the complex building process of the Veliki Tabor fort far exceeded the possibilities and basic protective needs of a single feudal possession. The initial openings on peripheral walls, characteristic of 15th-century military architecture, strengthen the hypothesis that the Veliki Tabor fort was constructed during the reign of Matthias Corvin.

Konzervatorsko-restauratorska istraživanja

Konzervatorsko-restauratorska istraživanja provedena su u tri faze. Prva je uključila istraživanja na prigradnji između sjevernog krila i kule D u lipnju 2008. Nakon toga se u srpnju započelo s istraživanjima unutrašnjosti sjevernog krila i njegovih pročelja, kao i pročelja kule D. Tijekom listopada i studenog obavljena su i istraživanja u kuli D i u prostorijama spojnog krila. Istraživanja su obuhvatila ispitivanje zidnih obojenja i oslika, ispitivanje žbukanih slojeva u unutrašnjosti i na pročeljima, drvenine, podnih obloga, ranijeg prostornog rasporeda, svođenja, veličine i oblika otvora, građevinskih konstrukcija, dekorativnih elemenata na pročeljima te unutrašnje opreme. Rezultati istraživanja, zajedno s prijedlogom prezentacije i smjernicama za obnovu predstavljeni su u Elaboratu konzervatorsko-restauratorskih istraživanja sjevernog krila, prigradnje, kule D i spojnog krila Velikog Tabora.

U članki je prikazana povijest Velikog Tabora te je dan osvrt na provedena konzervatorsko-restauratorska istraživanja i radove obnove.

Prijedlog obnove pročelja palasa temelji se na rezultatima konzervatorskih i restauratorskih istraživanja provedenih tijekom 1995., 1996. i 2006. godine. Istraživanja su obuhvatila dokumentaciju zatečenog stanja, laboratorijska ispitivanja žbuka i pigmenata, vrednovanje sačuvanih slojeva i prijedlog konzervatorsko-restauratorskog zahvata.

Na pročeljima palasa Velikog Tabora ostala su nam do danas, uz više slojeva bijelih vapnenih naliča, sačuvana i dva sloja oslika. Oslici su dokumentirani konzervatorsko-restauratorskim istraživanjima, a u prijedlogu prezentacije izabran je pristup koji na pročeljima do visine drugog kata pokazuje kasnogotičku fazu, dok se na trećem katu prezentiraju dijelovi druge i treće faze. Jasno je da elementi tih faza nisu mogli istovremeno egzistirati na pročeljima, no upravo oni govore o povijesnoj slojevitosti palasa. Prvi, kasnogotički oslik s kvadrima, datiran je u vrijeme izgradnje, a drugi u doba baroknog uređenja palasa. Između ova dva oslika, u razdoblju između kraja 16. i početka 17. stoljeća, pročelja su bila samo prebijeljena. Vanjski zidovi kasnosrednjovjekovne feudalne arhitekture često su bili oslikani sgrafito tehnikom, kao na primjer na gradu Varaždinu ili Ivancu, a ponegdje su ukrašavani i naslikanim obojenim arhitektonskim motivima: kvadrima, pilastrima, puškarnicama, što je slučaj u Slavetiću i Velikom Taboru. Taj običaj ima izvorište u srednjoeuropskoj profanoj arhitekturi, a na naše je prostore došao vjerojatno preko Graza. Slične primjere s naslikanim uglovnim kvadrima nalazimo u susjednoj Mađarskoj (na starom gradu Simontornya) ili pak u Sloveniji (Otočec na Krki, grad Snežnik, Polhov Gradec, Ljubljana). U vrijeme baroka i sakralna i svjetovna arhitektura se često oslikavala izvana. Nije nam nažalost ostalo mnogo sačuvanih primjera, a u ranijim istraživanjima su redom izostajala ispitivanja povijesnih žbuka i pigmenata tako da su činjenice o oslikavanju tijekom 17. i s početka 18. stoljeća oskudne. Prvotno su korištene siva, bijela i nekada crvena boja, kako je na primjer obojan i oslik na slavetičkom tornju iz 1639. godine. Jedan od najznačajnijih baroknih oslika pročelja sačuvan je na pročeljima dvorca Miljane, i to iz nekoliko građevinskih faza od kojih je druga najznačajnija za oslik pročelja velikotaborskog palasa i dvorišnih galerija prema kojoj možemo pretpostaviti da je barokni oslik u Velikom Taboru nastao krajem 17. stoljeća. Na prostoru sjeverozapadne Hrvatske postoji vrlo mali broj povijesnih građevina s oslikanim zidnim pročeljima. U pravilu su to kapele, crkve i samostani, ali izostaju primjeri svjetovne arhitekture. Na velikotaborskom palasu dokumentirana su dva sloja oslika, kasnogotički i barokni, koji nam ne svjedoče samo o oblicima iscrtanih raznobojnih ukrasa, već i o sastavu samih žbuka i boja. Stoga je potrebno ta uređenja pročelja razmatrati ne zasebno, kao umjetnička djela, jer njihova je izvedba skromna i zanatska, već u okviru malobrojne sačuvane oslikane profane arhitekture kontinentalne Hrvatske i središnje Europe i tako prepoznati njihovu ambijentalnu i povijesno-dokumentarnu vrijednost.

U elaboratu je predstavljen prijedlog prezentacije koji se odnosi na prostor peterokutne kule – palasa, a temelji se na rezultatima konzervatorskih i restauratorskih istraživanja provedenih tijekom 1995. i 1998., te 2006. godine. Rezultati istraživanja sadržani su u elaboratu idealnih rekonstrukcija faza građevinskog razvoja na peterokutnoj kuli - palasu i pročeljima dvorišnih trijemova i prijedlogu prezentacije peterokutne kule i dvorišnih trijemova iz 1996. godine. Godine 2006. nastavljena su konzervatorsko restauratorska istraživanja koja su obuhvatila i laboratorijska ispitivanja na pročeljima i restauratorska istraživanja žbuka, oslika i kamenih elemenata.

Uvodno su dani osnovni povijesni podaci o dvorcu Veliki Tabor te o obnovama u njemu za posljednjih 100 godina. Prikazano je stanje konstrukcije trijema prije obnove s podacima o istraživanjima. Opisani su nedostaci i oštećenja postojećeg stanja konstrukcije. Prikazano je projektno rješenje i izvedba zamjene stupova u prizemlju dvorišnog trijema koji nisu mogli nositi pripadajuće opterećenje. Fotografije dobro ilustriraju provedbu toga graditeljski iznimno zanimljivog pothvata., The paper starts with some basic background information about the Veliki Tabor castle, and describes castle renovation activities undertaken over the past century. The condition of the porch structure prior to renovation, with appropriate testing data, is presented. Deficiencies and damage registered on the structure are also presented. The design solution is described and the replacement procedure is presented for ground-floor porch columns that were unable to carry the required load. The realization of this work, quite interesting from the point of view of construction methodology, is clearly illustrated with photographs.