TRI KIPARSKA DJELA IZ ZVONIKA CRKVE SV. KRŠEVANA U ZADRU
| Autor: | Emil Hilje, Laris Borić |
|---|---|
| Jazyk: | angličtina |
| Rok vydání: | 2008 |
| Zdroj: | Prilozi povijesti umjetnosti u Dalmaciji Volume 41 Issue 1 |
| ISSN: | 0555-1145 |
| Popis: | Autori objavljuju tri do sada nepoznata kiparska djela uzidana u prostoriju prizemlja zvonika benediktinske crkve sv. Krševana u Zadru. Nedovršen kip Bogorodice, uzidan na sjeverozapadnom zidu, E. Hilje atribuira kiparu Pavlu Vanucijevu iz Sulmone. L. Borić prikazuje dva kiparska ostvarenja uzidana bočno od niše u južnom dijelu prostorije. U lavljem poprsju prepoznaje dio cjeline arhitektonske dekoracije prozora kojim je, u davno poznatom dokumentu, opat benediktinskog samostana, Deodat Venier naručio od Nikole Firentinca. Oštećen i nedovršen reljef sv. Sebastijana jedinstven je prikaz ovoga sveca u zadarskom quattrocentu. This article discusses three works of sculpture, previously unknown, built into the space of the ground floor of the bell tower of the Benedictine Church of St Chrysogonus in Zadar. The tower was built at the turn of the 15th and 16th centuries, but it is not known when and for what reason the sculptures were built into this space. The incomplete sculpture of the Virgin incorporated into the NW wall is attributed by Emil Hilje to the sculptor Paolo de Sulmona on the basis of formal similarities with the figure of St Anne from the relief built into the rear side of the main altar of the Church of St Chrysogonus and some other works of Paolo in Zadar and Senj. Laris Borić discusses two sculptural works built in to the side of the niche in the southern part of the room. In a lion bust a part of an architectural decoration of a window is identified; in a long-since known document, this was ordered from Niccolò di Giovanni by Deodato Venier, abbot of the Benedictine Abbey. A damaged and incomplete relief of St Sebastian is a unique depiction of this saint in the Zadar quattrocento. In spite of the incomplete state and the awkwardness of the execution, in the posing of the body it shows a similarity with the free-standing sculpture of St Sebastian by Niccolò di Giovanni on an altar from a church of the same name in Trogir, and indirectly with some Tuscan ideas about the way this saint should be depicted, which via the di Giovanni circle appeared in Dalmatia as well. |
| Databáze: | OpenAIRE |
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