Papers by Marta Budicin Munišević
Portal 15, Croatian Conservation Institute, 2024
The sanctuary curtain from the Krka monastery in Kistanje, property of the Diocese of Dalmatia, ... more The sanctuary curtain from the Krka monastery in Kistanje, property of the Diocese of Dalmatia, is a rare example of a preserved silk curtain, a catapetasma, used to cover the royal doors of the iconostasis. It was previously dated to the year 1800, when the last significant historical
intervention was carried out, as we can see from the embroidered inscriptions: AПOCTOΛИ 1800 and KAPAНИ 1800. It is not known in which part of the Krka monastery the sanctuary curtain was stored. After a complete conservation and restoration project, on the basis of the
instructions of the current Bishop Nikodim, the sanctuary curtain was moved to Šibenik, the seat of the Diocese of Dalmatia. It is stored in the Bishop’s House and, as one of the more valuable items of the diocesan textile, collection and the entire art heritage of the Serbian Orthodox Church in Croatia, it will probably be exhibited in the future diocesan museum. The original decoration of the sanctuary curtain consists of two similar floral/vegetal compositions made using the a riporto embroidery technique with high-quality silk fabrics, paper, gilded and frisé cords, and multi-coloured silk threads. Based on the composition of the embroidered elements and technique, this is the first time that a distinction has been made between the original parts of the sanctuary curtain, from the first decade of the 17th century, and the parts that were added during the last intervention, in 1800. At that time, fragments of silk fabrics from the 16th and 18th centuries and two types of decorative brass strips were sewn
onto the curtain as structural and decorative parts to enlarge it, cover the outer edges, replace the missing parts of the original fabrics and make the central element of the cross. Methods used on the curtain during conservation and restoration in 2020 and 2021 did not cause further damage, and all the interventions and materials that were used are reversible. Special attention was paid to the preservation of all historical layers found on the sanctuary curtain, such as the aforementioned original a riporto embroidery from the first decade of the 17th century and
silk tassels of a similar date, as well as brass strips and lining from the turn of the 19th century. The embroidered inscriptions made by the author of the last intervention were preserved as a document of one of the more important changes that the curtain has gone through. Fabric fragments from the 16th and early 18th centuries were restored and stored separately inside closed panels and returned to the owner.
keywords: sanctuary curtain, catapetasma, a riporto embroidery, needle painting, Orthodox diocese of Dalmatia, Krka monastery, Kistanje, textile conservation
Portal 14, Croatian Conservation Institute, 2023
Svrha ovoga članka predstavljanje je opsežnih konzervatorsko-restauratorskih radova provedenih od... more Svrha ovoga članka predstavljanje je opsežnih konzervatorsko-restauratorskih radova provedenih od 2016. do 2020. godine na oslikanom drvenom tabulatu crkve sv. Marije na Škrilinah u Bermu uz osvrt na ovu umjetninu značajnu za baštinu Republike Hrvatske. Tabulat je podignut u vrijeme barokne obnove crkve 1709. godine, ukupne je površine 56 m² i sastoji se od 63 oslikane kasete, a najveće formalno-stilske analogije pokazuje s tabulatom iz crkve sv. Petra i Pavla u susjednom Trvižu iz 1703. godine te je vjerojatno rad istih majstora. Cjelovitim radovima prethodila su opsežna istraživanja provedena 2015. godine kada je utvrđeno da je drveni nosilac, djelovanjem vlage i insekata, oštećen, a oslikana površina, zbog popuštanja veziva, pulverizira i u sitnim česticama otpada s drva.
CHURCH OF ST MARY OF THE ROCKS, NEAR BERAM: BAROQUE PAINTED WOODEN CEILING FROM ITS CONSTRUCTION TO CONSERVATION The Church of St Mary of the Rocks was built in the first half of the 15th century as a single-nave building with a rectangular sanctuary. It is known for the best-preserved series of wall paintings in Istria, the work of the workshop of master Vincent of Kastav, completed in 1474. The painted wooden ceiling was installed during the extensive Baroque renovation in 1709, when a new altar was installed in the sanctuary, and the cross-ribbed vault was replaced with a ceiling. A bell gable was also built, and an open porch was added. The wooden ceiling covers the entire nave of the church (56 m²), and it is made up of 63 square painted cassettes, with a central one that is four times as large as the others. The cassettes are composed of an outer square field and an inner octagonal one. The Assumption of the Blessed Virgin Mary is painted in the octagonal field of the central cassette, and the other, smaller cassettes have a gilded passionflower appliqué. The corners of the cassettes are decorated with floral and plant motifs, and floral Christian symbols. The corners of the cassettes next to the central one are decorated with cherubs. The similarity of painting technique and concept of the wooden ceiling in Beram and the wooden ceiling of the Church of St Peter and Paul in the neighbouring Trviž (1703) suggests they are the work of the same local masters active in the region. The inspection of the ceiling in 2015 determined that the wooden support was damaged due to humidity and woodeating insects, while the painted surface was pulverized and flaking due to the deterioration of the binder. After the surface was cleaned, the painted layer was consolidated and fixed to the support, ceiling planks were reinforced with a consolidator, nails were replaced with wooden wedges, and the structure was strengthened by inserting new wooden elements. Retouching of the painted layer was done only in spots crucial for the establishment of visual integrity. The first half of the wooden ceiling was disassembled in 2016, and the work was completed in 2018, when the restored cassettes were once again returned to their original positions. That same year, the second part of the ceiling was removed, and the opening to the roof was closed with boards bearing a photograph of the painted ceiling. When the restored cassettes were mounted in their original position on the second half of the ceiling (from the middle of the nave to the sanctuary) in 2020, one of the phases of the complete renovation of the church of St Mary of the Rocks was finished. The completed work on the church is the result of cooperation between the Directorate for the Protection of Cultural Heritage of the Ministry of Culture and the Media and the Croatian Conservation Institute to organise, finance and perform demanding conservation on selected cultural goods of special importance for the heritage of the Republic of Croatia.
Portal, 13, Croatian Conservation Institute, Zagreb, 2022
The paper presents conservation carried out in 2020 and 2021 on two Japanese ukiyo-e woodcuts fro... more The paper presents conservation carried out in 2020 and 2021 on two Japanese ukiyo-e woodcuts from the Edo period, and two Japanese fans from the Meiji period. The artworks are Suzuki Harunobu’s Tsuki / Moon and Kitagawa Utamaro’s Lovers woodcuts from the Varaždin City Museum, and painted fan leaves on a paper carrier from the Museum of the City of Rovinj, attributed to the Japanese painter Kawakami Togai. The results of microscopic and microchemical tests, and analysis of pigments and binders, are also presented, with reference to the artists and the characteristics of execution styles and artistic directions in which the works of art were created. The aim of conservation was to stabilize the paper carriers, traditional coating and painted layers of these rare and valuable works of art.
Portal, 13, Croatian Conservation Institute, Zagreb, 2022
The Barson collage in the possession of the Museum of Contemporary Art in Zagreb is the work of V... more The Barson collage in the possession of the Museum of Contemporary Art in Zagreb is the work of Victor Vasarely, the father of op art, and the only example of collage on wood panel by this artist in a cultural institution in Croatia. It was made in 1967 using the screen-printing technique on paper glued to a paper base and then to a wood panel. It is a large-format collage, measuring 2.5 x 2.5 m. It consists of four parts: two larger rectangular upper parts, and two smaller rectangular lower parts. They are reinforced at the back with a wooden cross-shaped subframe. The paper collage base consists of two parts: a lower, thicker grey-blue layer glued directly to the wood panel, and an upper two-part layer made using the screen-printing technique, cut out and glued to the above-mentioned bottom layer of paper. The collage was found in poor condition, caused primarily by age and the delicacy of the technique. Due to the specifics of the screen-printing technique, the optical character of the work, its large dimensions and the fact that no comparative example of restoration of a similar type of art was to be found in Croatia, conservation and restoration presented a great challenge.
Il presente contributo tratta del palazzo pretorio parentino, della cancelleria, delle prigioni, ... more Il presente contributo tratta del palazzo pretorio parentino, della cancelleria, delle prigioni, dell’archivio, dei magazzini adiacenti, del loro stato rovinoso nella seconda metà del ‘700, nonché delle iniziative e progetti proposti per il loro restauro tra il 1749 e il 1796. Interessanti risultano anche i cenni ed i dati che vengono riportati in merito al palazzo pretorio di Grisignana e a quelli di Sebenico e Imoschi, tutti in condizioni altrettanto rovinose nella seconda metà del ‘700.U Državnom arhivu u Veneciji u fondu Savio Cassier pronadeni su dokumenti vezani uz inicijative za obnovu porecke palace podestata koja je drugu polovicu 18. st. docekala u posve zapuštenom, ruševnom stanju. Pronadeno arhivsko gradivo pokriva razdoblje od 1749. do 1796. g. U tom je periodu izradeno osam procjena stanja i troškovnika potrebnih radova obnove kako same palace tako i pripadajucih objekata; pisarnice, zatvora i arhiva te skladišnih prostora. Navedeni projekti su datirani u 1771., 1780.,...
Radovi Zavoda za znanstveni rad HAZU Varaždin, 30, 2019
In 2014, due to the longstanding successful cooperation between the Department for Textiles, Pape... more In 2014, due to the longstanding successful cooperation between the Department for Textiles, Paper and Leather of the Croatian Conservation Institute and Varaždin City Museum, Permanent museum exhibition of the Culture and History Department of the Varaždin City Museum was expanded and enriched with an exceptionally valuable museum collection Culture of Clothing. Restored objects, women’s clothing and related fashion accessories, belong to different style periods, from late Baroque to the Edwardian period, and are characterized by a large variety of materials and techniques. Simple liturgical vestments dated from the 15th century to the second half of the 19th century were restored for the Faith, Hope, Love exhibition, held in 2013, and the future permanent exhibition of the Sacral Collection. Graphics on silk from 1745 and the Flag of Vinica Municipality from 1833 were restored for the Varaždin under the Habsburg crown exhibition held in 2015.
Stalni postav Kulturnopovijesnog odjela Gradskog muzeja Varaždin u 2014. je godini obogaćen vrijednom muzeološkom cjelinom Kultura odijevanja od 18. do sredine 20. stoljeća za čiju je realizaciju zaslužna i višegodišnja uspješna suradnja Odjela za tekstil, papir i kožu Hrvatskog restauratorskog zavoda i Gradskog muzeja Varaždin. Restaurirani ženski odjevni predmeti i pripadajući modni dodaci potječu iz različitih stilskih razdoblja od kasnog baroka do edvardijanskog doba, a krasi ih izrazita raznorodnost materijala i tehnika izrade. Za potrebe izložbe Vjera, ufanje, ljubav u 2013. godini te budući stalni postav Sakralne zbirke restaurirano je liturgijsko ruho datirano od druge polovice 15. do druge polovice 19. stoljeća, a za potrebe izložbe Varaždin pod habsburškom krunom u 2015. godini restaurirane su grafika na svili iz 1745. godine i zastava općine Vinica iz 1833. godine.
Portal, 10, Croatian Conservation Institute, Zagreb, 2019
The gold velvet chasuble from the Cathedral of St. Stephen I, Pope and Martyr, is a remarkable ex... more The gold velvet chasuble from the Cathedral of St. Stephen I, Pope and Martyr, is a remarkable example of the so-called velluto a riccio d’oro golden velvet, a unique decorative typology in our area. It is a patterned silk cut velvet with gros de Tours ground weave, formed by ground warp and weft threads. The decoration base is woven with yellow covering lancé weft and thin gilded threads (filé), also in the lancé effect. The velvet ornament is formed by purple silk-fibre cut pile warp, and two gilded wefts: a thinner gilded lancé thread and a thicker gilded broché thread. Based on similar examples, the chasuble can be dated to the late 15th and early 16th century. Considering the technical characteristics of the fabric, it is a product made in one of the most prominent Italian textile workshops, probably in Venice, although a Florentine origin should also be considered. For years, the chasuble was exhibited in the Museum and Treasury at the Episcopal Palace in Hvar. During 2018, comprehensive conservation was carried out.
Misnica od zlatnog baršuna te pripadajuća stola i manipul izlošci su stalnog postava Biskupskog muzeja katedrale sv. Stjepana I. pape i mučenika u Hvaru. Predmeti su datirani u kraj 15. i početak 16. stoljeća, a pretpostavka je da su venecijanske provenijencije. Svrha ovog istraživanja je prezentacija baršuna misnice iz toga vrijednog liturgijskog kompleta, izvedenih cjelovitih konzervatorsko-restauratorskih radova i pokušaj određivanja vremena i mjesta izrade na osnovi stilske i tehničke analize te komparacije srodnih materijala.
Atti, Centro di ricerche storiche, Rovigno, 2010
Questo lavoro è un contributo alla conoscenza della vita e dell’opera artistica dell’architetto r... more Questo lavoro è un contributo alla conoscenza della vita e dell’opera artistica dell’architetto rovignese Simon Battistella, attivo nella seconda metà del Settecento. Fu esponente del classicismo barocco, sotto il forte influsso di Giorgio Massari e Andrea Palladio, ed è autore di alcune importanti opere architettoniche sacre e profane (chiese, cisterne, piazze, ed altro) realizzate a Pirano (1776), Visinada (1782) e nella sua natia Rovigno (1779, 1780, 1785). Rappresenta uno dei nomi più rilevanti per il contesto architettonico dell’Istria del secolo XVIII, che vide il prevalere di autori provenienti da Venezia e dai restanti territori della Serenissima. L’autrice pubblica dati inediti riguardanti la sua biografia ed il suo opus artistico, che potranno risultare utili per le ricerche future su questo architetto rovignese.
*Alcuni anni sono erroneamente indicati nell'articolo!
È corretto quanto segue:
pp. 334, 337: la cisterna di Pirano risale al 1776,
p. 341: la chiesetta della Madonna della Salute a Rovigno risale al 1779,
p. 344: "Dopo la sua venuta a Rovigno, nel 1779 ha realizzato gli altari di S. Francesco e S. Pietro nel duomo di S. Eufemia (...)."
pp. 363, 364: Simon Battistella morì nel 1799 (19.11.1799)
This work is a contribution to the knowledge of life and work of the Rovinj architect Simon Battistella active in the second half of the 17th century. Battistella was a representative of Baroque classicism under the powerful influence of Giorgio Massari and Andrea Palladio and the author of some important sacral and secular buildings(churches, cisterns, squares and other) built in Piran (1776), Vižinada (1782) and his native Rovinj (1779, 1780, 1785). He is one of the most important figures in the field of architecturein 18th-century Istria distinguished by authors from Venice and other territories of the Serenissima. The author brings out unpublished data related to Battistella’s biography and his artistic work, which may prove useful for future researches about this architect from Rovigno.
*Some years are listed incorrectly in the article!
The following is correct:
pp. 334, 337: the cistern of Piran dates from 1776,
p. 341: Madonna della Salute church in Rovinj dates from 1779,
p. 344: "After his arrival in Rovinj, he built the altars of S. Francis and S. Peter in the parish church of S. Eufemia in 1779."
pp. 363, 364: Simon Battistella died in 1799 (19.11.1799).
Portal, 6, Croatian Conservation Institute, Zagreb, 2015
The essay deals with the praetorian palace, the chancellery, the prisons, the archives, the adjac... more The essay deals with the praetorian palace, the chancellery, the prisons, the archives, the adjacent warehouses, their ruinous conditions in the second half of the 18th century in Parenzo (Poreč), as well as with the initiatives and projects proposed for their restoration between 1749 and 1796. Interesting are also the data reported about the palace of Grisignana (Grožnjan) and those of Sebenicco (Šibenik) and Imoschi (Imotski), all in equally disastrous conditions in the second half of the eighteenth century.
Uploads
Papers by Marta Budicin Munišević
intervention was carried out, as we can see from the embroidered inscriptions: AПOCTOΛИ 1800 and KAPAНИ 1800. It is not known in which part of the Krka monastery the sanctuary curtain was stored. After a complete conservation and restoration project, on the basis of the
instructions of the current Bishop Nikodim, the sanctuary curtain was moved to Šibenik, the seat of the Diocese of Dalmatia. It is stored in the Bishop’s House and, as one of the more valuable items of the diocesan textile, collection and the entire art heritage of the Serbian Orthodox Church in Croatia, it will probably be exhibited in the future diocesan museum. The original decoration of the sanctuary curtain consists of two similar floral/vegetal compositions made using the a riporto embroidery technique with high-quality silk fabrics, paper, gilded and frisé cords, and multi-coloured silk threads. Based on the composition of the embroidered elements and technique, this is the first time that a distinction has been made between the original parts of the sanctuary curtain, from the first decade of the 17th century, and the parts that were added during the last intervention, in 1800. At that time, fragments of silk fabrics from the 16th and 18th centuries and two types of decorative brass strips were sewn
onto the curtain as structural and decorative parts to enlarge it, cover the outer edges, replace the missing parts of the original fabrics and make the central element of the cross. Methods used on the curtain during conservation and restoration in 2020 and 2021 did not cause further damage, and all the interventions and materials that were used are reversible. Special attention was paid to the preservation of all historical layers found on the sanctuary curtain, such as the aforementioned original a riporto embroidery from the first decade of the 17th century and
silk tassels of a similar date, as well as brass strips and lining from the turn of the 19th century. The embroidered inscriptions made by the author of the last intervention were preserved as a document of one of the more important changes that the curtain has gone through. Fabric fragments from the 16th and early 18th centuries were restored and stored separately inside closed panels and returned to the owner.
keywords: sanctuary curtain, catapetasma, a riporto embroidery, needle painting, Orthodox diocese of Dalmatia, Krka monastery, Kistanje, textile conservation
CHURCH OF ST MARY OF THE ROCKS, NEAR BERAM: BAROQUE PAINTED WOODEN CEILING FROM ITS CONSTRUCTION TO CONSERVATION The Church of St Mary of the Rocks was built in the first half of the 15th century as a single-nave building with a rectangular sanctuary. It is known for the best-preserved series of wall paintings in Istria, the work of the workshop of master Vincent of Kastav, completed in 1474. The painted wooden ceiling was installed during the extensive Baroque renovation in 1709, when a new altar was installed in the sanctuary, and the cross-ribbed vault was replaced with a ceiling. A bell gable was also built, and an open porch was added. The wooden ceiling covers the entire nave of the church (56 m²), and it is made up of 63 square painted cassettes, with a central one that is four times as large as the others. The cassettes are composed of an outer square field and an inner octagonal one. The Assumption of the Blessed Virgin Mary is painted in the octagonal field of the central cassette, and the other, smaller cassettes have a gilded passionflower appliqué. The corners of the cassettes are decorated with floral and plant motifs, and floral Christian symbols. The corners of the cassettes next to the central one are decorated with cherubs. The similarity of painting technique and concept of the wooden ceiling in Beram and the wooden ceiling of the Church of St Peter and Paul in the neighbouring Trviž (1703) suggests they are the work of the same local masters active in the region. The inspection of the ceiling in 2015 determined that the wooden support was damaged due to humidity and woodeating insects, while the painted surface was pulverized and flaking due to the deterioration of the binder. After the surface was cleaned, the painted layer was consolidated and fixed to the support, ceiling planks were reinforced with a consolidator, nails were replaced with wooden wedges, and the structure was strengthened by inserting new wooden elements. Retouching of the painted layer was done only in spots crucial for the establishment of visual integrity. The first half of the wooden ceiling was disassembled in 2016, and the work was completed in 2018, when the restored cassettes were once again returned to their original positions. That same year, the second part of the ceiling was removed, and the opening to the roof was closed with boards bearing a photograph of the painted ceiling. When the restored cassettes were mounted in their original position on the second half of the ceiling (from the middle of the nave to the sanctuary) in 2020, one of the phases of the complete renovation of the church of St Mary of the Rocks was finished. The completed work on the church is the result of cooperation between the Directorate for the Protection of Cultural Heritage of the Ministry of Culture and the Media and the Croatian Conservation Institute to organise, finance and perform demanding conservation on selected cultural goods of special importance for the heritage of the Republic of Croatia.
Stalni postav Kulturnopovijesnog odjela Gradskog muzeja Varaždin u 2014. je godini obogaćen vrijednom muzeološkom cjelinom Kultura odijevanja od 18. do sredine 20. stoljeća za čiju je realizaciju zaslužna i višegodišnja uspješna suradnja Odjela za tekstil, papir i kožu Hrvatskog restauratorskog zavoda i Gradskog muzeja Varaždin. Restaurirani ženski odjevni predmeti i pripadajući modni dodaci potječu iz različitih stilskih razdoblja od kasnog baroka do edvardijanskog doba, a krasi ih izrazita raznorodnost materijala i tehnika izrade. Za potrebe izložbe Vjera, ufanje, ljubav u 2013. godini te budući stalni postav Sakralne zbirke restaurirano je liturgijsko ruho datirano od druge polovice 15. do druge polovice 19. stoljeća, a za potrebe izložbe Varaždin pod habsburškom krunom u 2015. godini restaurirane su grafika na svili iz 1745. godine i zastava općine Vinica iz 1833. godine.
Misnica od zlatnog baršuna te pripadajuća stola i manipul izlošci su stalnog postava Biskupskog muzeja katedrale sv. Stjepana I. pape i mučenika u Hvaru. Predmeti su datirani u kraj 15. i početak 16. stoljeća, a pretpostavka je da su venecijanske provenijencije. Svrha ovog istraživanja je prezentacija baršuna misnice iz toga vrijednog liturgijskog kompleta, izvedenih cjelovitih konzervatorsko-restauratorskih radova i pokušaj određivanja vremena i mjesta izrade na osnovi stilske i tehničke analize te komparacije srodnih materijala.
*Alcuni anni sono erroneamente indicati nell'articolo!
È corretto quanto segue:
pp. 334, 337: la cisterna di Pirano risale al 1776,
p. 341: la chiesetta della Madonna della Salute a Rovigno risale al 1779,
p. 344: "Dopo la sua venuta a Rovigno, nel 1779 ha realizzato gli altari di S. Francesco e S. Pietro nel duomo di S. Eufemia (...)."
pp. 363, 364: Simon Battistella morì nel 1799 (19.11.1799)
This work is a contribution to the knowledge of life and work of the Rovinj architect Simon Battistella active in the second half of the 17th century. Battistella was a representative of Baroque classicism under the powerful influence of Giorgio Massari and Andrea Palladio and the author of some important sacral and secular buildings(churches, cisterns, squares and other) built in Piran (1776), Vižinada (1782) and his native Rovinj (1779, 1780, 1785). He is one of the most important figures in the field of architecturein 18th-century Istria distinguished by authors from Venice and other territories of the Serenissima. The author brings out unpublished data related to Battistella’s biography and his artistic work, which may prove useful for future researches about this architect from Rovigno.
*Some years are listed incorrectly in the article!
The following is correct:
pp. 334, 337: the cistern of Piran dates from 1776,
p. 341: Madonna della Salute church in Rovinj dates from 1779,
p. 344: "After his arrival in Rovinj, he built the altars of S. Francis and S. Peter in the parish church of S. Eufemia in 1779."
pp. 363, 364: Simon Battistella died in 1799 (19.11.1799).
intervention was carried out, as we can see from the embroidered inscriptions: AПOCTOΛИ 1800 and KAPAНИ 1800. It is not known in which part of the Krka monastery the sanctuary curtain was stored. After a complete conservation and restoration project, on the basis of the
instructions of the current Bishop Nikodim, the sanctuary curtain was moved to Šibenik, the seat of the Diocese of Dalmatia. It is stored in the Bishop’s House and, as one of the more valuable items of the diocesan textile, collection and the entire art heritage of the Serbian Orthodox Church in Croatia, it will probably be exhibited in the future diocesan museum. The original decoration of the sanctuary curtain consists of two similar floral/vegetal compositions made using the a riporto embroidery technique with high-quality silk fabrics, paper, gilded and frisé cords, and multi-coloured silk threads. Based on the composition of the embroidered elements and technique, this is the first time that a distinction has been made between the original parts of the sanctuary curtain, from the first decade of the 17th century, and the parts that were added during the last intervention, in 1800. At that time, fragments of silk fabrics from the 16th and 18th centuries and two types of decorative brass strips were sewn
onto the curtain as structural and decorative parts to enlarge it, cover the outer edges, replace the missing parts of the original fabrics and make the central element of the cross. Methods used on the curtain during conservation and restoration in 2020 and 2021 did not cause further damage, and all the interventions and materials that were used are reversible. Special attention was paid to the preservation of all historical layers found on the sanctuary curtain, such as the aforementioned original a riporto embroidery from the first decade of the 17th century and
silk tassels of a similar date, as well as brass strips and lining from the turn of the 19th century. The embroidered inscriptions made by the author of the last intervention were preserved as a document of one of the more important changes that the curtain has gone through. Fabric fragments from the 16th and early 18th centuries were restored and stored separately inside closed panels and returned to the owner.
keywords: sanctuary curtain, catapetasma, a riporto embroidery, needle painting, Orthodox diocese of Dalmatia, Krka monastery, Kistanje, textile conservation
CHURCH OF ST MARY OF THE ROCKS, NEAR BERAM: BAROQUE PAINTED WOODEN CEILING FROM ITS CONSTRUCTION TO CONSERVATION The Church of St Mary of the Rocks was built in the first half of the 15th century as a single-nave building with a rectangular sanctuary. It is known for the best-preserved series of wall paintings in Istria, the work of the workshop of master Vincent of Kastav, completed in 1474. The painted wooden ceiling was installed during the extensive Baroque renovation in 1709, when a new altar was installed in the sanctuary, and the cross-ribbed vault was replaced with a ceiling. A bell gable was also built, and an open porch was added. The wooden ceiling covers the entire nave of the church (56 m²), and it is made up of 63 square painted cassettes, with a central one that is four times as large as the others. The cassettes are composed of an outer square field and an inner octagonal one. The Assumption of the Blessed Virgin Mary is painted in the octagonal field of the central cassette, and the other, smaller cassettes have a gilded passionflower appliqué. The corners of the cassettes are decorated with floral and plant motifs, and floral Christian symbols. The corners of the cassettes next to the central one are decorated with cherubs. The similarity of painting technique and concept of the wooden ceiling in Beram and the wooden ceiling of the Church of St Peter and Paul in the neighbouring Trviž (1703) suggests they are the work of the same local masters active in the region. The inspection of the ceiling in 2015 determined that the wooden support was damaged due to humidity and woodeating insects, while the painted surface was pulverized and flaking due to the deterioration of the binder. After the surface was cleaned, the painted layer was consolidated and fixed to the support, ceiling planks were reinforced with a consolidator, nails were replaced with wooden wedges, and the structure was strengthened by inserting new wooden elements. Retouching of the painted layer was done only in spots crucial for the establishment of visual integrity. The first half of the wooden ceiling was disassembled in 2016, and the work was completed in 2018, when the restored cassettes were once again returned to their original positions. That same year, the second part of the ceiling was removed, and the opening to the roof was closed with boards bearing a photograph of the painted ceiling. When the restored cassettes were mounted in their original position on the second half of the ceiling (from the middle of the nave to the sanctuary) in 2020, one of the phases of the complete renovation of the church of St Mary of the Rocks was finished. The completed work on the church is the result of cooperation between the Directorate for the Protection of Cultural Heritage of the Ministry of Culture and the Media and the Croatian Conservation Institute to organise, finance and perform demanding conservation on selected cultural goods of special importance for the heritage of the Republic of Croatia.
Stalni postav Kulturnopovijesnog odjela Gradskog muzeja Varaždin u 2014. je godini obogaćen vrijednom muzeološkom cjelinom Kultura odijevanja od 18. do sredine 20. stoljeća za čiju je realizaciju zaslužna i višegodišnja uspješna suradnja Odjela za tekstil, papir i kožu Hrvatskog restauratorskog zavoda i Gradskog muzeja Varaždin. Restaurirani ženski odjevni predmeti i pripadajući modni dodaci potječu iz različitih stilskih razdoblja od kasnog baroka do edvardijanskog doba, a krasi ih izrazita raznorodnost materijala i tehnika izrade. Za potrebe izložbe Vjera, ufanje, ljubav u 2013. godini te budući stalni postav Sakralne zbirke restaurirano je liturgijsko ruho datirano od druge polovice 15. do druge polovice 19. stoljeća, a za potrebe izložbe Varaždin pod habsburškom krunom u 2015. godini restaurirane su grafika na svili iz 1745. godine i zastava općine Vinica iz 1833. godine.
Misnica od zlatnog baršuna te pripadajuća stola i manipul izlošci su stalnog postava Biskupskog muzeja katedrale sv. Stjepana I. pape i mučenika u Hvaru. Predmeti su datirani u kraj 15. i početak 16. stoljeća, a pretpostavka je da su venecijanske provenijencije. Svrha ovog istraživanja je prezentacija baršuna misnice iz toga vrijednog liturgijskog kompleta, izvedenih cjelovitih konzervatorsko-restauratorskih radova i pokušaj određivanja vremena i mjesta izrade na osnovi stilske i tehničke analize te komparacije srodnih materijala.
*Alcuni anni sono erroneamente indicati nell'articolo!
È corretto quanto segue:
pp. 334, 337: la cisterna di Pirano risale al 1776,
p. 341: la chiesetta della Madonna della Salute a Rovigno risale al 1779,
p. 344: "Dopo la sua venuta a Rovigno, nel 1779 ha realizzato gli altari di S. Francesco e S. Pietro nel duomo di S. Eufemia (...)."
pp. 363, 364: Simon Battistella morì nel 1799 (19.11.1799)
This work is a contribution to the knowledge of life and work of the Rovinj architect Simon Battistella active in the second half of the 17th century. Battistella was a representative of Baroque classicism under the powerful influence of Giorgio Massari and Andrea Palladio and the author of some important sacral and secular buildings(churches, cisterns, squares and other) built in Piran (1776), Vižinada (1782) and his native Rovinj (1779, 1780, 1785). He is one of the most important figures in the field of architecturein 18th-century Istria distinguished by authors from Venice and other territories of the Serenissima. The author brings out unpublished data related to Battistella’s biography and his artistic work, which may prove useful for future researches about this architect from Rovigno.
*Some years are listed incorrectly in the article!
The following is correct:
pp. 334, 337: the cistern of Piran dates from 1776,
p. 341: Madonna della Salute church in Rovinj dates from 1779,
p. 344: "After his arrival in Rovinj, he built the altars of S. Francis and S. Peter in the parish church of S. Eufemia in 1779."
pp. 363, 364: Simon Battistella died in 1799 (19.11.1799).