Franka Horvat May 201 Budapest

CEU eTD Collection

ARTISTIC TRANSFERS FROM ACROSSTHE ADRIATIC THIRTEENTH CENTURY FRESCOES IN MA Thesis i CHRYSOGONUSZADAR IN in Interdisciplinaryin MedievalStudies. n Comparative History,with a Central European University Franka Horvat May 201 Budapest

THE CHURCH OF SAINT

specialization

SEA : THE

CEU eTD Collection

Central European University,fulfillmentBudapest, oftherequirements partial in ARTISTIC TRANSFERSARTISTIC ADRIATIC FROM THE ACROSS THIRTEENTH CEN of the Arts Master degree of Accepted inconformancewiththe totheDepartmentThesis submitted ______Interdisciplinary MedievalStudies. CHRYSOGONUS T Chair, Examination CommitteeChair, Examination URY FRESCOES IN URY in Comparative History,in Comparativewitha BelaZsolt Szakacs Franka Horvat May 201 Examiner Examiner Budapest Croatia by

4 IN ZADAR

standards CEU. of the

of Medieval Studies, of Medieval

THE CHURCH OF SAINT

______

specialization in ____

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: T HE HE

CEU eTD Collection

Central ARTISTIC TRANSFERSARTISTIC ADRIATIC FROM THE ACROSS ARTISTIC TRANSFERSARTISTIC ADRIATIC FROM THE ACROSS THIRTEENTH CEN THIRTEENTH CEN of the Arts Master degree of European University,fulfillmentBudapest, oftherequirements partial in Accepted inconformancewiththe standards CEU. of the totheDepartmentThesis submitted Studies, ofMedieval ______Interdisciplinary MedievalStudies CHRYSOGONUS CHRYSOGONUS T T URY FRESCOES IN URY FRESCOES IN URY in Comparative History,in Comparativewitha External Franka Horvat May Budapest Croatia by

201 Reader

4 IN ZADAR IN ZADAR

THE CHURCH OF SAINT THE CHURCH OF SAINT

specialization in

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CEU eTD Collection as information external such only unidentifie no that I declare bibliography. and and notes in credited properly research my on based work, own my exclusively is a I, the undersigned,

specialization in Interdisciplinary Medieval Studies declare herewith that the present thesis present the that herewith declare Studies Medieval Interdisciplinary in specialization Central European University,fulfillmentBudapest, oftherequirements partial in of the Arts Master degree of Franka Franka Horvat Accepted in Thesis ______submitted totheDepartmentsubmitted Studies, ofMedieval Interdisciplinary Medieval Studies.

conformance withthe standards CEU of the , candidate for the MA degree External Supervisor in Comparative History,in Comparativewitha Franka Horvat May 201 Budapest Croatia by

in Comparative History, with

specialization in d and illegitimate use illegitimate and d

CEU eTD Collection Budapest or person’s any on infringes thesis to anyofhigher institution education fo other the of part no and form this in submitted been has thesis the of part others,no that declarealso Icopyright. institution’s of work the of made was , __ May 2014 , __May

r an academicr an degree. ______

CEU eTD Collection you wou professionally, and personally. I consi who is no longer with us, but who helped me tremendously thesis his for Sulovsky, Vedran and help, technical for contributed quality, w th of articles, and photographs which she shared with me. I would also like to thank Robert me decide how tonarrow my for material search comparative neededmost it words of couple a me gave also but language, the corrected who Rasson, reader, Gerhard Jaritz, who urged me not to forget about particular social aspects, and to Judith Acknowledgemen go. to wanted I which in direction a pursue to me allowing still while lost, get me letting not and way the throughout advice sound me up. ended it how youthank for as asgave all this, well thevisual he material me. a him owe I me. encouraged who time, the at employer my Srša, Ivan and frescoes, the about restoration of the church e Lama d'Antico P d'Antico Lama e

on such shortnotice; Last, but not least, a very special This to grateful very am I d quite idea an with project a as started one this do, researches many As the of project the on Institute Conservation Croatian the for worked briefly I 2011 In ld have liked what this thesis turned be. thesis outto this liked what ld have hen mine turned out to be outto fuzzy.hen mine turned

beyond mor beyond hss a tuy rte wt “ ltl hl o m friends” my of help little “a with written truly was thesis .

I would would I ark, who g who ark, al support. I would like to like would I support. al of Saint Chrysogonus. It was this therefore

for all ofhis pr ofessor ofessor ACKNOWLEDGEMENTS uided me to the sights, and sent and sights, the to me uided like to thank my supervisor Bela Zsolt Szakacs for giving for Szakacs Zsolt Bela supervisor my thank to like der her my supervisor, but also Linda Safran of the University of Toronto for helping helping for Toronto of University the of Safran Linda

thanks goes to a very special person; Anna Christidou, comments, suggestions, ofallmost comments, and effort

amazing engagement of reading the reading of engagement amazing thank

Aleksandar Kondić and Ivan Marić Marić Ivan and Kondić Aleksandar ex in the first year of my studies perience that ,

and for her all other of advices, ts must also go to my second second my to go also must ts

- me photographs of great of photographs me

my my friend. Anna, I hope inspired me to wri of support when I when support of , some of whom whom of some , ifferent than than ifferent o Rotondo .

- entire

both te CEU eTD Collection FIGURES BIBLIOGRAPHY CONCLUSION Chapter3: CONNECTIVITY SOUTHERNTO ITALY Chapter2: THE CHURCH OF SAINT CHRYSOGONUS UNDER MAGNIFYING A GLASS Chapter1: CREATING THE SETTING: THE CULTURAL AND DOCUMENTARYCONTEXT INTRODUCTION: SETTING CONCEPTUALA FRAMEWORK OFLIST FIGURES Visual evidence of connection The complexity of the Southern Italian territory Reconstructing the connection pattern Dating Iconographic analysis The Frescoes The Mosaic Architectural Features Dismissing Venice The monastery and its archive Historio

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40 35 27 21 18 16 16 13 68 61 57 51 45 42

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CEU eTD Collection Fig. arView onthe triumphal 16. Institute).(photograph Croatian propertyofthe Conservation Fig. thenorthernThe bishopsin row 15.apse, of detail Institute).propertyConservation ofthe Croatian Fig. thenorthernThe bishopsin row 14.apse, of detail Institute).propertyConservation ofthe Croatian Fig. thenorthernThe bishopsin row 13.apse, of detail author). Fig. Chrysogonus,ZadarThe church ofSt. 12. of2011 of theCampaign Restoration b: ideal Domjan, reconstruction by Miljenko The CroatianInstitute, Conservation Fig. wall (photograph by author). Fig. Chrysogonus,ZadarThe church ofSt. 10. http://www.dpeck.info/italy/italy2011c.htm Fig.The ofSan cathedral Nicola 9. Pellegrino, Trani http://www.officeoftourism.org/img/europe/ita/pug Fig.The ofSan cathedral Sabino, Bari 8. http://www.panoramio.com/photo/9012535 Fig.The chur 7.. Fig.The ofSant' cathedral 6. Sabinus Fig.The ofSan cathedral Sabino, 5. 2014. Fig.Bari,Nicola, 4.San Lastaccessed May 2014. Fig.Zadar,Anastasia,The church ofSt. 3. http://proleksis.lzmk.hr/58319/ Fig.Chrysogonus,ZadarThe church ofSt. 2. Fig.Chrysogonus,ZadarThe church ofSt. 1.

11. The church of St. ChrysogonuThe church ofSt. 11.

. Last. May accessed 2014.

ch of St. Chrysogonus,Zadarch ofSt. http://en.wikipedia.org/wiki/Saint_Nicholas

Eustachio, Matera (photographby author).Eustachio, . Last. May accessed 2014. ch

LIST OFLIST FIGURES - Bari, -

the Annunciation scene,by Annunciation Ivanthe (photograph Srša). 2012 s, Zadars, – http://wikimapia.org/5840077/Cathedral

, 25 http://hr.wikipedia.o interior, interior, . Last accessed May 2014. . Lastaccessed. May 2014. ii

– – - – – – 26. view from the east, from the view from by author). thewest(photograph view –

interior, interior, the norther the and onthenorthernapse thenorthernview the Transfiguration scene: a.currentthe state,

- ba – -

interior, duomo.jpg - - -

inscription held by John theBaptistinscription heldby John unidentified sai and (photographCosmas Damien,

n apse (photograph calotte, n by

rg/wiki/Zadarska_katedrala . Last. May accessed 2014. . Last. accessed May

nt (photograph nt (photograph

The Report - of - St -

CEU eTD Collection Fig. 35. crkve 34. Fig. Conservation AnastasiaFig.St. The of cathedral 33. Institute).Conservation AnastasiaFig.St. The of cathedral 32. Fig. Peter,The church ofSt 31. Pantocrator.jpg http://commons.wikimedia.org/wiki/File:Sant%27Angelo Fig.Angelo Formis in 30.San Institute).the Croatian Conservation Fig.The bell 29. Fi Fig.The (photograph Nativity, detail 27.by author). Fig.The (photograph Nativity, detail 26.by author). Fig.The Nativity, detail 25. Toscana 9 http://www.culturaitalia.it/viewItem.jsp?language=it&case&id=oai:scalarchives.com:003965 IconFig. SanMatteo, Museo Nazionale Pisa, ofMichael, 24. St. Fig.The Michael, Archangel 23. de Fig.The Michael Archangel 22. (photo Fig.The scene Deesis small 21. (photo Sv. Krševana uZadru Fig.The southern 20. Fig.The scene, Annunciation by (photograph 19. detail author) Zadar] in Chrysogonus St. of akademija 1931,photograph umjetnosti), i znanosti Monastery the and Church [The Fig. 18. The fragmented(photograph scene bishop by author) Fig.View on thewall northern 17. https://www.academia.edu/913218/Pisa_bizantin g.The Nativity, detail 28.

[Four Elaphite Churches] [Four

. LastMay accessed. 2014. The church of St. Nicholas, The church ofSt. The c The southern southern apse calotte,

Institute). hurch of St. John the Baptist, Šipan Baptist, the John St. of hurch . Last. May accessed 2014. - tower of the churchMary of ofSt. tower , photograph wall wall

–

– – figure on a horse fragment, Ćiril M. Iveković,figure M. afragment, Ćiril horse on

the shepherds (photograph by author). Ivanbaby by (photograph Jesus, –

( Zadar

Majestas Domini, Split: Studia Studia Split:

Iveković, 32. – tail (photo

Koločep

the archangel Michael,athe archangel part and the Deesis of the

– graph – – graph

Deesis (photographby author).Deesis Deesis, (photograph detail propertyof the Croatian Deesis (photographproperty the Croatian of iii

Ćiril Ćiril M. by by author) by – Mediterranea Archeologica, 2008), graph

Deesis. I . van Srša van

– a._Alle_origini_del_culto_delle_icone_in_

Majestas (photograph Domini, propertyof

– 31.

by author)

Crkva i Deesis,

Ibid.,

- ) in .

40 Formis

samostan Krševana Sv. u Zadru Željko Peković, Željko . .

Srša .

). . -

Christus

(Zagreb: Jugoslavenska Jugoslavenska (Zagreb:

Crkva i samostan -

Četiri elafitske Četiri

62 .

CEU eTD Collection Fig. 2014. LamaFig.interior, D’Antico, 49. Fig.Biagio,Vito dei San 48.St. Fig. Fig.Lorenzo 46.St. b. TheLorenzo, churchdetail, ofSan (photo a.Za The churchChrysogonus, ofSt. Fig. 45 Lamab. d’Antico, (photograph Rotondo) detail, by Roberto Institute).Conservation a.Zadar, The churchChrysogonus, detail ofSt. Fig. 44 b. The churchCecilia, ofSt. a.Zadar, The churchChrysogonus, ofSt. Fig. 43. Lamab. d’Antico, (photographRotondo). detail by Roberto Institute).Conservation Fig. 42 b. TheLorenzo, churchFasano, ofSan author) (photograph detail by Institute).Conservation a.Zadar, The (photograph church Chrysogonus, detail, of St. property the Croatian of Fig. 41 Institute).Conservation a.Zadar, The (photograph church Chrysogonus, detail, of St. property the Croatian of Fig. 40. Fig. 39 theBaptist,Fig. John Š The church ofSt. 38. Fig. Nicholas, The church ofSt. 37. Fig. Nicholas, The church ofSt. 36. a. The churchChrysogonu ofSt. b. TheCecilia, detail church Monopoli, ofSanta Lamab. (photograph by d’Antico, author) detail, a. The church o

0 Sm o te aite o gon pas o roc for plans ground of varieties the of Some 50. 47. Lama exterior, (photograph author). D’Antico, by 47.

. . . . . Editore, 1998, 34 D

ell’Aquila, Franco, f St. Chrysogonus, Zadar, Chrysogonus,f St. detail. , Fazano, exterior,(photographby author). -

35.

Aldo

detail, (photograph byauthor)

Messina Normanni, exterior,(photograph by author) s, Zadar, (photographs, detail, property the Croatian of http://www.lamadantico.it/it/home/ Koločep Koločep dar, detail dar, . Le chiese rupestri di Puglia e Basilicata

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(photograph by author). (photograph property the Cr of

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. by author).

Archangel Michael. .

- . u cuce i Suhr Italy, Southern in churches cut

. Ibid. Ibid, . .

Last accessed May

. Ibid. 76

a).

. Bari: Mario Adda oatian

CEU eTD Collection Fig. 59. http://ica.princeton.edu/images/tomekovic/st.03514.jpg Fig. SantaApse, Maria detail, 58. della Cerrate, Fig.Nativity.of Santa Maria 57. Portal 2014. http://hr.wikipedia.org/wiki/Datoteka:Trogir_cathedral_entrance.jpg Fig.Nativity, of 56. portal (photo byauth Fig.Nativity, medallions prophets, with of 55.dei detail Biagio, San Normanni Vito San accessed May 2014. Fig. 54. Bari: Adda 1998,56. Mario Editore, b a. Fig. 53. http://www.lamadantico.it/it/home/ LamaFig. d’Antico 52. Puglia d. c. accessed May 2014. b. rupestri.html a. Fig.Different ofthe Deesis solutions 51. scene .

Drawing, Dell’Aquila, Franco, Aldo Messina. Messina. Aldo Franco, Dell’Aquila, Drawing, Nativity, SanBiagio, VitodeiNormanni San San San Nicola, Mottola

San Lorenzo,San (photograph Fasano by author) San Matteo, Monopoli (Milan: Electa, 1991), 136.

Saint John theBaptist, John Saint Lama d’Anti

Zaccario, Monopoli . Last. May accessed 2014. or) .

co – –

, blind archesblind withbishops, the Deesis/Majestas composition, Domini

the cathedr http://it.wikipedia.org/wiki/Habitat_rupestre_di_Mottola , , Marina Falla Castelfranchi, http://isegretidimonopoli.altervista.org/chiese Šipan, vaultingŠipan,

. LastMay accessed 2014.

al of St. Lawrenceal ofSt.

della Cerrate, Lecce, Cerrate, della (photographLinda by Safran) v

, :

Peković, Željko.

Le chiese rupestri di Puglia e Basilicata e Puglia di rupestri chiese Le http://www.lamadantico.it/it/home/ hotograph by author . , Last accessed Trogir Pittura monumentale Bizantina Bizantina monumentale Pittura

, Četiri elafitskeČetiri crkv . Lastaccessed May May2014. ).

- e - ambienti

. Last. e,

54. - . Last

. in

. CEU eTD Collection hereafter hereafter in Zadar Chrysogonus in Zadar], 4 fifteenth. the 3 2 Bianchi, 1 to weretrying that powers political various interferenceof of point the beenhave citywill the a Byzantine province, and Zadar political powers overlappedZadar. sointenselyas in a question to be answered. Cultural transfers are no correspond, relatively speaking, to the exterior stylistically. How to explain this discrepancy is seem peculiar. One would expect the interior to be painted according to fresco the and exterior the of discrepancy the why reasons the of one is monastery the to church the of connection The itself. church the is monastery the of building surviving s still which purposes, and subsequently replaced with new building blocks with purposes,various some of monastery was dissolved during the Napoleonic era; its buildings were at first used for military not aself Byzantinecharacter. be Thesewill thecentral frescoes thisthesis. in ofinquiry of point frescoes phase first the exterior. its of features architectural to 1175, in consecration its of time the to perfectly corresponds which Romanesque, twice was painted Thechurch The interior has been made baroque, but the determining features of a Romanesque space are still present. still spaceare of Romanesque a features determining but the baroque, made been has Theinterior Ivo Bavčević, “Klaustar samostana Sv. Krševana u Zadru” [The cloister of the St. Chrysogonus monastery in monastery Chrysogonus St. the of cloister [The Zadru” u Krševana Sv. samostana “Klaustar Bavčević, Ivo The date has been calculated according to a lost inscription in the main apse of the church, Carlo Federico Federico Carlo church, the of apse main the in inscription lost a to according calculated been has date The INTRODUCTION: SETTING A CONCEPTUAL FRAMEWORK From the seventh century, until the second half of the eleventh century, Dalmatia was was Dalmatia century, eleventh the of half second the until century, seventh the From was Chrysogonus Saint of church the that beginning very the at note to important is It is Zadar in Chrysogonus Saint of church the historiography Croatian In Zara Cristiana Zara Tisuću godina Tisuću Tisuću godina samostana Svetog Krševana u Zadru u Krševana Svetog samostana godina Tisuću - standing monument, butwas monument, o standing

tand 4 .The gradual process of change resulted in the fact that nowadays the only only the nowadays that fact the in resulted change of process gradual .The ] , .

ed. Miroslav ed.Miroslav Gran (Zara: 1877), 302. 1877), (Zara:

in its interior, the iconographi the interior, its in –

the first time in the thirteenth century, and the second time at the beginning of beginning the at time second the and century, thirteenth the first in the time

–

its its capital. Since then, until wel ić, Stijepo Obad, and Ivo Petricoli (Zadar: NarodniList, 188Obad, (Zadar: Ivo1990), Stijepo ić, and Petricoli 2

nce part of an influential Benedictine monastery. The monastery.of an Benedictine The influential part nce However, the same adjective has been employed for employed been has adjective same the However, 1

t easy , [ ,

One Thousand Years of the Monastery of Saint of Monastery the of Years Thousand One c solutions of which are prevailingly are which of solutions c to analyze, l in to the late Middle Ages,

especially in places where Western

traditions, and 1 as defined as well as well as es might might es

- 9, 9, CEU eTD Collection York Press, 1970). YorkPress, 5 acknowledged,beenlonghas art Western on Byzantine art influenceof The picture. wha to compared small Western art comes from the art objects themselves, and the quantity of preserved material is so much fuzzier. pain monumental to turns one When liturgy. and forms and architecturalarchitecturaldifferent inthebondbetween intrinsic spaceappear ofthe solutions period, the of regardless technique building and material, form, in differ indeed two relatively is architecture Byzantine and Western between distinction The others. with than media some with better works that labeling of type a is which realm, particular a visual cultur further no with done elaboration as were almost ifit incidental. something is it historiography, Croatian in mentioned is it when phrasing; of became however, influence, Byzantine of issue The ended. officially rule their after present still was influence Byzantine that perception common a is it centuries, two about for fresco the time the atAlthough coast. heritagealongthe find traditionsByzantine unusual to exhibiting not is rebelli still were there achieved, was this after even and rule, its to Zadar subdue permanently to years hundred one almost Venice took It independence. relative its retain to able was city the unusu of presence The nobility. put it under their authority

For the first attempt of a comprehensive study see Otto Demus, Demus, Otto see study comprehensive a of attempt first the For ons against theVenetian power inthe city. taking place Generally speaking, everything that is known about the relationship of Byzantine and Byzantine of relationship the about known is that everything speaking, Generally The question of influences in general is naturally problematic. In fact, when it comes to was Dalmatia of part better the that Considering e, both W

es of Saint Chrysogonus were most likely executed this had not been the case the been not had this executed likely most were Chrysogonus Saint of es

estern t was once there that it is extremely hard to form a comprehensive a form to hard extremely is it that there once was t –

the Croatian kings, the Hungarian kings, Venice, and the Croatian and

ally strong noble families in Zadar is one of the reasons why why reasons the of one is Zadar in families noble strong ally Byzantine

are constructs coined to place a particular object in 2

ting, however, the distinction becomes distinction the however, ting, Byzantine Art and the West the and Art Byzantine once

part of the Byzantine Empire, it Empire, Byzantine the of part

(New York: New New York: (New

clear, for the for clear, 5

a matter a yetlittle CEU eTD Collection churchescarved living from rock. the with connection into monastery urban an from painting monumental bringing of difficulty should Chrysogonus Saint of frescoes rock the within cut churches in rural settings. The stylistic an cycle of the church of Chrysogonus,Saint one must take a look out not are cathedrals thesefresco the with parallels find orderto in and more,paintingany monumental in particularrich of interiors the However, basilicas. Apulian in Dalmatia) over example notably (and Zadar from examples the to comparative architecture and sculpture find can One monument. same the in found be cannot three all in similarities Interestingly, paralle show regions the Finally, others. with than more cities some with although routes, trade established well had Dalmatia which region a is It contact. suggests alone statement this that geographically specific place I will be showing connections with twelfth century. the and eleventh the of course the during Normans the by conquered being of fate historical share Sicily, and them, of All Molise. and Puglia, Calabria, Campania, Basilicata, or Italy, came theterri from seems spreadrandomly to territories.across forcethat invisible an into turns influenceoften of matter the textual, and visual sources,both of scarcity the to Due functioned. connection this of instances particular how about known is It is a vast and disperse territory, and although it should be observed as a whole, the whole, a as observed be should it although and territory, disperse and vast a is It In this thesis I will argue that the artistic impulse for the frescoes of Saint Chrysogonus Mezzogiorno -

u cuce pit t te ocuin ht h atsi role artistic the that conclusion the to points churches cut tory of Southern Italy. Southern toryof Administratively Southern theterritory of speaking, ls in various types of art of types various in ls

as it is called in Italian, encompasses six continental regions: Abruzzo, Abruzzo, regions: continental six encompasses Italian, in called is it as

be looked for in this neighboring region, despite the despite region, neighboring this in for looked be

3 d iconographic character of the

–

in sculpture, frescoes, as well as architecture. as well as frescoes, sculpture, in

is the region of Apulia. It is a region so close side centers:urban in rock

material preserved - oes o the for models a common a s all all s - CEU eTD Collection bewill usedtheargument.to support as evidence together by iconographic analysis, the ones for which I will argue the connection with Apulia. Apart from visual material brought a cycle, older the from preserved frescoes the with closely most dealing be will I chronology. of problems the and Chrysogonus themselv from there. addressed in order to elaborate on the reasons as to why the artistic impulse did likely not come monastery. the to patrons as acted who inhabitants, local the with relation specific its and medieval of life the in role decisive its of because discussed be will monastery the of History criteria. tangible of basis the on the of realm a within them places forcefully and signal wrong the out sends scholarship, previous in Chrysogonus Saint of frescoes callingthe that Ibelieve monastery. West However the main sources that will be analyzed in this thesis are the frescoes frescoes the are thesis this in analyzed be will that sources main the However history and historiography with deal will thesis this of chapter first The s Teeoe wl da coey ih h vsa faue o te hrh f Saint of church the of features visual the with closely deal will I Therefore es.

, which hinders the possibility to find comparative find possibilityto the hinders which , various types of communication between the two territories The relationship of the monastery with Venice will also be be also will Venice with monastery the of relationship The 4

Out of the two stages of the fresco decoration, decoration, fresco the of stages two the of Out

material which can be analyzed be can which material Romanesque , as was done done was as , nd these are these nd

f the of CEU eTD Collection the history of the monastery. Ibid., i. Ibid., monastery. ofhistorythe 7 1931. umjetnosti), i znanosti akademija Zadar] (Zagreb: Jugoslavenska in 6 to the restoration. value of the book lies in the fact that it is an eyewitness account of how the church looked prior monastery outdate is the attitude his interpretation, historical on to comes it researchwhen However, serious first the made Iveković procedure, the during kept de restoration the of charge in architect the Iveković, Metod Ćiril by written and beconsulted bothwill calledbecan that publications two deserves.Thereare only it attention history of Zadar has been often emphasized in scholarship, the topic has so far not received the narrow. outline some of the problems of dealing with a topic which is at the same so time broad and so the to introduction general a as well as needed, is historiography on note brief a cycle, fresco the of analysis detailed a into go I Before belonged. they which of the execution the for reference of point plausible a as Italy Southern suggest to and Chrysogonus

Ćiril M. Iveković, Iveković, M. Ćiril In the foreword he states that “very few have dealt with the topic” and wonders why no one has touched upo touched has one no why wonders and topic” the with dealt have few “very that states he foreword the In tailed description of the course of restoration, which he wrote on the basis of the diary he he diary the of basis the on wrote he which restoration, of course the of description tailed Historiography Ch earlier cycle n bo cm ot f h rsoain f h cuc i te al teteh century, twentieth early the in church the of restoration the of out came book One the for importance its and Chrysogonus Saint of abbey the of reputation the Although Saint of church the of frescoes the study to is thesis this of interest general The

apter apter 1: CREATING THE SETTING: THE CULTURAL AND Crkva i samo i Crkva

. In order to do that, I first have to start from the context of the monastery to

extensively thesis. inthis DOCUMENTARYCONTEXT stan Sv. Krševana u Zadru Zadru u Krševana Sv. stan

[The Church and the Monastery of St. Chrysogonus Chrysogonus ofSt. Monastery the and Church [The

monastery, which will help will which monastery, monographic in monographic . d and the greatest the and d 6

In addition to a to addition In scope scope . n 7

CEU eTD Collection be found under the old numbers. the inventory under found be 12 godina Tisuću in Centuries] the through Chrysogonus ofSaint Achive the [On stoljeća” kroz Krševana Sv. arhivu “O Antoljak, record brevia brevia, litterae, notitiae, chartae, 11 boxes. in archived subgroups 10 docu historical IV], in [The Krešimir ruleof the Petar and Monastery IV” Krešimira Petra vladavina i samostana Byzantine to environment, religious 9 [The artistic heritage of the Monastery of St. Chrysogonus until the sixteenth century], in in Zadar], in 8 Chrysogonus and its church represent a typical case of the artificial sepa tosearchthat makes possible it inventory the o Archive State the in kept are notes His work. his published never he but ones, longer the of some short transcribed and them, of wrote each of summaries charters, the on working was Čolak Nenad ago years fifty About published. types various into classified formally monastery the of phase early the from documents 600 over are There general prestige of the monastery in particular and the importance of its archive for Cr papers, two in presented religiou and social history, general of fields the to pertaining aspects monastic of variety a presenting by monastery comprehensive ofthe picture acreate the firstabbey. is attemptto Thispublication thousand the commemorate to 1986 Chrysogonus MonasteryofSaint of the [The cloister Zadru” u Sv. Krševana samostana “Klaustar IvoBavčević,

The documents provide information about the “chronology of the rulers, social rulers, the of “chronology the about information provide documents The The inventory of the archive of the monastery is kept in the State Archive of Zadar. It has been divided into two The inventory is currently under re under currently is inventory The “… “… various instrumenta, documenta, scripturae, scripta, acta, diplomata, chirographa, bullae, privilegia, privilegia, bullae, chirographa, diplomata, acta, scripta, scripturae, documenta, instrumenta, various At the beginning of this research, I was under the impression that the monastery of Saint systematically. into looked been yet not have archive the of contents the now Even 9 in held symposium a from resulting volume edited an is publication large other The . -

Dalmatian relations, and history of fishing”. Josip Lučić, “Povijesni dokumenti Svetokrševanskog Svetokrševanskog dokumenti “Povijesni Lučić, Josip fishing”. of history and relations, Dalmatian –

the earlier docume earlier the Tisuću godina Tisuću , 10. , s history, as well as art history. Visual aspects that relate to the Middle Ages are Ages Middle the to relate that aspects Visual history. art as well as history, s

ponymy and borders, onomastics, the status of St. Chrysogonus in the context of Zadar, context the in ofChrysogonus St. status the onomastics, borders, ponymyand , 179 , 8

nts (806 nts - u te neet f h mngah ely is n mhszn the emphasizing in lies really monograph the of interest the but 196

; Ivo Petricioli, Umjetnička Petricioli, Ivo ; - examination and re and examination - 1500) written on parchment, and later documents (1500 documents later and parchment, on written 1500)

- ye , 11 ationis, breviaria, poginae, testamenta, libri censuales libri testamenta, poginae, breviaria, ationis, r niesr o te onain f h Benedictine the of foundation the of anniversary ar Tisuću Tisuću godina

u ol a ey sma very a only but 6 . 12

- cla f Zadar, and serve as a hard a as serve and Zadar, f ssification. Because of this, not all the charters can charters the all not this, of Because ssification. , 60. ,

baština samostana Sv. Krševana do 16. st 16. do Krševana Sv. samostana baština ments of the the of ments

l ubr f hm ae been have them of number ll archive - administrative environment, environment, administrative ration ration between various , 10 Tisuću Tisuću godina

f an Chrysogonus Saint of

hc hv been have which oatian history in - copy database copy - dissolussion)), dissolussion)), , , 197 .” Stjepan Stjepan .” oljeća - 219.

CEU eTD Collection centuries], (Zadar: Hrvatska akademija znanosti i umjetnosti, 1966), 149 1966), umjetnosti, i znanosti akademija Hrvatska (Zadar: centuries], Maštrović, Vjencislav and Benedictine Order in Croatia and our other regions] (Split: Benediktinski pr 254 1976, Zadru), u fakultet Filozofski 15 14 Saint Chrysogonus], frescoes in [Romanesque Sv.Krševanu” Deanović, Ana see frescoes the with exclusively dealing article only journal For the 1975). Đurić, Vojislav and 1965) (Zagreb, see Chrysogonus, Saint of frescoes the to dedicated 13 the femaleBenedictine conventMary, ofSaint the and the period: same the approximately from dating monum three qualityof artistic the of assessment the on based created is Zadar of character urban remarkably the of projection A conclusions. the in and presented com overviews historical traditional various in found be can frescoes) visual features of the church (with notably more attention paid to architectural features than the church the of features visual the single discipline. works were published, it is no longer productive observeto the material from the confines of a context the of disregard art descriptive traditional the with t articles in discussed or area particular a of painting monumental of overviews general in either Chrysogonus Saint of church the of frescoes the to references find can one publications, stemming from the partiallyright track. onthe only was I scholarship. traditional in case the often is which aspects, visual and historical

See Nada Klaić, IvoSee Klaić, Nada Petricioli, None of the three publications from the previous footnote even mention that the churchwasmonastic. the that evenfootnote mention previous from the publications three ofthe None There are not many such publications. For general overviews of monumental painting with a portion of text text of portion a with painting monumental of overviews general For publications. such many not are There pared, one cannot escape the impression of a certain repetitiveness, both in the information hese publications is not their narrowly set topics, but the fact that they do not go beyond not fact theydo butthe that set topics, nottheir narrowlyhese publications is It is in publications dealing with general history that one can see the attempt to place to attempt the see can one that history general with dealing publications in is It art in observed be can media to according fragmentation certain A

Grad Zadar: Presjek kroz stoljeća kroz Presjek Zadar: Grad . 14

Although the stylistic approach was valid at t at valid was approach stylistic the Although Zadar u Zadar sre

- Byzantine Frescoes in Yugoslavia in Frescoes Byzantine itrcl prah n se qie a quite seem and approach historical

- fact that scholars tend to specialize in one medium. Therefore

60; Ivo Ostojić, Ivo60; Ostojić, within a certain historical context. Longer passages on the on passages Longer context. historical certain a within dnjem vijeku do vijeku 1409 do dnjem

7 Cvito Fisković, Fisković, Cvito

Benediktinci u Hrvatskoj i ostalim našim krajevima krajevima našim ostalim i Hrvatskoj Benediktinciu church of Saint Chrysogonus, Saint of church Peristil

[The city of Zadar: A cross A Zadar: of city [The

CathedralAnastasia ofSaint [Zadar [Zadar Middle in the Ages until 1409] (Zadar:

2 (1957): 114 (1957): 2 Dalmatinske freske Dalmatinske

- (Beograd: Izdavački zavod Jugoslavija, Jugoslavija, zavod Izdavački (Beograd: 151. iorat iorat Tkon, 1963), 39

. 15

When these passages are passages these When - 123. 123. ents preserved in Zadar in preserved ents - itrc u t their to due historic he time when these when time he

frescoes], [Dalmatian “Romaničke freske u u freske “Romaničke - section through the the through section . 13

the church of of church the 54, 54, Grga Novak The problem The . -

historical historical

[The CEU eTD Collection otherwise noted). otherwise Croatia in focal flow cultural A European Zadar: the of in point Chrysogonus Saint of complex monastic medieval [The Hrvatske” tlu na strujanja kulturnih 17 193 1994), Trogira, Grada (Trogir: Muzej Babić Radovan], of age the from Trogir in house residential [A doba” Radovanova Trogiru u kuća “Stambena Marasović, Tomislav see issue, this on more 16 historiography which give will an how idea important the monastery of was. not is history monastery’s the of overview an Giving points. these between anything for account not do but occurrence, historical some for point reference a provide which archive the from documents co notices one scholarship In Chrysogonus, since a comprehensive chronology of the monastery has not yet been established. territ German or French Italian, the from city any hardly which to standards European of example period” “Romanesque the in built thi of Representative connection. a claim they when to allude scholars the territory which unclear is it as concept, fuzzy a is which West, the of image romanticized a indicates development cultural and style archi Romanesque of instances isolated historiography to emphasize the cultural connection of Zadar with the West on account of these Croatian in tradition become has it that is argumentation of line this with problem The that.

There are to my knowledge no se no knowledge my to are There Andrija Mohorovičić, “Srednjovjekovni samostanski kompleks Svetog Krševana u Zadru, žarište evropskih evropskih žarište Zadru, u Krševana Svetog kompleks samostanski “Srednjovjekovni Mohorovičić, Andrija The monasteryThe itsarchive and ory can compared be h rltosi o te oatr t te oa cmuiy s uh emph much is community local the to monastery the of relationship The Saint of abbey the of overview historical meaningful a give to difficult is It Of course, Zadar had an urban character in the Middle Ages

the goal of this thesis; however, it is important to provide certain information certain provide to important is it however, thesis; this of goal the swl sisaflaint ohteCota n ugra oa families. royal Hungarian and Croatian the both to affiliation its as well as ,

s trend is Andrija Mohorovičić’s statement that the number of buildings of number the that statement Mohorovičić’s Andrija is trend s . ” 17

cular houses from the period remaining, like it is the case with Trogir. For Trogir. with case the is it like remaining, period the from houses cular sat eeec t a ml nme o amtel important admittedly of number small a to reference nstant Majstor Radovan i njegovo doba njegovo i Radovan Majstor 16

n h hsoia center historical the in n territory], in in territory], n - tecture. Making a connection between Romanesque Romanesque between connection a Making tecture. 200, herafter herafter 200, 8

Tisuću godina Tisuću Majstor Radovan. Radovan. Majstor

[Mast

, 8. (All translations are mine unless mine are translations (All 8. , f aa “ersn a unique a “represent Zadar of er Radovan and h and Radovan er ; there is no question about

is Age], ed. Ivo ed. Age], is szd in asized CEU eTD Collection 986.godine” [The 986.godine” important most 21 the was Chrysogonus ones. most important the among one Saint than rather of important most the been abbey have fact in would abbot the its then view, of If point hierarchical the from found. monastery helped monastery the houses monastic 20 in abbots”) activity ofits the and image the through Zadar in Chrysogonus 19 in centuries], 18 strongly was monastery the beginning very the from that and Zadar from were they that the church: Fuskalo and Andrija. t mentions document the Furthermore, Cassino. Monte from come had who Madije, certain a abbot the made and order, Benedictine the to it transferred monastery, is theissue ofitsreputation relationship andits thelocal to to assume otherwise. Far more important than the question of chronological primacy, however, ne Martiris Chrysogoni called 986, from charter foundation The Zadar. in founded of kind any suggest not monastery.subordination toanother do examined have I documents of selection the for otherwise, reference by substantiated been has information these of none Although m the of one was Chrysogonus Saint of abbot the that and houses, monastic several of foundation the for credit shared it that region, the in monasteries male the of all governed monastery the that say to on goes then He territory. had it where as described imperial been has monastery the of character the connections, two these of Because Translated fromLatin Translated into byCroatian “ Ivan Mustač, Saint of monastery [The opata” njegovih djelovanje i lik kroz Krševana Svetog “Samostan Peričić, Eduard The author does not provide references as to where he go he where to as references provide not does author The Stjepan Antoljak, “O arhivu Sv. Krševana kroz stoljeća” [About the archive of St. Chrysogonus across the across Chrysogonus St. of archive the [About stoljeća” kroz Krševana Sv. arhivu “O Antoljak, Stjepan ver mentioned explicitly that the Benedictines came to the city at that point, there is no reason The charter states that Prior Majo joined the church of Saint Chrysogonus and the old old the and Chrysogonus Saint of church the joined Majo Prior that states charter The agr Scholars a Zadar exceeded monastery the of influence the that says Peričić Eduard - urban. Tisuću godina Tisuću Cartula traditionis Ecclesie Beati Chrysogoni Martiris Chrysogoni Beati Ecclesie traditionis Cartula 18

ee that Saint Chrysogonus was the first Benedictine monastery to be be to monastery Benedictine first the was Chrysogonus Saint that ee , presents the first known mention of the order in Zadar, and although it it although and Zadar, in order the of mention known first the presents ,

, 11 , - 12.

Their Their places of origin are not specified so it can be assumed

Cartula traditionis Ecclesie Beati Chrysogoni Martiris traditionis Ecclesie Beati Chrysogoni Cartula t any of the information nor does he mention which mention he does nor information the of any t ost important abbots in Dalmatia in abbots important ost community. Cartula Traditionis Ecclesie Beati Ecclesie Traditionis Cartula

from 986], in in 986], from Tisuću godina Tisuću wo men as patrons of patrons as men wo

Tisu , , 79. 20 ću godina ću I o o claim not do I ,

nd the areas the nd , , 33.

abbot .

19 iz iz

CEU eTD Collection i umjetnosti, 1968), 21. 1968), umjetnosti, i Zadru Maštrović, Vjencislav Novak, Grga it. found helped Filip whether or point, that at already existed scriptorium the clear if not is it However, scriptorium. a for necessary everything 27 Zadar”], Mary in ofSaint Monastery 26 25 34. parentum nostrum 24 23 22 Chrysogonus compos all were Zadar in Mary St. female of the convent of Benedictine cartulary the from documents that considered is It Chrysogonus. Saint of monastery the with do to nothing had that documents of number a composed notaries its that life. the monastery services. was spiritual various providing types of her of all leave possessions to to the monastery, providing that wishes the monastery takes she h that states who Petronije, of daughter Stana, as identified relatives…” and of their parents the and souls their of peace “the for Chrysogonus Saint of monastery the to Obrovac in to the monastery. The first one refers to 1072, when five brothers from Nin gave a piece of land Hungarian kings. and Croatian both by bestowed and aristocrats local by bequeathed land, and wealth acquired lines same the community local the to connected A will from 1285 states that a scribe, Filip, le Filip, scribe, a that states 1285 from will A et nostrum animarum remedio pro ut Slauizo Gromele, Petro, Desimero, Zouine, fratribus nobis Visum 30 Ibid., 33. Ibid., Ibid, Caps. VII, nb. 82. VII, nb. Caps. Ibid, Nada Klaić, “Nekoliko riječi o kartularu samostana Sv. Marije u Zadru” [A few words on the Cartulary of the the of Cartulary the on words few [A Zadru” u Marije Sv. samostana kartularu o riječi “Nekoliko Klaić, Nada

It assumed is thatthe scriptorium was part of themonastery from th [The cultural [The cultural heritage of Monastery the ofMary in Zadar] Saint (Zadar: znanosti akademija Jugoslavenska The existence of a scriptorium in the monastery suggests its meaningful role in urban in role meaningful its suggests monastery the in scriptorium a of existence The Two documents -

31.

, 26 23 … … The State Archive of Zadar,

is strongly substantiated in documents from the archive, which testify how it how testify which archive, the from documents in substantiated strongly is as they date to the period when the convent did not yetasconvent theytothe periodnot a did when scriptorium. date the have

provide cluesprovide as to why local aristocrats would leave possessionstheir

Historijskizbornik 24

. The other document, from 1339, is the last will of a woman of lastwill isthe document,fromThe 1339, other 22

The interpretation The aves to the monastery of Saint Mary his writing tools, books and and books tools, writing his Mary Saint of monastery the to aves Documents Documents of the Archive of St. Chrysogonus 10

9 (1968): 508. (1968): 9

of the activity of the monastery along monastery the of activity the of Kulturna

d n h srpoim f St. of scriptorium the in ed

Baština samostana Svete Marije u Marije Svete samostana Baština er er in as a e veryfoundation and conversa , , Caps. XVIII, nb. . 25

Clearly souls souls 27

CEU eTD Collection 30 29 Dalmatia), 28 su If whom. by and initiative, whose on painted, and built was archival records of medieval the monastery provides information as among to when the church that document is seen today No thing. such no found I Unfortunately, decoration. interior chu the of creation the to clues solid find would I that hope the in Chrysogonus, the abbeyat, inalocalwider, both tookpart transa sense, and the archive could provide rich study material for complex a web of ecclesiastical re acquired had they possessions the on claims legal place monaste the against conducted frequently were lawsuits that testify records court to relate that Documents aristocrats local of wills last and gifts, of certificates commun lay local the with relationship has been elaborated in the historiography so far. In order to make a comprehensive study of its con a such to jump to however, dangerous, be would It activity. the public its of in part as written scriptorium was will the that assume to possible is it so place, taking was that activity Prediha cousin his to inheritance his of half leaves Stanče certain a which in 1183, from exists will below. a However, bewill discussed reasons which a for relationship typeilluminating this of not public provided scriptorium the that mean might

Such documents make up about one third of the archive. of one about the third up make documents Such Archive ofZadar, TheState Branka Grbavac, “Notari kao posrednici između Italije i Dalmacije” (Notaries as med as (Notaries Dalmacije” i Italije između posrednici kao “Notari Grbavac, Branka clusion based on only oneclusion basedcharter. ononly than complicated more far was abbey the of position the that out point to like would I , There were no public notaries in Zadar until the end of the twelfth century twelfth the of end the until Zadar in notaries public no were There I started looking into the textual sources pertaining to the monastery of Saint Saint of monastery the to pertaining sources textual the into looking started I 29 ActaHistoriae

which suggests n ry on account of land holdings, and that it was no easy task for the monastery to monastery the for task easy no was it that and holdings, land of account on ry

16(2008): 506. 16(2008): Documents of the Archive of of St.Chrysogonus Archive the of Documents o direct involvement the of monastery of Saint Chrysogonus in the

t, n wud ed o ok o ol it grants, into only not look to need would one ity, 11

ary services. There are not many records many not are There services. ary , 30

. but also into other types of charters. of types other into also but 31

Furthermore, the documents from documents the Furthermore, - regional one. , Caps. XIV, no. 176. Caps. , ch a source existed, it would it existed, source a ch iators between Italy and between iators

lations lations that rch and its its and rch , 28

which CEU eTD Collection I,12a. no. 33 selection. purposeful than other factors 32 in the favor of the monastery. decidedpope the allin threecases that note to Itimportantmonastery. the is to donebeen had three instances a pope requestedwas to intervene in a court monastery the on bestowed popes various that privileges to pertain mostly they since kept, were documents these that surprise no is It ItDalmatia.very however, say importantexceptions. is, words to afew at onthe least few consecration dates for the church can be found in the archive, but it also explains why there are written factor; legitimizing a as kept be to chosen possibly were documents These centuries. over graduallyacquired was monasterythe that wealth andprivileges, benefits, to relate another or value particular of documents saving of process selective purposefully the with more monastery, the outside from coming forceswith do to less has likelymostly state incompletean in is archive the that exc no is Chrysogonus Saint of archive the is respect this in and entirely, preserved been has archive medieval a find to possible) even (if difficult be would it Namely, building ascontext. such inany further much goes problem the However, place. first the in it for look to have not would I and now by published been likely have most

The State Archive of Zadar, Admittedly, the fact that the cartu the that fact the Admittedly,

documents in the inventory that were written outside of Zadar, and even fewer outside of outside fewer even and Zadar, of outside written were that inventory the in documents The documents from outside of Zadar provide traces of communication with the or commissions of traces no why for account interpretation an such would only Not The exp justification thatth

lanation for this lies in the character of the archival inventory as it stands today. . 32

The earliest documents from the from documents earliest The

Documents of Documents the Archive of St. Chrysogonus e abbey ha

lary of the monastery has been lost indicates that documents were lost by lost were documents that indicates lost been has monastery the of lary

the status to claimthe statuslandfor historical to its a reason. valid . than that, as hardly any source any hardly as that, than 33 12

However, not all papal letters were privileges; in privileges; were letters papal all not However,

archive of Saint Chrysogonus in one way one in Chrysogonus Saint of archive

dispute dispute or to undo an injustice that , , Caps. I, no. 5, Caps. I, no. 12, Caps.

mention eption. The reason reason The eption. s

the church church the

papacy.

CEU eTD Collection 36 3. part of Consequence Blur,” a on the Symposium 35 34 from 1228 a charter Venice, by judging materi visual where territory the suggests that trace textual a is document this thesis, particular this points to source material that could better illuminate the subject. Furthermore, in the context of trans for clues offers it because meaningful is It chance. by or purposely kept was it whether of regardless meaningful, is Dalmatia of outside monastery a to related record only the as Chrysogonus the and twelfth the thirteenth centuries to only relating documents thousand half a and five over contains it appears in documents in the archive of the Trinita della Cava’s monaster Chrysogonus Saint of of Abbey the frequencythat are Chances the started. it for when say nor account communication cannot also One Chrysogonus. Saint of monastery the of this of nature The monasteries. relationship cannot be explained from the document itself, two for the document makes the between communication of sort some implies was founded I Southern in Salerno near located abbey Benedictine a Cava, della Trinita p apal

The State Arc TheState Caps Ibid., Lin Dismissing Venice d

a Safran, Safran, a bull from 1092 in which in 1092 from bull al comparative tothe frescoesof SaintChrysogonus inthechurch might befound. It appears that the monastery of Saint Chyrogonus also had strong attitudes against against attitudes strong had also Chyrogonus Saint of monastery the that appears It be has bull papal the of copy the that fact The It is only logical to assume that keeping a bull that gives privileges to another monastery the of copy a is It unique. as out stands one papacy, the to related documents Among . XV, no. 80. The date of the copy is copy 1641. of is The the 80. no. date XV, . . 34 hive ofZadar, hive “Byzantine Art in Post in Art “Byzantine -

regional monastic com monastic regional 35

so it isso it hardly has indepth. been too, not it, studied surprising that

Documents of the Archive of of St.Chrysogonus Archive the of Documents

pope Urban II gives royal privileges to the monastery of the the of monastery the to privileges royal gives II Urban pope - Byzantine Southern Italy? Notes on a Fuzzy Concept.” “Fuzzy Studies: Studies: “Fuzzy Concept.” Fuzzy a on Notes Italy? Southern Byzantine munication of the monastery of Saint Chrysogonus and Chrysogonus Saint of monastery the of munication , 36

which reveals that the monks revealswhich thatthe Common Knowledge Common 13

n rsre i te rhv o Saint of archive the in preserved en

18, 3 no. 18, , Caps. XV, XV, no Caps. ,

(2012): (2012): 489.

y. This archive is vast; of Saint Chrysogonus Saint of taly, shortly after it after shortly taly, . 87. .

no mention

CEU eTD Collection Papers Papers Introduction“, W.Barker, John 1468. in doge of Venice letter the his to in Venice describe 40 to corresponds nastavi u Povijest 39 The topic. the on study frame time n fromperiod a are events but these after1247, broad continued Venice against rebellions detailed most the still but publication, old an is This 1900). tiskare, 38 1243 37 on just artists refused have would they extent what to say to impossible is It commissions. their execute to Venice from artists seeking be purposely not would Zadar in patrons Venice, circumstance stemmingsuch cast a from relationship onthe idea. doubt Venice calling justifies else, Byzantium.” nothing if art, Byzantine of amount role best dothemh to Venetians … attacking them whenever they could, robbing them, killing them, and doing their the towards hostile “very as Zadar of people the describes Archdeacon the Thomas Venice. c the is relationship this in event century a resistance in the city, a fact that can be traced in various rebellions through the course of almost rule official establish to aim Venetian the Namely, conflict. Venice.forgiven, notchange did but this against their position conseq had disobedience Their holiday. saint’s to welcome him with holy water) or formally invite him to attend the celebration on the patron refusedthe monasterygive privileged Martin Dandolo treatment whenever(i.e., came to he to

Q A frequent point in historiography is that the monastery openly spoke against Venice during the rebellion of rebellion the during Venice against spoke openly monastery the that is historiography in point frequent A Hrvoje Gračanin, Igor Razum, “Toma arhiđakon i križarstvo” [Thomas the Archdeacon and the Crusades], Crusades], the and Archdeacon the [Thomas križarstvo” i arhiđakon “Toma Razum, Igor Gračanin, Hrvoje Ferdo Šišić, Šišić, Ferdo uasi alterum Byzantium alterum uasi - - models for the frescoes of Saint Chrysogonus should be sought there sought be should Chrysogonus Saint of frescoes the for models 47, although it is not entirely clear what it is meant by “ope meant it is entirelywhat clear not it is although 47, Given the constant presence of Venice in Zadar, it would be logical to assume that the the that assume to logical be would it Zadar, in Venice of presence constant the Given 49, Symposium on Byzantium and the Italians 13 Italians the and Byzantium on Symposium 49, It is reasonable to think that in a situation of perpetual conflict and refusal t larger a of part is Venice towards Chrysogonus Saint of monks the of attitude The 38

–

40 the attitude the people of Zadar had towards Venice. towards had ofZadar attitude the people the

aa i eeia d 1159 od Venecija i Zadar from 1159 to 1247, when the Venetians finally managed to take over. A crucial A over. take to managed finally Venetians the when 1247, to 1159 from

10, no. 1 (2012): 51. Thomas the Archdeacon’s account is visibly lenient towards Venice, but Venice, towards lenient visibly is account Archdeacon’s the Thomas 51. (2012): 1 no. 10, oee, h seii rltosi o Zdr o eie n te political the and Venice to Zadar of relationship specific the However, arm”.

39 , which were the words that Bessarion, a Byzantine humanist and a Unionist, used used to and Unionist, a humanist Byzantine a Bessarion, that words were the which ,

rusaders’ attack on Zadar in 1202, which was triggered by triggered was which 1202, in Zadar on attack rusaders’ - 1247

Zdr n eie rm 1159 from Venice and [Zadar 14

uences for which they later repented and were and repented later they which for uences th

- 15 th

Centuries, (1995): vii. (1995): Centuries, nly”.

37 in Zadar met a great deal of of deal great a met Zadar in

- 1247] (Zagreb: Tisak dioničke dioničke Tisak (Zagreb: 1247] ot covered by this thesis. by otthis covered

– ams a second a “almost

D after all, the great the all, after umbarton Oaks Oaks umbarton o settle with

CEU eTD Collection and Split, and especially Zadar.” especiallyZadar.” and Split, and 42 41 which have must among resulted, transfers. things, other inartistic but becomes a matter that enabled the strengthening of communication between the two coasts, Dalmatian, and particularly in Zadar in involvement emperor’s the perspective,this from it at looks oneIf politics. such of result a on theDalmatiancoast. his prior actions of establishing intensive communication with Zad accomplished,he word. his broke by again mi rebel them to promising Zadar convinced Italy, Southern of territory the from away Venice of attention the shifting of intention the with who, II Frederick was It territory. Italian Southern IIFrederick Sea: Adriatic the across likelyI as diminished, willingly believethatartists wouldnot a go to want into account of their place of origin, but the very chances of Ibid., TheIbid., 264. author bystates that end the of Frederick 1241, II “started to get close to Dalmat Šišić, Ferdo The fact that he backed out from helping Zadar when the time came does not diminish not does came time the when Zadar helping from out backed he that fact The from figure significant a to connected was 1243 of rebellion Zadar the Interestingly, Zadar i Venecija od 1159 od i Venecija Zadar litary assistance. Finally, having seen that his political goal had been been had goal political his that seen having Finally, assistance. litary

The contract of trade that Trogir signed with Apulia Trogirin1242may be signed The tradethat contract of

41 - 1247, 1247,

’s, affairs, does not remain an isolated incident of contact, Hohenstaufen, the Holy Roman emperor and ruler of the of ruler and emperor Roman Holy the Hohenstaufen, 264 - 266 15 .

interaction between the two were most ar, ar, however,and other cities

war zone. war ian cities ian Trogir

CEU eTD Collection Zadar], in in Zadar], 43 gableand withflying the arches. isdecorated and the overall impression much simpler; arcades are restricted to window placed in the center a and arcades of registers separate three of consisting decoration condensed more and zone is undivided and undecorated, except by the portals themselves. The cathedral has a ri portal the while register, upper the onlyin arches blind with decorated are Both facades. their eleme formal in similarities 3). (Fig. Anastasia Saint of cathedral Zadar the with connected apse. succ most is elements the of combination The decoration. only the as galleries dwarf and arches, flying arches, blind with solutions, simple accentuating the northern wall, as they do the southern. Overall the exterior is characterized by ar there that fact the explain would which solution, initial the been have might This church. the of wall northern the against stood complex the from buildings several lean close wall the onthenorthern rest blockwhere situ the ofmonasterywas part: three apses which dominate an otherwise undefined opened space (Fig. 2). Buildings that wall, southern the 1); (Fig. city the to entrance northern the to close square small a on situated is façade

Pavuša Vežić, “Arhitektura romaničke katedrale u Zadru” [The architecture of the Romanesque cathedral in cathedral Romanesque the of architecture [The Zadru” u katedrale romaničke “Arhitektura Vežić, Pavuša Chapter THE 2: CHURCH OF SAI

In terms of architectural features, the church of Saint Chrysogonus has often been been often has Chrysogonus Saint of church the features, architectural of terms In monastery, the of appearance visual later a of reconstruction ideal the by Judging western The sides. three from city the to up opens Chrysogonus Saint of church The Majstor Radovan, Radovan, Majstor

which together with the opposite building forms a small alley, and the eastern the and alley, small a forms building opposite the with together which

236.

nts and décor, the most notable of which relate to the solutions of solutions the to relate which of notable most the décor, and nts

of the middle one. In Saint Chrysogonus the rose window is absent

MAGNIFYING GLASS Architectural FeaturesArchitectural 16

essfully presented in the exterior of the main the of exterior the in presented essfully NT CHRYSOGONUSNT UNDER A

only only one register in the nave,

The two share a number of number a share two The n bid arches blind no e ated.

cher cher rose rose CEU eTD Collection adriatiche 46 45 44 aisles through large and tall arcades leave the impression of the unity of the entire space of the 8 (Fig. churches Italian Southern the to in Zadar. in the Southern Italian area make a plausible point of origin for the features of the two churches (Calabria) (Fig. 6). Taking into consideration the common elements, the Romanesque churches Apulian churches, as can be seen from the façade of the cathedral of Sa to only restricted not are characteristics these although elements, formal same the of usage chara are churches ago. century a half almost noticed Fisković Cvito which cathedrals, problematictradition is based twomonuments. ononly near of elements the repeating in itself manifests often enough to corroborate idea.this The similarities can rather be ascribed to local tradition which evid visual the is nor for at least a century. However, there are no records to indicate the existence a local workshop same workshop time of SaintChrysogonus. thatthetwochurchesdespite similarities the The shareinthe exteriors, Despite that, the dating criteria for the first phase seem to be the consecration date of the church thirteenth the of middle the in occurred that enlargement the of result the is façade in Zadru”, u katedrale romaničke “Arhitektura Vežić, Pavuša Cvito Cvito Fisković, “Contatti artistichi tra la Puglia e Dalmazia”, in Ivo Petricioli, IvoPetricioli, - span that separates them, led to the conclu the to led them, separates that span The interior of the church of Saint Chrysogonus Saint of church the of interior The The fact is that the exteriors of these two churches show strong connections to Apulian its that and phases, Romanesque two had cathedral the that established been has It , ed. P. F. Palumbo et al. (Bari: Grafiche Cressati, 1962), 71, herafter herafter 71, 1962), Cressati, (Bari: al. Grafiche F.et P. Palumbo ed. ,

The Cathedral of St. Anastasia St. of Cathedral The , 45

which alludes to a notion that there was a local workshop in Zadar workingworkshop localin a was thatthere notion toa alludes which cterized with the same kind of flatness of the façade (Fig. 4 (Fig. façade the of flatness of kind same the with cterized

ence from Zadar that roughly corresponds to the same period abundant abundant period same the to corresponds roughly that Zadar from ence

, (Zadar: Zadar (Zadar: , - 9). Its vaulting system and its wide nave open to the the to open nave wide its and system vaulting Its 9). 17

sion that they must have been executed by the bythe executed been have they must that sion

archbishopric, 1985), 22. 1985), archbishopric, Majstor Radovan Majstor - Per Per una Storia delle relazioni per le due sponde by buildings, although to claim to although buildings, by

(Fig 7) also shows a character similar similar character a shows also 7) (Fig Per una storia una Per , 236. , 46 nt’

Apulian Romaneque Apulian

Eustac .

- 5) and by the by and 5) hio

century. in

Matera a locala 44

CEU eTD Collection count of Zadar and governor of Dalmatia had this building erected/built here” Carlo Federico Bianchi, Bianchi, Federico translation. Carlo here” erected/built building this had Cristiana Dalmatia of governor and Zadar of count inscriptions, some in the beneath indicated while precisely was work the after period The legible. now are them of some which of could not be revealed, and half entire the through ran that beneath zone The Evangelist. the John and by found been not ofhad 1771 from drawing a if it, about reflection know even not Wewould period. the of a typical condemnation as 1791 in destroyed barbarically was It Dalmatia... to Constantinople from brought was mosaics 48 47 the entire apse: arch ofthe through run to used that inscription the of part legible the presenting by further goes text The the main apse. sp most the interior, spacious this In of SaintChrysogonus, never executed. but architecture areas in of Byzantine previous influence” might have been planned for the church be even has It church. in Zadru”, u katedrale romaničke “Arhitektura Vežić, Pavuša The apse was once adorned by a very precious mosaic... It was a work of the twelf the of work a was It mosaic... precious very a by adorned once was apse The

chance, chance, through which the memory was kept. It represented the Savior in the middle, with the Virgin on the right The MosaicThe ET DECIES SEXTO TER QUINTO MSEQ. MAIO (die) EI(us) DE(m) DE(m) EI(us) (die) MAIO MSEQ. QUINTOdedicavit ecclesiam hanc (us CO(pus) arciepis) Lampridius QU(arto M(en)SIS TER SEXTO DECIES ET DENO QUOQUE DECIES XPI MILLENO ANNO SUSTENTAS. CUNCTA SUMA MAIESTAS TUA TUAQ. POTESTAS OMNI GUBERNAS PUGILLO STANA FILIA COMITIS PETRANA JADERAE ET Dalmatiae Proconsulis. Gu e Simeone alcuneprecisamente iscri da indicata essere potta coi propi nomi, dei quali taluno era non ancora legibile. L’epocha poi dei lavoro era che iscrizione, un rilev conteneva l'emiciclo, tutto per girav_ che zona una questi a sotto Di Evangelisto. Giovanni S. manca a ed Vergine la destra a con Salvatore, i mezzo nel Rappresentava memoria. la conservata posse stato chi per avventura ne avesse trato nel1771 il d in 1791 nel universale vi contezza, sino avremmo neppur ne chiesa. Non occasione della del ristauro biasmo il con distrutta barbaramente Fu Dalmazia... dodicesimo secolo in qui l'arte dei m dei opera Era pregio... molto di mosaico un da adornata tempo un era L'apside

Zdr Tpgai d G Wdtk, 87, 301 1877), Woditzka, G. di Tipografia (Zadar:

atta, a al disotto d'essa in dodici quadri raffiegurati se vedean gli Apostoli, Apostoli, glivedean se raffiegurati quadri dodici in d'essa disotto al aatta,

Carlo FedericoBianchi’sCarlo reference brief rescued from it oblivion: figures of Simeon and Judas and Simeon of figures

beneath beneath that one could see the Apostles represented in twelve frames, with proper names, ida si rilevarono le seguenti parole: HIC OPUS FIERI IVSSIT FIERI OPUS HIC parole: seguenti le rilevarono si ida en suggested that a dome “as a characteristic feature of Romanesque of feature characteristic a “as dome a that suggested en

lendid part of the decoration must have been the mosaic in in mosaic the been have must decoration the of part lendid

the fo the 47 18 osaici dai Constantinopoli venne portata in

zioni, mentre sotto lefigurisotto mentre zioni, llow

ing could be read: “ read: be could ing - 2. 2. tak rsin apr o help for Gaspar Cristian thank I Majstor Radovan Majstor - circle, contained an inscription, which which inscription, an contained circle, isegno, per cui ne resto Stana, the daughter of Petronije, the Petronije, of daughter the Stana, , 238. , th century in which the art of art the which centuryin th

degli Apostoli degli

n m wt this with me ing 48

Zara CEU eTD Collection Dalmatia], in in Dalmatia], 53 mosaic. knowledge of as his the source from the same comes it that assume 52 picture comprehensive a provide to ofresearch part different as be studied to need and 19) 18 (no boxes two up take which documents, these However, church. of the decoration is preserved in the archive of Saint Chy 51 Zadru HAZU znanosti Zavoda povijesnih Radovi [ 50 this and in the month of onMay, the fourth day of same month Lampridius the dedicated archbishop the metropolitan 49 Zadar. to closer center a but suggests, Bianchi as from, came artists the where Constantinople n need It disposal. at description the from representation the of iconography the about anything tell cannot one although traditions, Byzantine to alludes already period, as a consequenceconfirmthe ofitsdismantlement mosaic was that really there. apse main the in seen be still can that lumps The account. the wrote he when and to refers he represented scene. Deesis a was it that assume only can provide any kind of further elaboration on the characters’ postures or gestures, however, so one one onthedrawing match. cross one can nor exists still it whether or was, it fact correct. removed, was it yearsafter eighteen born only was he it; saw Catalogus episcoporum et archiepiscoporum u et archiepiscoporum episcoporum Catalogus gr ikvć “in slikarstvo “Zidno Fisković, Igor “Your supreme majesty and your power governs and sustains all with full authority. In the year of Christ 1175 ofChrist year Inthe full authority. with all sustains and governs yourpower majesty and supreme “Your Although it is not completely clear from Bianchi’s rendering where the inscription comes from, it is logical to to logical is it from, comes inscription the where rendering Bianchi’s from clear completely not is it Although century eighteenth the during church the and monastery the on work ofconstruction documentation Extensive Zvjezdan Strika, “ Strika, Zvjezdan

church to S. Chrysogonus, a patron under whose patronage Zadar rejoices in Christ's reign…” Christ's reign…” in rejoices Zadar patronage whose under patron a Chrysogonus, S. to church T depi it representation The Bianchi’s account ofthe mosaic isnot very inthe visual telling sense because he never REGNATE (Quinque)SEC(u)LA FUIT DE ANTE... C(h)RIS Sanc)TO he existence of this mosaic, the only one recorded on the coast of Dalmatia from thatfrom Dalmatia of coastthe on recorded onlyone the mosaic, this of existence he Majstor Radovan Majstor 51 suggests that a long time passed between the time when Bianchi saw the drawing drawing the saw Bianchi when time the between passed time long a that suggests

The 1771 drawing was left unspecified so one cannot say what kind of a drawing Catalogus episcoporum et archiepiscoporum urbis Jadertinae urbis archiepiscoporum et episcoporum Catalogus

, 206. (201 206. , 52 GN QO ADT AR PTOO XPO PATRONO IADRA GAUDET QUO OGONO

Radovanova doba u Dalmaciji” [Wall Paintings of the Age of Radovan in in Radovan of Age the of Paintings [Wall Dalmaciji” u doba Radovanova

sogonus sogonus and it is possible that there is material there relating to the interior t ws o ucmo fr mdea as. e os not does He apse. medieval a for uncommon not was cts - 216)

rbisJadertinae

48 (2006): (2006): 86. 48 1 53 9

In fact, the short reference on what the mosaic the what on reference short the fact, In - reference it to see if his inscription and the and inscription his if see to it reference

by archdeakon Valerius Ponte] Valerius byarchdeakon of the course of the procedure. procedure. of course ofthe the

49 50

if the date of the remov the of date the if

arhiđakona Valerija Pontea” Valerija arhiđakona

ot have been been have ot

Ibid.,302. al is in is al

CEU eTD Collection 55 lost. been has which century,eighteenth from the manuscript Arheologica Opuscula 54 that the mosaic was commissi fact The otherwise. suggests the evidence visual the but for art, in tradition allows local a of this interpretation of All patrons. powerful the and activity, building Romanesque rich rest reconstructed, gradually was city prosperous a monastery, but also the wealth of its patrons and consequently power, in which the scenery for the of prestige the only not suggests fresco a than rather mosaic a by adorned was apse the monaste the for buildings church of two least at of construction the financed they that fact the in reflected was which Chrysogonus, Saint of monastery the and aristocrats the church. of patron the Stana, of father the been have might he that conclusion the reached and 1134 in account is persuasive enough al no is there issue, the on light shed might that sources medieval Lacking letters. reconstructed and words missing with specifically it hardly since evidenceto thereisno surprising, pointing eye an were it if as considered and accepted been always has 1175 as church the of date consecration the of note Bianchi’s acc dated was which of phase Romanesque first the Anastasia, Saint of Church the for also but church, this for only not important fact a is which date, consecration century elaborated knowingwithout itself. thework Unfortunately, this direct artistic transfer (rather than a continuous influence) cannot be further

Carlo Federico Bianchi, Bianchi, Federico Carlo Stana], and daughter his Petronja count Zadrian [The Stana kći njegova i Petronja knez Zadarski IvoBabić, The Bianchi probably copied the inscription from the source he saw it in, since he transcribes The 55

inscription goes hand in hand with the idea of a strong connection between the local inscription written in the mosaic the in written inscription

23/24, no.23/24,

Zara Zara Cristiana

1 (2000): 317, identifies the drawing as a part of the so partof a the as drawing identifies the 317, (2000): 1 oned prior the Fourth Crusade, one outcome of which was, among –

- he he even found that a witness account, although this was far from the case. This is This case. the from far was this although account, witness , 302. 302. ,

54 20 ternative but to take his account as reliable. The The reliable. as account his take to but ternative represents the represents

ing on the influence of the monastery, the monastery, the of influence the on ing certain Peter

another consecration date.anotherconsecration

surviving evidence of the twelfth the of evidence surviving

mentioned mentioned as count of Zadar - called Filipi Filipi called ry. The note that note The ry. ording to it. to ording

- CEU eTD Collection Jugoslavija, 1975), note 18. note 1975), Jugoslavija, 58 (195 57 Trogir in Held 26 Trogiru in Radovan], 56 at are four which of figures, saintlyeight presumably of row a depicts contrast, in calotte, northern the beneath register The 13). (Fig. Deesis the threesymmetricala shows apse lateralnorthern The apse. the to next just wall northern the on and apse northern the in located was only re on the gable (Fig The onlyof the parttheseverely nave remaining decoration is damaged Transfiguration scene scenes, of number small a likelymost fromfifteenth. the beginning ofthe – detail century. thirteenth the of middle the time of the consecration consensus for dating the frescoes in the interior. features of Saint Chrysogonus (despite various later reconstructions), there seems to be no real cent Byzantine of art with patron(s) the of familiarity some least atwould imply This commission. circumstantial a than rather purposeful, a indicates perhaps artists, of migration the others,

Vojislav Đurić. Vojislav the older one, broadly dated to the first half of the thirteenth century, and the younger one, one, younger the and century, thirteenth the of half first the to dated broadly one, older the Ana Deanović. “Romaničke freske u Sv. Krševanu” [Romanesque frescoes in St. Chrysogonus], Chrysogonus], St. in frescoes [Romanesque Krševanu” Sv. u freske “Romaničke Deanović. Ana gr ikvć “in siasv Rdvnv db u amcj” Wl pitn i Dlai i te g of age the in Dalmatia in painting [Wall Dalmaciji” u doba Radovanova slikarstvo “Zidno Fisković, Igor The FrescoesThe 7): 118. 7): ers.

below; for now it What What remains of the thirteenth architectural the to applied been has inscription the from date consecration the While

- 30. rujna 1990. godine (Master Radovan Radovan (Master godine 1990. rujna 30.

- Majstor Radovan i njegovo doba: z doba: njegovo i Radovan Majstor , June 26 June , discovered during the restoration of the 1950s.The rest of the fresco fragments are Vizantijske freske u Jugoslaviji u freske Vizantijske . 12), which was covered by the restoration of the early twentieth century and

- 30, 1990) 30,

needs needs to be noted that there were in fact two stages of fresco decoration , 56

whereas others propose a later date ranging from the beginning and none of these scenes has been preserved entirely (Fig. 10 (Fig. entirely preserved been has scenes these of none and , ed. Ivo Babić (Trogir: Muzej grada Trogira, 1994), 204. 1994), Trogira, grada (Trogir: Muzej Ivo ed. , Babić

58 -

cent The problems of chronology will be addressed in more in addressed be will chronology of problems The

[Byzantine frescoes in Yugoslavia]. (Beograd: Izdavački zavod zavod Izdavački (Beograd: Yugoslavia]. in frescoes [Byzantine bornik radova međunarodnog znanstvenog skupa održanog u u održanog skupa znanstvenog međunarodnog radova bornik ury fresco cycle in the church of St. Chrysogonus is 21 and His Age: Proceedings of the International Conference Conference International the of Proceedings Age: His and

- Some Some claim that the church was painted at the figured composition commonly referred to as to commonlyreferred composition figured

leas t partially preserved partially t

. The two saints two The calotte of the of calotte Peristil. - 57 11). 11).

2 CEU eTD Collection fro it Bianchi’s it read he indirectly; information the got Iveković that noted be should it but Iveković, M. Ćiril 1407. 60 59 Itext problems stemmingsource. this address certain from will pr all of basis Brunelli Vitaliano nineteenth late a because also and cycle previous the of scenes particular completely overlooked be cannot cycle younger the of fragments the cycle, older the from preserved frescoes the with closely interpreted as a peculiar local variant of the Deesis scene (Fig. 18). Although I am dealing most the apse, be southern still the of can calotte scene the in Annunciation and the recognized, where apse, northern the of arch triumphal the on fourteenth or the beginning of the fifteenth century. painted. completely been have must only waist fromdown. the To 17). (Fig. him above lower register an archangel is represented in a frontal position and yet another Deesis is painted the In width. in meters four about occupied originally which 16), (Fig. Nativity the is register T wall. northern the on registers two in representations which he has identified. been B the John figureof the of part remaining part only The 14). (Fig. unidentified is right the on preserved figure the on the left side have been interpreted as Cosmas and Damien, based on their attributes, whereas

See footnote 76. footnote See Iveković seems to think that the date for the younger cycle coincides with the consecr the with coincides cycle younger the for date the that think to seems Iveković m an old chronicle. I could not find this information in Bianchi’s account to verify it. verify it. account to in Bianchi’s find information this not I could oldchronicle. an m These are the only scenes left from the thirteenth the from left scenes only the are These The present state of the frescoes on the northern wall shows fragments of three different evious attempts to reconstruct the program of the fresco decoration, later in the the in later decoration, fresco the of program the reconstruct to attempts evious

61 aptist is the characteristic inscription in Latin he holds (Fig. 15), based on based 15), (Fig. holds Latinhe in inscription characteristic the is aptist

makes no distinction between the two. Since this account has been the been has account this Since two. the between distinction no makes

Crkva i samostan i Crkva

the left of this image there is a fragment of three figures preserved figures three of fragment a is there image this of left the

because of the possibility that they might have repeated repeated have might they that possibility the of because , 22. There are no arguments to contest this and suggest another date, another suggest and this contest to arguments no are There 22. , t a te rpitd t oe on a point some at repainted then was It 22

Traces of the second cycle are preserved he only preserved scene in the upper upper the in scene preserved only he - century cycle, although the church the although cycle, century three figures of which have been been have which of figures three

Zara Christiana Zara - century account by account century

ation of the church in church the of ation te n o the of end the t , who got who , CEU eTD Collection terms of style, however, both the general composition and details of what is left of the drapery pres are heads the of None recognized. be can ground, flanked by the prophets Moses and Elijah. Beneath the outlines, three kneeling apostles almond an in placed middle, the in is Christ depicts layer older be can features main the where state a to recognition beyond almost representation. old the mirror not do th the same time, the presence of the fragments youngerof the scene hinders the interpretation of At way. meaningful a in it analyze to feasible not is it fragments, scattered small of consists (looking theperspective from theVirgin oftheand standsonthe observer), right. reversal of figures from the usual iconographic canon; where the archangel comes from the left Virg the is this If drapery. Virgin’s the for combination traditional a mantle; red and tunic blue a wearing figure a be to seems what The location. same the in placed scene thirteenth the that say to possible is it inscription, longer the middle of the scene. Based on placement, as well as the presence of what used to be a much completely almost are they but seen, unre be can cycle older the of remains the fragments these Under garment. his of part a and wing archangel’s the of piece a corner, upper hand (Fig. 19). Namely, all e olderyoungerand preserved representation, thelittle the from cycle thatthefigures shows cognizable, except for the illegible fragmentarily preserved inscription in an ark located in The Transfiguration sce Transfiguration The analysis detailed a allow not does scene Annunciation the of preservation of state The

that that remains of the younger cycle are fragments of architecture in the left ne also shows traces of two layers, but since the upper layer layer upper the since but layers, two of traces shows also ne The recent restoration brought the fresco from a state state a from fresco the brought restoration recent The in, then her position in the younger scene suggests a suggests scene younger the in position her then in, fragment beneath what is left of the archangel shows archangel the of left is what beneath fragment 23

erved so the scene can hardly be interpreted in interpreted be hardly can scene the so erved - centu ry cycle had the Annunciation Annunciation the had cycle ry - shaped mandorla above the the above mandorla shaped clearly identified. The identified. clearly

CEU eTD Collection na kojoj su se također nalazili tragovi slikarija.”, 33. slikarija.”, tragovi nalazili također se su kojoj na pojas sa svetačkim glavama... Ispod žbuke, koja je prekrivala ove slike, došla je na vidjelo još jedna starija žbuka, dosta aveličini je jasan... slika od na lijevoj strani ulaza tek sačuvana je u o nekim al slike velike jedne ostaci su otkriveni ulaza pobočnog 63 62 in Vienna. Namely, the few short references to the frescoes in his diary, he states that he needs Commissi Central the i.e., body, supervising his of members of but his, not likely most was frescoes the remove to decision the However, publication. his in passages of couple a in them addresses only he that restored the church. It is clear that the frescoes wer Annunciation example. the with case the likely most was as cycle, younger the from scene the repeated it whether or was, horse the on shown figure the who telling no is there context proper a Without cycle. Iveković states: 1911 in church the restoring of process the in them removed Iveković M. Ćiril before the images ont suggest a Byzantine solution for the representation Schiller, Gertrud “Kod rušenja “Kod toga rušenja zida našlo se pod iznutra debelom Iveković was primarily an architect and this naturally had an impact on the way that he second the of part was horse the with scene the passage, Iveković’s by suggested As More fragments of painting could still be seen at the beginning of the twentieth century, came contained tolight,also traces ofpainting. which imag these covered that mortar the Beneath heads… saint with register a once was there it beneath fragments; some in only preserved is scale life lowe the which on entrance, lateral the mortar. of al painting large a of Remains layer thick a under hidden interior, the in found were decorations pulling the During he wall northern and apse. thenorthern

Ikonographie der christlichen Kunst christlichen der Ikonographie

can be recognized. The representation on the left side of the entrance the of side left the on representation The recognized. be can

on for the Study and Preservation of Historical and Artistic Monuments Artistic and Historical of Preservation and Study the for on

down of the (southern) wall, traces of various painterly painterly various of traces wall, (southern) the of down

- fresco have been discovered on the right side of side right the on discovered been have fresco

24 žbukom žbukom tragovaDesno slikanim dekoracijama. odraznim , vol. 1 ( 1 vol. ,

- r back side of the horse the of side back r fresco, od koje donji i stražnji dio konja u natprirodnoj natprirodnoj u konja dio stražnji i donji koje od fresco, 62 e not on his priority list, judging by the fact

and it should be dated simultaneously with Gütersloh

: 63 Gütersloher Verlagshaus, 1980), 94. 1980), Verlagshaus, Gütersloher

es, an older mortar mortar older an es, stacima; stacima; nje ispod bijaše nekoć in larger - than -

- 1914.

CEU eTD Collection 68 67 66 65 of the finds in the diary under the same date. However, this date has no such comm Iveković's diary, saying that he stated that the “frescoes were too fragmentary to be kept”. She also notes a drawing 64 mended, the and time restchurch atwas which ofthe painted and repairedat whichtime thewindow after, shortly inthe apse and thefrescoes was replaced made her conclu This them. to attached layers younger of remains no have hand, other the on wall, northern the on frescoes The apse. northern the in window the around found be can painting of layer wi it supported and wall, northern the of those and apse northern the of figures the between differences stylistic on argument this based She later. decades of couple a painted was church) the of rest the with (together decorated with monumental painting at the time of the con vanished fragments thephotographIveković’s is monograph from 20). (Fig. photo entirely, the but Zadar, of Institute Conservation therestoration. Iveković course of during undertook the m after this can only be speculated on, but they cannot, at this point, which was later incorporated into the Archeological Museum of Zadar. What happened to them his own. value make not does and fragments the with do to what Commission the ask to M.Iveković, Ćiril Ana Deanović, “Romaničke freske u Sv. Krševanu”, 115. Sv. Krševanu”, u freske “Romaničke Deanović, Ana diary. pagesof attached the the to photographs of for couple dozen a Except Ibid. useum. It also remains unclear what happened to the extensive extensive the to happened what unclear remains also It useum. Ana Deanović, “Romaničke freske u Sv. Krševanu” Sv. u freske “Romaničke Deanović, Ana

In her analysis of the frescoes, Ana Deanović argues that only the sanctuary was was sanctuary the only that argues Deanović Ana frescoes, the of analysis her In After he removed the fragments, Iveković took them to the Museum of Saint Donatus, 67 64

including all of the visual records of the of records visual the of all including de de that the apse must have been damaged during the crusaders’ attack in 1202 Crkva i samostan Crkva

, 33. , th loose technical evidence. Namely, traces of a different different a of traces Namely, evidence. technical loose th

, 113 (footnote 3), quotes the entry from 21.07.1913 in in 21.07.1913 from entry the quotes 3), (footnote 113 ,

- frescoes. Therefore the only record of the of record only the Therefore frescoes. ouetto hs iapae almost disappeared has documentation 66

secration, whereas the northern wall The two . 68

be traced in the Archeological

- volume diary the iskeptin volume photo ent nor a drawing of the fresco. - documentation that documentation

judgments o judgments 65 f

CEU eTD Collection 69 therefore I will workshop. same the of part as together working been have not would masters, these words other in hands, these that claim to enough not are differences these However, a of speak to reasonable is it and qualities, stylistic in differ figures preserved the that true is It periods. different to apse the from those worksh and nave the from scenes the date to stylistic, or technicalarguments, substantial however,no different a of part likely most were commission the on employed artists that indicates which media, different two are these all, After justified. be easily can beginning century that oftheand ispossible layers it t twentieth removed were the at restored was church the that fact the by explained be can wall northern the of frescoes w window the one must keep in mind that the church was redecorated at the turn of the fourteenth century and century.It evident is that the surface surrounding thewindow has been partially repainted, but it that suggests size the but stylistically, it as a result ofthe siege. the idea that the frescoes in the northern apse had been executed prior to 1202 and been repaired contradicti argument another is there attack, the during spared not was Chrysogonus Saint churches”. the but nothing leaving walls, the within houses the “all wa it after city that was recounting thecase.of massive theforce destruction While thattookplace inthe suggesting documents surviving no are there although building, the with dealing publications Hrvoje Gračanin, Igor Razum, “Toma Igor Razum, Gračanin, Hrvoje The time The denote to features determining few has today seen be can which window the Namely, t that assumption The as probably replaced then. The absence of younger mortar layer traces on the on traces layer mortar younger of absence The then. replaced probably as s taken over, Thomas the Archdeacon maintains that the Venetians destroyed Venetians the that maintains Archdeacon the Thomas over, taken s - lapse between the execution of the mosaic and the execution of the frescoes frescoes the of execution the and mosaic the of execution the between lapse

e hrh a dmgd n 22 per cmol in commonly appears 1202 in damaged was church he arhiđakon i križarstvo”, 54. križarstvo”, i arhiđakon t least two different hands executing the frescoes. frescoes. the executing hands different two least t

26 was most likely not built in the early thirteenth early the in built not likely most was

Even if the church of church the if Even p Tee are, There op. hen.

ng CEU eTD Collection 72 in Radovan], 71 311 (1968): 70 patrons: intercession, and petition, thanksgiving are among common. themost with connection in qualified is prayer the which in ways various are there although prayer, B with connections strong with places in well as West the in found be can it although theme, Byzantine typically a is representations was said to portray Saint Chrysogonus scholarship previous in scenes Deesis lateralThe apses peculiarities,allow amonuments where comparison which will similar with scene this thi solves partially only executed was cycle the when time the at rule Byzantine under longer no reveal insensitivity towards what can be called the iconographic canon. The fact that Zadar was prov in common is norm the from shows a modification of the “prescribed” Byzantine iconography. Although a certain departure frescoes the of examination closer a However, Nativity. the of solution iconographic overall t both in verified be can This traditions. Byzantine of the same cycle. treat the scenes from Cristopher Walter, “Two Notes on the Deesis” Deesis” the on “Two Walter, Notes Cristopher Age the in Dalmatia in Painting [Wall Dalmaciji” u doba Radovanova slikarstvo “Zidno Fisković, Igor On more about the Deesis see Christopher Walter, “Two Notes on “Two Walter, the Deesis”, see Notes Deesis Christopher On the more about s problem. The issue of influences and possible role models for it still remains. The aim of of aim The remains. still it for models role possible and influences of issue The problem. s Iconographic analysis Iconographic reflect Chrysogonus Saint of church the of frescoes older the that noted been has It Both lateral apses preserve traces of three - 336. - Majstor Radovan, Majstor by -

cn aayi o te le cce s o slt te etnn iconographic pertinent the isolate to is cycle older the of analysis scene

the northern andthenorthernaccordinglyapse wall thosethe from

yzantium. The initial meaning of the scene is closely connected to to connected closely is scene the of meaning initial The yzantium. 205.

incial art, it even more so in this case, where several details details several wherecase, this in so more even it art, incial Revue des etudesbyzantines des Revue . 70

27 t h sm tm, h cnrl iue f both of figure central the time, same the At

- figure compositions that were interpreted as he occurrence of Deesis scenes and the and scenes Deesis of occurrence he . 71

The iconographic scene of the Deesis

26 (1968): 318. (1968): 26 Revue des Revue etudes byzantines features appear.

Traditionally, -

as parts as parts 26 of

CEU eTD Collection glori perhapspalm, Saint Anastasia, below them the colors are almost lost. This painting was certainly dedicated to the one hand on his shield, which touches the ground, and the other on his lance; at his side is a woman with a martyr's 76 75 139. 1986), 74 Literature, 73 Vitaliano Brunelli’s account: identification is tothe identitypoint centralprovidesthis the figures.source single that The of place. first the in from comes Chrysogonus – tradition placesOrthodox withan Byzantiu of borders the beyond art significance or a patron of a certain group special of saint local a by replaced was Baptist the John when cases are there group; figure word was used for compositions that included other figures. word the Byzantium divini his acknowledge to ones first the as also but Earth, on him to flanked by the Virgin and John the Baptist, who are depicted next to him as having been closest the

From few the remaining one traces can see in the arch of the left apse Saint goiChrysogonus Ibid. Lazarev, Nikolaevich Viktor wherea local replaced saint the central andassumed Christ inthe scene. position Anthony Cutler, “Under the Sign of the Deesis: On the Question of Representativeness in Medieval Art and and Art Medieval in Representativeness of Question the On Deesis: the of Sign the “Under Cutler, Anthony scene is elaborated by being composed of three figures: Christ stands in the middle and is and middle the in stands Christ figures: three of composed being by elaborated is scene fication of Saint Chrysogonus, because it was replaced in the seventeenth century by an altarpiece, which which altarpiece, an by century seventeenth the in replaced was it because Chrysogonus, Saint of fication

t s motn t no to important is It secolo decimosettimo fu rimpiazzato da un altro di questo santo, e a' piedi piedi a' e santo, questo di dell'altareera lasepoltura c' altro un da rimpiazzato fu decimosettimo secolo dno sicut dix Esaia pf. rotolo o un cart un o mani nelle recano che nimbati, santi cinque fregio, il dopo sotto, ; incerta legge si (vi Benedetto s. parte una da ha nelle Zoilo ac s. da rinvenuto martire, il alia appunto rappresenta quale dedicate la pala, certo una era dipinto Questo perduti. glorificazione di s. Grisogono, perche fu nel secolo decimosettimo sostituito quasi da sono si icolori sotto asta sull' s. sinistra abside dell' arco nellGrisogono in piedi, che tiene una vedemano sullo scudo appoggiato si restano, ne che traccie, poche Dalle Dumbarton

que di Grado. Nell' Grado. di que ; di fianco una donna con la palma del martirio, forse martirio, del palma la con donna una fianco di ;

Oaks Papers Oaks

Deesis ello ; uno di questi dice: Istorija vizantijskoj živopisi vizantijskoj Istorija

i was not restricted to this group, as there are examples when the when examples are there as group, this to restricted not was Saint as figures central two the of identification the where te

quadro doveva essere dedicate a s. Benedetto, perche nel dell'abside destra, in mezzo, di nuovo s. Grisogono, che Grisogono, s. nuovo di mezzo, in destra, dell'abside 41 (1987), 146. (1987), 41 75 m and became widespread in the post the in widespread became and m I. However, found have noexamples dei benedettini. 74 . This was especially common in provincial art and

28 There are no preserved inscriptions which would which inscriptions preserved no are There

E go vox clamants in deserto

[History of Byzantine painting] (Moscow: Iskusstvo, Iskusstvo, (Moscow: painting] ofByzantine [History B E N E B 76

. . .) . . 73

Variations occurred in the three , e dall' altra una figura una altra dall' e ,

a terra, e 1' altra ty. It is evident that in that evident is It ty. s. Anastasia, di Anastasia, s. - – Byzantine period in period Byzantine

written or pictorialwritten dirigite dirigite via ng by holding foot

- CEU eTD Collection Zara di citta della Storia and at the foot of the altars there was a tomb for Translated Benedictines. bysaint, this of picture another by replaced was it century seventeenth the in because Benedict, Saint to dedicated ofsays: one them sign; other on frieze, his below, side; are after the there five haloed who saints, carry either a their hands in or rotulus a there is Saint Chrysogonus aga depicts the martyr found by ZoilusSaint in the waters of Grado the imagines and otherwise claims one if Even layouts. different completely had cycles two the that suggest overlap, layers the where Transfiguration, the and scene Annunciation judgi cycle older the of scene the repeated belongingBenedictine monastery. toa church a mannerin direct a such in saint local a to subordinated be would Benedict St. that because Benedictine graves can be found beneath the apse. It is, in my opinion, highly unlikely having done that, he states that the altar in this apse must have been dedicated to Saint Benedict arguments for placing St. Chrysogon fact standard Chrysogonus’ attributes. oneof of in favor thelatter to wasformer agenda.However, feature done one not withaspecial next does speak the of positioning the that assumeillogical be to not would it and fresco the altarpieceand the at stil This century. painted fifteenth the of beginning likely most was one southern the in representation the that and contemporary not are apses two the in frescoes the that fact the mention not does Brunelli Chrysogonus. the of dedicate been have must fresco position the that concluded he altarpiece, the on Based Chrysogonus. St. depicting altarpiece century seventeenth t s mosbe o a wehr h three the whether say to impossible is It aps northern the of interpretation The the is apse southern the in fresco the of interpretation Brunelli's for argument The this identification: the shield with a cross laid on the ground next to the figure is in figure the is to ground next laid onthe a cross the shield with identification: this Ego vox clamas in deserto d deserto in voxclamas Ego

(Trieste: Lint, 1974), 53 Lint, 1974), (Trieste: in, in, with Saint Benedict (one can read B E N ...) on one side, and an unknown figure

us in the middle and St. Benedict to his right. Furthermore,

- 55. irigite via dno sicut dix Esaiapf. dix sicut dno via irigite l leaves a period of at least two centuries between centuries two least at of period a leaves l 29

g ny rm hs ersnain Hwvr the However, representation. this from only ng e is more debatable debatable more is e

- iue opsto i te oten apse southern the in composition figure .

In the inside of the apse to the right, in the center, Vedran Sulovsky,Vitaliano Brunelli, Vedran Sulovsky,Vitaliano d to the glorification of Saint of glorification the to d –

namely, Brunelli namely,

The picture must have been have must Thepicture

makes no makes CEU eTD Collection 79 78 77 is different; it is a much smaller representation a the The archangel and Deesis northernThe wall Baptist andinterpretasa it Deesis scene. Chri as figures three the interpret to logical be would it apse the of function funerary the given but certainty, with saying from one prevents which condition, garment, Benedictine (it register lower the and reads calottes three between frieze the in seen be still can which of exactly where inscription The however. later contextthan theother frescoes. at all and certainly demonstrates the local importance of the saint, but should be common not is representation a such of placement The representation. saintly a simply scene either be figure visual from clear is scene Deesis representations as well the as literary sources, of flexibility The Deesis. a as interpreted be not apses: inoneor of He neither iseither them. depicted apse other the in decoration of theapses t as

Cf. Ana Deanović, “Romaničke freske u Sv. u “Romaničkefreske Deanović, Ana Cf. 322. Deesis”, the on “Two Walter, Notes Christopher 161 Deesis”, the on “Further Notes Walter, Christopher …ONORE… The Deesis scene appears once more on the northern wall. Here, however, the context the however, Here, wall. northern the on more once appears scene Deesis The There is no reason to think that the figure in the calotte of the northern apse is not Christ, Furthermore, the in composition the it was. It could have formed part of a longer, possibly donor, inscription, parts inscription, donor, possibly longer, a of part formed have could It was. it Christ, or the Virgin. the or Christ, would be highly unlikely. Therefore, he cannot be depicted in both lateral both in depicted be cannot he Therefore, unlikely. highly be would . h daey f h fgr t te ih o Crs de nt ugs a suggest not does Christ of right the to figure the of drapery The ).

but rather the clothing of the Virgin. The representation is in verybad in is representation The Virgin. the of clothing the ratherbut BEN… he same ensemble, the appearance

can no longer be seen and it is unclear from Brunelli’s text Brunelli’s from unclear is it and seen be longer no can

Krševanu”, 118. Krševanu”, For lack of a better word, it is perhaps best to call thecall to best perhaps is it word, better a of lack For

30 southern apse featuring Saint Chrysogonus should but the idea of intercession dictates that the central

nd nd only the heads of the protagonists - 162.

of the figure ofSt. Chrysogonus st, the Virgin, and John the John and Virgin, the st,

seen in a much –

Christ,

CEU eTD Collection 82 11 81 80 any canonized saintly couple feet, dressed single insimple medallion (Fig. 23). These young and beardless characters with no specific attributes, with bare inscription the by accompanied different is disc the however, scene, this In Emanuel. cruciger globus c This sphere. roughly as theemperors thewearing same started time about it. prevailed from the Middle Byzantine period; a simplified degradation the to due most likely a col archangel’s the surrounds pattern same the in color identical an waist; his encircles ornaments shaped geometrically of in two in dressed, is and braids with characteristic hairstyle is usually placed in the calotte of the apse or in the narthex (which does not exist in this church). breaking the border of the zone. The location of the scene itself is unusual. Na thus borderline, the of middle the in located is Michael Saint of image the and interrupted is ofthe disposition very The 22). (Fig. it below depicted archangel the with connected is it for representation, Baptist the John and Virgin the

Cf. Deanović, “Romaničke fr “Romaničke Deanović, Cf. “Romaničke Deanović, Ana Cf. Maria Parani, Maria th - 15 th -

layered blue and red imperial attire andlayered imperial red blue The archangel’s right hand is pointing upwards and in his left hand he is holding a holding is he hand left his in and upwards pointing is hand right archangel’s The a with portrayed is position, frontal a in waist the to depicted archangel, The cc . (Leiden: Brill, 2003), 45 2003), Brill, (Leiden: . loros Reconstructing the Reality of Images: Byzantine Material Culture and Religious Iconography Religious and Culture Material Byzantine Images: of Reality the Reconstructing learly identifies the figure as St. Michael, who is usually portrayed holding a holding portrayed usually is who Michael, St. as figure the identifies learly , or in other cases holding a disc with a cryptogram or an image of Christ Christ of image an or cryptogram a with disc a holding cases other in or , se scenes ofthe inthespace register suggests thattheylimit were linked; the

a onesimplified rather a than crossed one

of the image. The use of the of use The image. the of eske u Sv. Krševanu”, 120. Sv. Krševanu”, u eske

. - freske u Sv. Krševanu”, 120. Sv. Krševanu”, u freske 82 layer draperies thatreachlayer their knees lar and goes down vertically to the middle of the chest. This is is This chest. the of middle the to vertically down goes and lar

46. Small Small dimensions in relation to St. Michael might suggest that –



are depicted (Fig. 21). Furthermore, it is not a self a not is it Furthermore, 21). (Fig. depicted are T VC ANIMARUM NVNC ET . 80 31

A diagonal golden strip decorated with tworows decorated goldenA diagonal strip

accordance with Byzantine iconography, Byzantine accordancewith  loros

it depicts two male figures w figures male two depicts it loros

costume in depicting archangels depicting in costume 

was introduced in iconography 81 -- on the inner left side of the the of side left inner the on

although although it is di , should notbeidentified, should as mely, the Deesis fficult to say - ith halos ith standing

CEU eTD Collection northern aisle. northern as a devotional image and links it to a donor fromseparate the rest of the cycle who havemight been buried in the 85 živopisi of them from Russian art (and both are related to the altar screen). Viktor Nikolaevich Lazarev, 84 18. note 1975), 83 elementsByzantine ofa were representation retained. scale. the on of instead in the scene at representing the Archangel Michael. It would appear that the same idea is taken of one step way further Eastern the and Western the of fusion a again is This souls. the weighing is Christ, Michael a holds discwiththeimage Emanuel, ofChrist also but ascale onwhich he, orrath done was it that accordin possible is It unusual. is Judgment Last the of representation symbolic place usual its in and salvation. of ideas the by linked theologically are that scenes two the connect physicallywould This lost. now is that inscription an atpointing was he that possible is it and of the archangel’s raised right hand,butthepose suggests is thatthis nota represented above the archangel we as sense iconographical an in but artistically,only not convincing seems interpretation This Judgment. souls taken are pose and placement, they are patrons; this is, however, not feasible if the modesty of the representation, the figures’ Vojislav Đurić, Igor Fisković, “Zidno slikarstvo Radovanova doba u Dalmaciji”, in This is a rare, but not unique, case of such framing. There are at least two other examples of i of examples other two least at are There framing. such of case unique, not but rare, a is This 83 , 113. ,

An icon from the National Museum in Pisa might shed some light on this. Here Saint Saint Here this. on light some shed might Pisa in Museum National the from icon An the that assumecanOne ht r big ege b S. ihe i a yblc ersnain f h Last the of representation symbolic a in Michael St. by weighed being are that g to a template which was copied and put in this place this whichg in was ofspecial and copied put toatemplate significance

ll since the Last Judgment is dogmatically connected with the Deesis, which is which Deesis, the with connected dogmatically is Judgment Last the since ll

Vizantijske Vizantijske freske u Jugoslaviji the church ofSaintChrysog church the

–

probably on the western wall. The choice of this particular location for a for location particular this of choice The wall. western the on probably

h Wsen ye f aro i wihn te ol, u te other the but souls, the weighing is warrior of type Western The

. into consideration. It is most likely that these characters are characters these that likely most is It consideration. into elaborate version of the Last Judgment was originally located located originally wasLast Judgment the of elaborate version 84

It is impossible to determine the exact position of the fingers

[Byzantine [Byzantine frescoes in Yugoslavia] (Beograd: Jugoslavia edition, onus, where the souls onus, where the 32

Majstor Radovan

were placed inthe medallionwere placed repentance, intercession, repentance, , 209, interprets the gesture ofblessing, Istorija Istorija vizantijskoj t, however, both however, t, . 85

Deesis er er CEU eTD Collection 87 1982 Press, Seminary in 86 very the discloses it birth; Christ’s storyof the show just not does Nativityscene the Namely, different times, While pictorial. cave. Magi the of Adoration the Birth, the i.e., compositions, different three into divided was scene the from above. sh the Christ, bathing women two the it around 24) (Fig. than the other characters, rests alongside a masonry manger in a groupthe initial in arather centrifugal manner. numb a quite acquired it period,Byzantine the into ass the and ox the with Jesus baby only depicting representations early the from shifted been yet not have that variations of plenty The Nativity

Depending Depending whether the emphasis is on the child's human or divine nature. Vladimir Lossky, “Nativity of Christ”, The Bathing scene usually does not appear in Western art. Western appear in not usually does scene TheBathing The Meaning of Icons of Meaning The

, and the Annunciation to the Shepherds the to Annunciation the and , The difference between the Byzantine and the Western representation goes Byzantine representation theWestern and The between the difference The adaptation of the theme had a significantly different evolution in Western art, where larger depicted rule a as is who Mary, Virgin the scene, of Byzantine the type in Thus, The iconography of the Nativity is a complex and rather understudi . 86 --

looking from the upper left angle and rounding out the circle the out rounding and angle left upper the from looking This central scene takes place in a cave and all the other characters are grouped are characters other the all and cave a in place takes scene central This

Byzantine Byzantine iconography tells the story anachronistically for a theological reason.

Western iconography narrates the story by separating even separating by story the narrates iconography Western ), 159. ),

, ed. Leonid Aleksandrovich Ouspenski, Vladimir Lossky ( Lossky Vladimir Ouspenski, Aleksandrovich Leonid ed. ,

epherds, and the choir of angels surrounding the cave the surrounding angels of choir the and epherds,

33 investigated. One thing is certain is thing One investigated. . 87

er of other characters which are aligned around around aligned are which charactersother of er

The Birth itself is set in a stable rather than a than rather stable a in set is itself Birth The

supine or semi Crestwood: St. Vladimir's Vladimir's St. Crestwood: ed matter –

ts that ts the Magi, Joseph, Magi, the - supine position –

as the theme the as

occurred at occurred beyond the beyond the –

there are CEU eTD Collection of Icons of 90 and bathing needed still he that 89 and other any like child a Christ Losskyof “Nativity nurturing. is Christ that demonstrate to is scene bathing the 88 the in way any in figures other to connected not is he way; emotional composition, sitting just next to the cave in this example (Fig. 27). His solitude is defined in an rather thanmartyrdom. a manger, butrather and a a cradle, decorativeat that, onesuggesting glorification of thechild how particularities need tobediscussed here. The significant most oneisthat Jesus not is placed in scene; the of iconography Byzantine a suggests this of All figure. her of remaining trace only the is it and drapery Virgin’s the to belongs heads against him are in the very center of the composition (Fig. 26). The blue pigment beneath the right side of Christ. Christ’s body, swaddled the in usual way likely part of the choir of angels situated above the cave, the outline of which is still visible on their in them place angel showing them the way is present on the upper left side of the representation, which would the but preserved, been not have magi three The this. for clue first the is composition same scen Bathing the Jesus, baby of occurrence iconography of the Nativity, it becomes apparent that this is not a Western representation. The altar tor which like an looks manger placed inamasonry is and tomb, Jesus setting alludes it tothe for a as chosen is cave The resurrection. and death Christ’s of implications the and incarnation sign holds scene The act. the meaningof

Gertrud Schiller, Schiller, Gertrud Reminiscent of a mummy, which is also part of the symbolism. Lossky, “Nativity of Christ”, in in Christ”, of “Nativity Lossky, symbolism. the of part also is which mummy, a of Reminiscent man the in once twice: appears figure Christ’s purpose, this For , 157. , A oneWhen compares theNativity scene inthe church Chrysogonus ofSt. thegeneral to emind viewers of hissacrifice.emind of viewers nother peculiarity is the placement of Joseph, who, as usual, is on the margins of the of marginsthe on is usual, as who, Joseph, of placement the peculiarityis nother

Ikon

usual position in the composition (Fig. 25). (Fig. composition the in position usual ographie der christlichen Kunst christlichen der ographie

” , , in The Meaning of Icons of Meaning The

s of the two natures of Christ of natures two the of s 34 e, and the Annunciation to the Shepherds in the in Shepherds the to Annunciation the and e,

, vol. 1, 1, vol. , 95. , 157 ger and once in the bathing scene. The idea of idea The scene. bathing the in once and ger

- 60. 60. vr svrl nossece and inconsistencies several ever,

89 90

The smaller angel was most was angel smaller The

and the beast 88

representation, and his and representation,

as well as the idea of idea the as well as s leaning their The Meaning Meaning The CEU eTD Collection 92 of all represents 160. Ibid, it for importance, great of is scene a that phenomena doubting for metaphor a Nativityas serves and humankind the in figure Joseph’s heresies. many for basis sugg apocrypha the to according established belief in tradition A Mary. doubt to Joseph get to trying Satan, as interpreted is who man, old an by 91 unusualthatthe is so it Magi ratheromitted, be tha respect, that in ordinary the of out fall not does manuscript this and once, only manuscripts in appears usually scene Nativity illuminated the Still, scenes. different as represented are Magi Visitati the and shepherds the to Annunciation the which in type Nativity Western are from representation, absent this whichcan partially by explained pointing be the outto the 1240, only ist it the in Nativity the on found be can solution the representation, one would be likely to argue that he is one of the Magi. Were sort. some of bowl a carrying was he that suggests damaged) (severely hands shepherd’s younger the of position The status. in but color, in only not is difference the case this in but draperies, matching wear ever hardly scene sh the Admittedlyhead. his on cap conical wearinga and tights, boots, in dressed younger, is right the on one the clothing; modest in dressed and barefoot man, old is one angel; the from awaycommu turned backs their with frontally, standing are shepherds the composition. Nativity scene on something. Although the figure itself is a typical way of portraying Joseph in the Byzantine reflecting is he that reveal face, his on look the as well as hand), his on chin his (resting pose

Gertrud Schiller, Schiller, Gertrud Joseph’s physical separation from Christ and Mary is no coincidence. In later representations he is addressed is he representations later In coincidence. no is Mary and Christ from separation physical Joseph’s Dating h tid atclrt rfr t te nucain o h Sehrs Bt o the of Both Shepherds. the to Annunciation the to refers particularity third The nicating with the angel and the other one not is (Fig. 28). The shepherd on the left is an

, 91 he older shepherd that is dressed in formal drapery in this example. The Magi example. this informalshepherd drapery thathe dressed in is older Ikonographie der christlichen Kunst christlichen der Ikonographie 92

it is still importa isstill it

ests that Joseph was tempted by the devil to turn against Mary. This became the became This Mary. against turn to devil the by tempted was Joseph that ests

nt to note his position on the right rather than theleft ontheright than sideof rather notehisposition nt to 35 it not for the placement on the right the on placement the for not it evangeliary

, vol 1 , n theshepherds. , 95. 95. ,

re not in accordance with the laws ofnature. laws with the accordance notin re of Trogir dated between 1230 and and 1230 between dated Trogir of

epherds in the Nativity the in epherds An almost identical - hand side of side hand on of the of on

CEU eTD Collection 93 Baptist the John While remains. it of half only and cycle the of left one only the is scene this the of apse southern the from scene I returnwill peculiarity tothis below. Deesis as asthecomposition, figures flanking male are Christ (Fig. both theflexibility 32). Given ofthe scene, Deesis the as Byzantineone notdismiss should traditions completelywhen cycle this discussing 31). (Fig. the figurethe same fromscene ofChrist inthe church suggests ofSaintAngelo Formis in that h Christ of figure the that fact the However, traditions. dominant the as representation, follows byzantine iconography Domini Majestas the with program, the Neither Chrysogonus. Saint of Mary century, inc datedbeginning (Fig. little of thehave tothe twelfth 30) pa the thatneither of continue withthe notion problems The of the complete four. most cycle out stating that however thefrescoes fragmented ofSaintChrysogonus are, represent theystill the in found be can frescoes of remains as centers, Dalmatian other to compared least at painting, monumental to comes it when rich is Zadar that argue could one fact, In general. in coast Dalmatian the for but Zadar, the of centuries first the from evidence pictorial Unfortunately, dated. been have that examples comparable needs one style, to according it

Igor Fisković, “Zidno slikarstvo Radovanova doba u Dalmaciji”, in in Dalmaciji”, u doba Radovanova slikarstvo “Zidno Fisković, Igor intings datedperiod terms is tothesame in andofstylecycles that greatly. the differ The closest analogy to the frescoes of Saint Chrysogonus The only fresco preserved of th Saint of church the of tower bell the in from ones the question, in frescoes oldest The The question that remains unresolved is: When was the cycle executed? In order to date a theme it might be possible to interpret this scene as a Deesis in a peculiar adaptation.

lhuh t etil de nt rsn a clear a present not does certainly it although four churches. The problems of comparison can be introduced by introduced be can comparison of problems The churches. four

cathedral of Saint Anastasia (Fig. 33 (Fig. Anastasia Saint of cathedral

e cycle in the church of Saint Peter has been interpreted 36

nor nor is the style at first glance eodmlenu s cre o ol for only not scarce, is millennium second as much in common stylistically with stylistically common in much as Majstor Radovan, Radovan, Majstor

located located in Zadar - u cs o a Deesis a of case cut 208. -

34). Unfortunately Unfortunately 34). ommon withthoseommon close to Byzantine

is is the Deesis

CEU eTD Collection 12. Peković, Željko area], its and Dubrovnik in frescoes 94 century. twelfth the of beginning the than later proposed area of Dubrovnik. There is so far no consensus for the dating threepre on Šipan, Baptist the John Saint Chr Saint the than earlier century one least at to the dated been as have concerned, faris coast Dalmatian as Chrysogonus, Saint in ones the to comparable most examples the Namely, di to ascribed be Saint Chrysogonus, although it is hard to say how much younger. The stylistic distinction is to almost create ofan depth. illusion crea and the handsarenaturalposition, Chrysogonus inamore Saint his did; of master(s) the than body the to attention more paid master this that evident is it but detail, of Saint Chr is in poor condition, but when compared to the characters from the representation in the church phase. One cannot speak of the facial expression or specific features of the figure since the face in theL. shape ofthe letter are entirely Byzantine, except for the Latin inscription with his proper name, curiously written sere The missing. entirely is Virgin the of figure the visible, still are Christ of part smaller a and

Igor Fisković, “O freskama 11. i 12. 12. i 11. freskama “O Fisković, Igor

ysogonus cycle. nity nity of the composition, the colors, and the overall solution of the figure of John the Baptist These are the frescoes from Saint Saint from frescoes the are These of cycle the younger than likely most is Zadar of cathedral the from fresco Deesis The 1269 to dated been has fresco The ysogonus, he appears more voluminous. Not only is his drapery depicted in greater Četiri elafitske crkve elafitske Četiri fferent workshops, rather than to a great time gap between the executions. the between gap time great a to than rather workshops, fferent

Radovi instituta povijesti umjetnosti povijesti instituta Radovi

[Four Elaphite Churches], Split: Split: Churches], Elaphite [Four stoljeća u Dubrovniku i okolici” [On the eleventh and twelfth century twelfth and eleventh the [On okolici” i Dubrovniku u stoljeća

- Romanesque churches on the Elaphiti islands in thein islands Elaphiti the on churches Romanesque

Nic according to the date for the second Romanesque Romanesque second the for date the to according 37

hola s

o n Koločep, Saint Michal on Šipan on Michal Saint Koločep, n 94

Nevertheless, the expression of theof expression the Nevertheless, Studia Mediterranea Archeologica 2008, 2008, Archeologica Mediterranea Studia

33 (2009): 24. Hereafter “O freskama”; freskama”; “O Hereafter 24. (2009): 33 of of the frescoes, but no dates are ses of his sleeves ses ofhissleeves , and , CEU eTD Collection Mozaiki, freski,ikony Mozaiki, 97 of ofArt”, Works Descriptions 96 of pre art the Russian art through of Byzantine emotionalcomponents and ascetic 813 2006), palomnik, Severnyi (Moscow: Popova S. O. ed. ico frescoes, Mosaics, art: ofByzantine ikony[Problems freski, Mozaiki, iskusstva: Vizantijskogo Problemy 95 have a dose typeswith distinct expressions. of figures of groups two of trend a time same the at and masters, different of hands the showing Sa of church the of frescoes the in figures the of treatment the in analogies direct provide Bari) of province the in (all D’Antico Lama in denomination unknown of church the and Fasano, the region ofApulia. closer stylistically as well as respect, that in useful more Examples dating. for helpful not are but Chrysogonus, Saint of church the of those to similar clearly more shifts narrative scenes compl a by explained be perhaps can This Chrysogonus. Saint of case the anadjustment of Byzantineexhibit churches notseemiconographic traditions such to do most common, appearing in all three of them h apse the in fresco Nichola Ši on Baptist the John Saint of church the in apse the in composition overtone contemplation ascetic of combination a figures, in Byzantium), and art Russian (Ancient Vizantia” i zhivopis “Drevnerusskaya Popova, Sigismundovna Olga Olga Sigismundovna Popova, “Drevnerusskaya zhivopis i Vizantia”, in in Vizantia”, i zhivopis “Drevnerusskaya Popova, Sigismundovna Olga n h ashtc o eoinl expressionism emotional of aesthetics the On int Chrysogonus. Namely, all of these churches reveal several painterly solutions despite despite solutions painterly several reveal churches these of all Namely, Chrysogonus. int The s on Koločep (Fig. 36), and the same can be as be can same the and 36), (Fig. Koločep on s The first group are of figures fron 96

is what brings all of thes of all brings what is

rock of softness in their expressions, while at the same time possessing an intellectual

- in these churches, and it is in narrative scenes where one can see cut , 822 , . The three churches of the Elaphiti do reveal do Elaphiti the of churches three The . as been lost. Among the saintly figures, Saint Michael stands out as th as out stands Michael Saint figures, saintly the Among lost. been as c

hurches hurches of Santa Cecilia near Monopoli, San Lorenzo in Lamalungo near - 823. Dumbarton Oaks Papers Oaks Dumbarton

e cycles together. cycles e tally placedtally Well balanced saints. and pea se er Mgie “rt ad ovnin n Byzantine in Convention and “Truth Maguire, Henry see , 38

(Fig. (Fig. 37

28 (1974): 111 (1974): 28 95

- and softness with an occasional emotional occasional an with softness and 876. The author discusses the interchange between interchange the discusses author The 876. - 38). However, the frescoes of the Elaphiti

T sumed for Saint Michael Saint for sumed he Elaphiti churches show a Deesis a show churches Elaphiti he , are found outside of Dalmatia of outside found are , - 139). Problemy Vizantijskogo iskusstva: iskusstva: Vizantijskogo Problemy artistic tendencies somewhat somewhat tendencies artistic

- Mongolian period. Mongolian pan (Fig. 35) and Saint Saint and 35) (Fig. pan t asne of absence ete

iconographic iconographic , where the the where , ceful, theyceful,

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in 97 e

CEU eTD Collection re recently also was which Normanni, Dei Vito San in Biago ofSan church the to similarities stylistic to according 100 century. thirteenth who Italiano studi 126, churches sull’alto dates (Spoleto: di medioevo, Centro the to 2003), last quarter ofthe the in grotta,” in abitavamo “Quando 99 de rupestri insediamenti Fasano di lame 98 ofto the middle thethirteenth century. century twelfth the or eleventh the show allows oneallThe four todatethreeApulianchurches tothe same period. to were dated however, Chrysogonus, Saint of church the as workshop same the ofparticularthe solution body cases andamazing inseveral resemblance. parts an facial although there are some exceptions. The comparison of these figures also shows si simple and exhibit awkwardness in their poses. These figures mostly belong to narrative scenes, squinted eyes, and 39 (Fig. connotation

- For the dating of San Lorenzo, see M. Luisa Semeraro Herrmann and Raffaele Semeraro, I got this information through personal communication with Roberto Rotondo. Cf. Marina Falla Castelfranchi, FallaCastelfranchi, Marina Cf. Rotondo. Roberto with communication personal through information this got I

dated. Prof. Linda Safran, personal communication. personal Safran, Linda Prof. dated. Except for Santa Cecilia, which was not part of the study. However, the dati the However, study. ofthe notpart was which Cecilia, Santa for Except It would be far , (Fasano: Schena editore, 1996), 139; for the dating of Santa Cecilia see Nino Lavermicocca, Lavermicocca, Nino Cecilia see for 139; of the 1996), dating editore, Santa ,(Fasano: Schena

chubby faces (Fig. 47 l territorio di Monopoli di l territorio

- - 46). The second group contains figures with large noses, somewhat somewhat noses, large with figures contains group second The 46). fetched to claim that these churches were painted by the same master or

Atti dei I. Convegno internazionale sul internazionale Convegno I. dei Atti

, 98

mostly on account of style, but were recently re recently were but style, of account on mostly 100

- (Bari: Istituto di storia dell'arte, 1977), 85. 85. 1977), dell'arte, storia Istitutodi (Bari:

51). Far from being intellectualized, these figures are 39

la civilita rupestre civilita la ng of Santa Cecilia was proposed proposed was Cecilia ofSanta ng

the stylistic qualities they they qualities stylistic the Arte Medioevale nelle

, ed. Enrico Menesto Enrico ed. , milarities milarities in - dated

Gli 99

CEU eTD Collection 104 church in Apulian influence the ofemphasizing apulijsko 103 povijest completely is it Century”) fifteenth and the in Dalmatia rule, and Dubrovnik this between relations of (“Economic result a is 1277 from Savera 15. Dalmacije u stolj i Dubrovnika između Voje,“Ekonomskeveze Ignacij contracts, credited in specialized da Tomasino of book notary The notarized. 102 source. original an has notion this that states 101 is muchharderwith monumental painting, todoso material where little thereisso preserved. such for an isvalid monument approach architecture thequantity considering ofpreserved churches which fromthe differ Apulianones, and argues infavor of a local tradition impulses of the superiority of the former over the latter, which then becomes a passive absorber of certain church on influence Apulian of sidedness such an extent, that Marinko Tomasović though Romanesque architecture insouthern Dalmatia, the Apulianinfluence has been emphasized to well bas argument an is which Dubrovnik, of area the particularly Dalmatia, However, there muchtobe issue. elaborated onthe isstill revolutionary or new, idea absurd topresentclaim for between a artistic anItaly connection and Dalmatia Southern as an be would it said, been having This contact. suggests already sea, a share they that fact the Ital and Dalmatia of proximity geographical The factor. geographical the is account Ibid., 157. Ibid., Cvito Fisković, “Contatti artistichi tra la Puglia e D e Puglia la tra artistichi “Contatti Fisković, Cvito n 25 h Rpbi o Rgs ise a ue ht l econo all that rule a issued Ragusa of Republic the 1275 In Marinko Tomasović, “Romanička arhitektura na južnom dijelu istočnog Jadrana i problem isticanja utjecaja isticanja problem i Jadrana istočnog dijelu južnom na arhitektura “Romanička Tomasović, Marinko - attested trade

10 (1977): 380. 380. (1977): 10 Tomas The influence of Southern Italy is most frequently mentioned in the context of southern into take to needs one that thing obvious the transfers, cultural for searching When g graditeljstva” (Romanesque Architecture on the southern part of the eastern Adriatic and the problem problem the and Adriatic eastern ofthe part southern the on Architecture (Romanesque graditeljstva” g . 103

Chapter CONNECTIVITY3:

vć otne hs et y lbrtn o faue o suhr Dalmatian southern of features on elaborating by text his continues ović

relationship relationship it had with

existed ever since the end of the eighteenth century, although he makes no reference to to reference no makes he century, although eighteenth of end the the since existedever -

this connection has long ag long has connection this

- building), building), -

Apulia. building of southern Dalmatia gives the impression the gives Dalmatia southern of building 40 almazia”, in in almazia”,

t it t necessaryit to warn that underlining the one Starohrvatska prosvjeta Starohrvatska

102 TO SOUTHERN ITALY

Particularly when it comes to interpreting i tascin hd o e rte dw and down written be to had transactions mic Per una Storia Storia una Per o been indicated in historiography. in indicated been o

ed. P. F. Palumbo et al., 72, et F.ed.P. Palumbo

3 (2006): 128. (2006): 3 Radovi Instituta za hrvatsku hrvatsku za Instituta Radovi ed in the historically the in ed

104 y, that is, that y, . While eću” s, it 101

CEU eTD Collection Italy.”Southern Latins and in Greeks 110 in Dalmazia” la rap i e Latina paleografia “La Novak, Viktor Cassino, Monte to associated also Elaphiti lie. Ibid. Another Benedi although Dubrovnik, of archipelago the in island 109 108 107 71. 4 (1998): Medievalium Artium Hortus meridionale”, 106 ( 105 Cerrate. attention draw to like would I and Apulia, of However, I believe analogies much closer to the Elaphiti frescoes can be found on the territory commissions, particular execute stimu which and moved artists medieval which in ways about the function of which has not been determined can be misleading. Granted, very little is known activity of the Benedictines in Southern Italy Southern Italy.It needs beto noted, though, that establishing a connection between the re fromMonte Cassino.” the scriptorium of who, master “mediocre a m employing, was to he clichés the all Elaphiti considering the from cycles three all ascribes and reference, San suggests he manner, contradictory somewhat Byzanti “allegedly the with do to nothing has this that Byzantine”; although the comparative material he proposes is elsewhere. He defines the frescoes as “Adrio consequence Four churches of the Elaphiti Islands theElaphiti of churches Four

Ibid. 25. freskama”, “OFisković, Igor For a different interpretation that the artists came “from the east” see Željko Peković, Peković, Željko see east” the “from came artists the that interpretation different a For Igor Fisković elaborates a connection of Monte Cassino to the Benedictine abbey on Lokrum; also a small a also Lokrum; on abbey Benedictine the to Cassino Monte of connection a elaborates Fisković Igor For a reconstruction of two major waves of artist migrations, see Hans Belting, “Byzantine Art among the among Art “Byzantine Belting, Hans see migrations, artist of waves major two of reconstruction a For gr ikvć “n otiuo l ioocmno el afeci dibznii ul sod croa sponda sulla Adriobizantini affreschi degli riconoscimento al contributo “Un Fisković, Igor

blee ikvć a rgt n dniyn ad mhszn te oncin with connection the emphasizing and identifying in right was Fisković believe I a as identified been also have above, discussed briefly frescoes, Elaphiti The

106

Una Storia Una Apulia. with relations of

the same term which he uses for the frescoes of Saint Chrysogonus, emphasizing

, , 41.

ctine ctine A

Dumbarton Oaks Papers Oaks Dumbarton ), ), 77. 110 bb e

y was on situated the Ombla River in west of city. the The abbey was hc lae te osblt fr uh comparison. a such for possibility the leaves which 105 108

located south located Igor Fisković frequently mentions th mentions frequently Fisković Igor

41 109

and frescoes in isolated areas, in small churches

to the monastic church of Santa Maria della Maria Santa of church monastic the to ight have been familiar with the miniatures the with familiar been have ight t

Angelo in Formis as a potential point of point potential a as Formis in Angelo

- 28 (1974): 6. (1974): 28 east of the city, rather than north than rather city, the of east e ioorpi) program.” (iconographic) ne

lants they might have had to had have might they lants porti dell’ Italia meridionale con meridionale Italia dell’ porti Četiri elafitske crkve crkve elafitske Četiri is connection, is - west where the the where west 107

form form n a In ta - CEU eTD Collection However, codicological Zada analysis to stronglypoints patrons. the to pointing traces physical direct no are There century. nineteenth the to prior traced be can them of neither of history the and Oxford, at Library Bodleian the in located is The Većenega manuscript is now kept in the Academy of Science in Budapest, wher of Hours cases of the take consideration into it for thecycle caseofSaintMary. ofthe San to of this interpretation, or against it. Based purely on style, one can safely dismiss the connection testifying totrans elaborate have I As Chrysogonus. Saint as suchmonastery, Benedictine influential and large a be would this Reform, the by impacted been have might that Dalmatia of coast the on existed institution an if Namely Dubrovnik. obvious more the be would tradition monastic strong a suggests thattheyhave might followed series oftemplates. thesame co identical three of combination the and geometry their shape, in identical not are they Cerrate and the one on the vault of the church of Saint John the Baptist (Fig. 57 similariti the note should one Furthermore, chapter. previous the in addressed I qualities emotional and ascetic Reconstructing theconnection pattern t

Indications of earlier of Indications If one seeks exclusive for monastic relations with Southern Italy, then urban Zadar with the of balance the to refer and pictorial are similarities the iconographic, than Rather Angelo in Formis for the influence on the frescoes of Saint Chrysogonus, but should should but Chrysogonus, Saint of frescoes the on influence the for Formis in Angelo -

that have been linked to the same monastery two late eleventh - es between the ornament on the window of the apse of Santa Maria della della Maria Santa of apse the of window the on ornament the between es regional communication, so for now it is impossible to claim either toclaim infavor impossible nowitis regional communication, sofor

- cultural transfers from Southern Italy to Zadar can be seen in the in seen be canZadar Italyto Southern from transfers cultural century manuscripts d above, there are few documents from the archive archive the from documents few are there above, d 42

–

the so called Čika’s and Većenega’s Books -- r, as both manuscripts wereas manuscripts in both r, written

the the Benedictine abbey of Saint Mary.

candidate than rural areas around around areas rural than candidate

- 58). Although eas Čika’s lors lors CEU eTD Collection Nada Klaić, Ivo Petricioli, Ivo Klaić, Petricioli, Nada F and Genoa with 113 tax. port onlyto centuries refer thirteenth and twelfth from the documents earliest of systems of study the to contribution [A 21/2 zbornik century], citiesfourteenth Historijski of the in Dalmatian income stoljeću” 14. u gradova dalmatinskih prihoda sistema poznavanju Hrvata, Povijest II; Croatian lands from mid thirteenth to the end of the fifteenth century] in Zagreb: Matica Hrvatska, 2015. Hereafter (Economy), "Gospodarstvo" svezak Fabianec, II: Hrva Florine Sabine activity. economic of notarization 112 Trogir and Vojvoda, 111 centuries. fifteenth fourteenthprimarily andthe the focuses however, it interest on recent in scholarship, study detailed in Zadar and Apulia between relations Ancona Zadar of activitytrading the in input significant had that Italy Southern than other wer there that suggest books notary oldest the from Documents documented be to started business of line this when century, twelfth the of half second Venetian trade unfavorably on trade, although it was only in the fourteenth century that reflected have must things other among which rule, Venetian under hand, other the on was, negotiate with Venice allowed Dubrovnik to trade freely to managed it relationship the and position geographic Its trade. to came it when prosperous that had strong trading relations with Apulia, rather than Zadar. Dubrovnik was also much more also beobserved interms of monastic interchange. a specific Beneventan script.

Pisa Pisa and Ancona were not the only Italian cities with which Zadar traded. It also had strong economic relations Nada Klaić, Ivo Petricioli, Petricioli, Ivo Klaić, Nada This

is a complex issue that cannot be discussed in length in this thesis. For more information, see Rozana see information, more For thesis. this in length in discussed be cannot that issue complex a is Nada Klaić states thatis it hard totrace any kindoftrading activityZadar before in the wa it that agrees scholarship interchange, commercial to comes it When Dalmatian Illuminated Manuscripts written in Beneventan Script and Benedictine Scriptoria in Zadar in Scriptoria Benedictine and Script Beneventan in written Manuscripts Illuminated Dalmatian -- , PhD dissertation, Central Europ Central dissertation, PhD ,

as confirmed by trading agreements from 1188 and 1258, respectively. 1258, and 1188 from agreements trading by confirmed as tske zemlje od sredine XII. stoljeća do kraja XIV. stoljeća

. The trading activity of Zadar in the Middle Ages has become a field of major major of field a become has Ages Middle the in Zadar of activity trading The . - rel rfr t doc to refers briefly lorence, but that can be seen in records only from the second half fourteenth century onwards. century fourteenth half second the from only records in seen be can that but lorence, related

Zadar u srednjem vijeku srednjem u Zadar pre Zadar u srednjem vijeku srednjem u Zadar ssur 111

e on Zadare on

Finally, the papal bull discussed in the previous chapter should mnain f rd i te lvnh etr. oilv akr “Prilog Raukar, Tomislav century. eleventh the in trade of umentation ean University, 2011. University, ean the thirte the .

, 434. , 43 , 423. Other authors imply earlier initiation dates for the for dates initiation earlier imply authors Other 423. ,

enth century have not been the object of a of object the been not have century enth

both with the East and the West. Zadar [ History of the Croatian p e Italian cities from territories territories from cities Italian e 2, (1968/1969): 346, states 346,states that 2,the(1968/1969):

one one notices a constant Povijest Hrvata, Hrvata, Povijest s Dubrovnik s eople: eople: volume -- 113

Pisa and Pisa

Trade . 112

CEU eTD Collection 121 in forenses habitatores, [Cives, gradovima” ofStatutes and Šibenik Split. Raukar, Tomislav “Cives, Forenses Habitatores, udalmatinskim srednjovjekovnim 120 Tadij 119 118 117 zbornik [About in cities stoljeću” Dalmatian other 13. and Zadar u with Dalmacije Dubrovnik of gradovima connections maritime ostalim i Zadrom sa Dubrovnika vezama pomorskim “O Lučić, of relations economic to refers text the ofn does but portion Zadar, with Dubrovnik significant A Dubrovnik. of perspective a from written is 116 115 in "Gospodarstvo" (Economy), Florence Fabijanec, Sabine article. 114 of co often one Zadar, about literature secondary reading while even However, and Dubrovnik wouldreveal many more examples. similar Bari from wheat supply to Anjou of I Charles by right the granted was who merchant Zadar a of that as such found, Dubrovnik through Apulia from trading wood in Apulia. of purpose the for Zadar from men five from ship a renting Dubrovnik from man a of case the sources in present is relationship mediated a where instance An both. with connections the connection between Zadar and Apulia was mediated through Dubrovnik, which wereandfrequent, interchange strong especiallywithDubrovnik. goods, certain a of privilege a trade 358. Ibid., 363. Ibid., Sabine FlorenceSabine Fabianec, “Gospodarstvo”, in Nada Klaić, Ivo Petricioli, Ivo Klaić, Petricioli, Nada TheStatu on the centurytrade territory13th ofDalmatia exclusivelywith deals onlythat found the Granted, publication Ivo Klaić, Petricioli, Nada unpubli lookyet her a take at allowedto who me Fabijanec Florine Prof. Sabine to grateful veryI am habitatores a Smičiklas, Zagreb (1908), doc Zagreb(1908), Smičiklas, a

No detailed study has yet been done on the contact between Zadar and Southern Italy. Southern and Zadar between contact the on done been yet has study detailed No 4 (1966): 355 (1966): 4 and and M It is possible that trading connections resulted in artistic connections ercha te of Zadar is more lenient towards foreigners in allowing them to become legal citizens then are then the legalcitizens become allowing to in them offoreigners lenient more Zadar te towards is

salt was one of the most important ones. Economic ties with other

nts were not yet a professional a yet not were nts rm pla a certain a Apulia, from - 379.

117 . 119 Zadar u srednjem vijeku srednjem u Zadar vijeku srednjem u Zadar

Zadar was in constant need of wheat, wh

I am certain that a detai a that certain am I ot reveal much about the relations of Zadar with other Dalmatian cities. Josip cities. Dalmatian other with Zadar of relations the about much reveal ot social

. 285, 285, 339 . . 118

However, records of unmediated connections can also be also can connections unmediated of records However, group medieval cities of Dalmatia], of cities Dalmatia], medieval .

cives Povijest Povijest Hrvata . 115 44 , 432. , 423. ,

120

Trading activity therefore refers to a variety of variety a to refers therefore activity Trading

stratum in thirteenth century Zadar century thirteenth in stratum

h hd oe rm Apulia from come had who

led look into notary books of both Zadar both of books notary into look led . . Information traced in Povijest Hrvata. Povijest

Historijski Zbornik Historijski 116 the thirteenth century], thirteenth the ich was frequently supplied

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ed . CEU eTD Collection Cambridge University Press, 2007, 494 2007, University Press, Cambridge 124 two the between migrations 123 services, studies, Dalmatia: and coasts], Adriatic Italy between mediators as [Notaries Jadrana” 122 sees andversa. vice Orthodox in placed bishops Latin attesting sources, of variety a through seen be can figures, Italy. Southern was territo borderline in tracked be can relations these earlier, power major after vibrant especially namely, made and theJews, all Muslims thesituation t the ethnicities/denominations, two other the of presence The territory. the in factors crucial the of formed in specific ways for each region. The overlapping of Greek and Roman culture was one twelfth centuries. and Equally important, they share eleventh the common ground of the major cultural interconn of course the during Normans the by conquered been having of S However, Zadar. in Chrysogonus Saint of frescoes the to resemblance examp certain respect this In artistic for argument the strengthen that connections. clues as taken be can they Zadar, in presence to Zadar notaries outhern

Curiously, this territory has been often been excluded from such debates. from excluded such been often been territoryhas this Curiously, Branka Grbavac, “Notari kao posrednici između Italije i Dalmacije: studije, službe, seobe između dvije obale dvije između seobe službe, studije, Dalmacije: i Italije između posrednici kao “Notari Grbavac, Branka For more information on this phenomenon, see Laud, G. A. A. G. Laud, see phenomenon, this on information more For The complexity of the Southern Italian territory complexityThe Italian theSouthern of The itself. material visual the naturally is connections artistic of evidence telling most The Quite a lot has been written on the tension of Greek of tension the on written been has lot a Quite ; 122 -- - Italian be must discussed first. territory

factor that all so all that factor Apulian relations. Nevertheless, if instancesthese examples that are presented to serve as evidence of arguments completely unrelated

Acta Historiae Acta 124 123

hr te nageet f h to hrhs spotd y imperial by supported churches, two the of entanglement the There

16, (20 16, - called Mezzogiorno regions have in common is the historical fate historical the is common in have regions Mezzogiorno called

e fud n hrhs n oten tl so remarkable show Italy Southern in churches in found les 08): 514 08): - 520. -

shifts happened as a result of the Fourth Crusade. Even Crusade. Fourth the of result a as happened shifts - 515. 45

ai Cuc i Nra Italy Norman in Church Latin he more complex. ries and peripheries, one of which of one peripheries, and ries -

are taken as showing an Apulian Latin co Latin

- habitation that became that habitation

the complexity of the the of complexity the

. Cambridge: Cambridge: . ections ections CEU eTD Collection properlylocated. ofcann Apulia;Bernard which Saint in a mentions destination and pilgrimes voyages of the Šibenik about Ages] Middle Late the in pilgrimages Šibenik of 127 Wharton, Jane Annabel Calabria, 126 part of were groups denomination all three that argues and territory the in Jews and Latins Greeks, of cohabitation the with deals book published newly this of author 125 publications. region the between sources.textualimprecisionwith of do to has probablyprecise,which not but step, first useful a is Apulia with Dalmatia of connections trade tracing sense, this politic of variety a of reflections were ones Westernwith traditions of centers closer Constantinople. muchthan a centuries for last to traditions Byzantine Byzantineand thepost Norman the to prior rule regions the of Mezzogiorno. other to connections for search my expand to want I because not and ones, administrative view wider the use I cycle. Chrysogonus Saint the to material comparative as the discuss will I that are frescoes so and regions, Italian Southern other than rather Apulia, to related is document, communities. lived side by witheach inintermixed side,butlived other only not people these that concluding towards leaning more and more nowadays are scholars

Josip Kolanović, “Prilog povijesti Šibenskih hodočašća u kasnom sre kasnom u hodočašća Šibenskih povijesti “Prilog Kolanović, Josip Linda For instance, the geographical characteristics of particular areas; the rocks in Apulia are softer than those in in those than softer are Apulia in rocks the areas; particular of characteristics geographical the instance, For Greatregional ofthe differences Mezzogiorno r three the of one Calabria, and Basilicata besides was, Apulia prese I material the All l of relations The

Safran

f oten tl i odr o mhsz te utrl is rte ta the than rather ties, cultural the emphasize to order in Italy Southern of

Art and Art s are hard to draw, which is why the territory is often treated as a unit in unit a as treated often is territory the why is which draw, to hard are s

Identity in Southern Italy Southern in Identity - Byzantine periods. political Specific andsocial circumstances allowed aity are much more obscure, due to the lack of textual sources, yet sources, textual of lack the to due obscure, more much are aity Conquest Art of Empire Art of

td n h peiu sub previous the in nted , which naturally significantly reflected on art, in both the both in art, on reflected significantly naturally which , , 131. , Croatica christiana periodica periodica christiana Croatica The 2014). Press, Pennsylvania of University (Philadelphia: , fter the official rule of the empire ended, merging merging ended, empire the of rule official the fter 46 conditions. natural and factors, social and al

the same community. same the

as well as inter as thesignificant - hpe, ih h ecpin f one of exception the with chapter, dnjem vijeku” [A contribution to history history to contribution [A vijeku” dnjem

6, no. 9 (1982): 19 (1982): 9 no. 6, egions under Byzantine under egions 127 125

Tangibleborderlines

- - 20, writes 20, regional 126 ot be

In CEU eTD Collection only opening hours. hours. opening only 129 128 Italy poor in often are condition, but have that those and painting, monumental preserved have them of all the of territory the in churches such of thousands be might there di uneven their of many because how by say to hard is it sites; of number the multiplies significantly which cities, or towns Ap in only churches cave rock with locations the of because partially and inaccessibility and questions of ownership quantity, which hinder res the to due partially unexplored, largely remains still material This material. painting fresco rich provide that centers urban outside churches i and respect, this in fruitful more much are areas Rural decoration. interior and general in Italy Southern in as Apulia, of centers urban arein whichthey wall painting. Otranto in Pietro churches onseveral emphasis withparticular extensivelyhave published, been Byzantine ofSalento art post and Byzantine the Both historians. art Byzantinist among interest greatest the triggers Ages. Middle the throughout Orthodox predominantly was boot”)

Many of these rock G. A. Laud, A. G. -

The fact that these cycles have received so much interest has to do with the urban context the of “heal very (the Apulia eastern in Salento of territory the that noted be should It than the monuments in thecities do. in than the monuments -

such as Santa Cristina in Carpignano, Sant Carpignano, in Cristina Santa as such Latin Church in Norman Italy in Norman Church Latin

they are nevertheless sources that tell more about Byzantine painting in Southern

- placed placed

- whichmust acquiredhavea cut cut churches are part of private estates and closed to the public, or have irregular in

and the fact that visual evidence of Byzantine traditions is scarceByzantineevidence is in of traditions fact thatand visual the

stribution. Since other regions exhibit the same phenomenon, phenomenon, same the exhibit regionsother Since stribution. , (Cambridge: Cambridge University Press, 2007), 233. 2007), Press, University Cambridge (Cambridge: ,

47 ulia, and these l these and ulia,

- know status when it comes to Southern ItalianSouthern comes to it when status know a Maria della Cerate in Lecce, and San San and Lecce, in Cerate della Maria a –

earch. when it comes to both architecture both to comes it when ocations are in area of particular particular of area in are ocations 129 Mezzogiorno 128

There are several hundred

This is als is This . Naturally, not Naturally, . o the area thatarea the o t is rock is t

- season - cut - - CEU eTD Collection Study in Southern Italy”, 121. Academia.edu, Academia.edu, 121. Italy”, Southern 133 28. 2002), Brill, (Leiden: Metcalfe, A. and in Economy, Agrarian and “Settlement Martin, Marie Jean period., in 132 131 May2014. https://www.academia.edu/888629/Public_Textual_Cultures_A_Case_Study_in_Southern_Italy Study 130 three even occasionally or two of traces time, same the At caves. nearby the in settled indeed were churches these of users the that idea the to pointing evidence hard no is there far so but there that imply not does which century, ninth the than rock the of cycle fresco No frescoes. the are sites these years. of couple although publish be will results the material, and moment the at on going are site one on archeological excavations with dealing publications no found have I and view of either fortifying finding thevillage, a suitable or naturalprotection. be part of the type of ravin the cities, still seems to carry weight in Italian scholarship. The geography of the area, specific fled point some at that settlements lay of parts are churches the which to according Fonseca, churchesareascribed tomonastic communities. Calabriasuch and Basilicata Namely, in phenomenon. particularly Apulian a be consideredto the of Byzantine Empir part were that regions three all while that, noted be to needs It gathered. users the found around a church, and the existence of a so called common room, where it is assumed that suggest that they were used by laity.

Information received by Roberto Rotondo through personal communication. personal Rotondo through by received Roberto Information lasted th century throughout thefifth and Late in already Antiquity; occur started to in Theprocess rupestri”. “civilizacione InItalian: For an insightful study on patronage in Southern Italy, see Linda Safran “Public Textual Cultures: A Case Case A Cultures: Textual “Public Safran Linda see Italy, Southern in patronage on study insightful an For However, the churches have so far been discussed mainly from the art historical point historical art the from mainly discussed been far so have churches the However, so Theof the theory rock of usage The

es with multitudes of caves incaste 133 e exhibit alarge rockconcentratione exhibit of

With a lack of archeological interpretation, the only source of dating for dating of source only the interpretation, archeological of lack a With llamento

- u cuce i Aui i sil ytros Peevd inscriptions Preserved mysterious. still is Apulia in churches cut - called called , the

“civiliz process of retreating from the cities into the countryside and

130

Thi does ations of therocks of ations s is supported by evidence 48

allow allow such an interpretation. The sites would then

cutusage churches, theirby laymen is - was no human presence prior to that, to prior presence human no was The Society of Norman Italy Norman of Society The cut churches’ fundus is dated earlier dated is fundus churches’ cut , ” 131

defined by Cosimo Damianodefined by Cosimo

132

of agrarian activity often

. Last accessed accessed Last . , ed. G.A. Laud G.A. ed. , ed within a within ed e Medieval Medieval e CEU eTD Collection the Apulian rock Apulian the 137 Basilicata 136 135 Basilicata e 134 meaningful a provides which publication a nor phenomenon, separate a as Basilicata case particular inscriptionssuggestApulia, wherein ofthe by laymen. usage one Christianity. Orthodox in hermitism of part a considered and default, by monastic as are considered monastic. settlements, lay of part as interpreted are Apulia in churches things, others among refers, statement in somecases,Latin inothers, and andartists executing sowere the t denominations: judging by inscriptions, hagiography and iconography, the patrons religiouswere Greek about generalize to dangerous is it Yet appear. does iconostasis the where cases rite, at least th in the were Orthodox users of of the iconostasis,their judging by thepresence inventory as such churches, built urban in find can one that features show others crude, and small are some While 50). them about to make themlarger and tomake their walls more prove a long cycles of painting dating f A Forinformat more Linda Safran, “Scoperte Salentine”, Salentine”, “Scoperte Safran, Linda Marina Falla Castelfranchi, Castelfranchi, Falla Marina lba Medea, Medea, lba - dimensional view on the use of roc Apulia is often described as As the term suggests, these rock hv fud o ulcto ta das ih h rock the with deals that publication no found have I , ed. Franco Dell'Aquila and Aldo Messina, (Bari: M. Adda, 1998), 129. 1998), (Bari: Adda, M. Messina, Aldo and Franco Dell'Aquila ed. , 134 , (Bari: Mario Adda Editore, 1998), 37 1998), Editore, Adda Mario (Bari: , , as they are all unique; they differ in size, shape, and extent of alteration (Fig. 46 (Fig. alteration of extent and shape, size, in they differ unique; all are they as ,

- of these churches suggests that the liturgy was conducted in some of them, and them, of some in conducted was liturgy the that suggests churches these of term human presence human aroundcaves. term the Gli affreschi affreschi Gli - cut churches as monastic. as churches cut ion about the inventory, see Franco dell’Aquila, Aldo Messina, Messina, Aldo Franco about dell’Aquila, the inventory,see ion rhs bid rhs n ocsoal ee tasps n ase. The aisles. and transepts even occasionally and arches blind arches,

136 delle cripte eremitiche pugliesi eremitiche cripte delle rom the ninth to the eighteenth century in many of these churches do “La decorazione pittorica delle chiese rupestri.” In rupestri.” chiese delle pittorica decorazione “La

In traditional scholarship the rock

Estratto dalla rivistaArte dalla Estratto different

- k cut churches are natural caves which have been altered -

cut cut churches has long been abandoned; notably in the o h rock the to - 82 (esp. (esp. 60 82

than the other two post 49

suitable for painting.It hard is to , (Roma: Collezione Meridionale, 1939) interpreted 1939) Meridionale, Collezione (Roma: , - 70). Hereafter Hereafter 70).

- u churches cut Medievale - those of Basilicata and Calabria Calabria and Basilicata of those cut churches have been accepted -

cut churches of Calabria and and Calabria of churches cut 2/7, (2008), 70 (2008), (69 2/7, Le chieseLe rupestri. - Byzantine regions, and this Nml, hl rock while Namely, .

he frescoes. Le chiese rupestri di Puglia e Puglia di rupestri chiese Le Le chiese rupestri di Pugliachiese Le di rupestri

94) 135

generalize 137

This - cut e - CEU eTD Collection School Rome at School 140 139 Italy Norman in Church 138 areas. rural and competiveness political than would need pro undertaken been have steps large problem. this go into not sourcesand do textual largely on focus historian and historians socialwhereas pose, sites these that questions religious and social the solve to begin cannot alone history art as part of the“civilizations ofthe rocks” theory perpetuatedgap has a Namely, inscholarship. frescoes from rock cases of chronological proximity and iconographically,churches caverock in frescoesthe to corresponds centersurban in is there that evidence visual little the Furthermore, layers. multiple with deals one where wit frescos the else, nothing If world. the of rest the from segregated lived they that suggest to argument no still cave settling oflaymen idea acceptsof completein ifone the Even isolation. comprehensiveway. rock the of use the of question the answer to order in further studied be to need regions both that appears It Basilicata. and Calabria of those examples Apulian to more muc refer publications general the Even churches. these of use monastic the for explanation

Patricia Patricia Skinner, “Room for Tension: Urban Life in Apulia in the 11 See footnote 126. footnote See Neither G.A. Laud, A. Metcalfe Metcalfe A. Laud, G.A. Neither Patricia Skinner argues in favor of good co good of favor in argues Skinner Patricia rockthe to sourcesrelated written scarcity of The The most problematic aspect of the “civilizatio

66 (1998): 150 (1998): 66 per archeologicalper results. 140

- By the end of the first millenniu first the of end the By cut churchesmissing art from reflect cut fromcenters. the urban hin the rock the hin , (Cambridge: Cambridge University Press, 2007), mention the rock cave churches. rock churches. cavemention the 2007), Press, University Cambridge (Cambridge: ,

- 151. (Her 151. -

The Society of Norman Italy Norman of Society The and also states that there was a tight bond between the towns the between bond tight a was there that states also and - churches suggest some kind of economy, especially in cases in especially economy, of kind some suggest churches – ,

eafter stylistically as well. It is therefore logical to assume that the 139

but to get a comprehensive picture of the matter, one matter, the of picture comprehensive a get to but s of religion dealing with the territory of Southern Italy Southern territoryof the dealingreligionwith of s Room for Tension for Room

- operation between Apulian towns Apulian between operation m, a number of fortified villages on the on villages fortified of number a m, ns of the rocks” theory is the assumption ). , (Leiden: Brill, 2002), nor G. A. Laud, A. G. nor 2002), Brill, (Leiden: ,

- cut churches andchurches cut th

and and 12 138 th

Centuries”, Centuries”, Only recently have certainOnlyrecently have

their interpretationtheir - cut churches in a a in churches cut - Papers Papers of the British villages, there is villages, is there

- -

rather rather i n the n Latin Latin

h CEU eTD Collection Basilicata 145 144 2005). Lethielleux, (IV byzantine l’Empire dans 143 142 28. 2002), Brill, (Leiden: Metcalfe, A. 141 the of overview characteristics meaningful of the territory, or the give an aoutline of the demographic structure, however the present cannot I why is which province, Salento the then Salento. of patterns stylistic and iconographic the reflect to seems churches rock the from evidence community pa as so did but territory, same the in lived only not Greeks and Latins, Jews, denominational use of churches, as well as other public spaces. Epigraphic evidence shows that Salento, of can often find depictions and inscriptions of both in the same church. Especially in the province hagiographyarea ofthe show depended largely also is but Rome, to proximity its and Constantinople from region the of remoteness physical an East the of borderline the on are that features of variety a shows fact in it but Byzantine, called consensually is Apulia of art Monumental visual examples. vibrant. less much been have to seemed territory the of inland the with communication their while ports into developed hadcoast Adriatic

Patricia Skinner, “Room for Tension”, 153. Tension”, “Room Skinner, for Patricia Linda Safran “Public Textual Cultures: A Case Study in Study Case in A Cultures: Textual “Public Safran Linda Marina Falla Castelfranchi, Castelfranchi, Falla Marina Jean Marie Martin, “Settlement and Agrarian Economy”, in in Economy”, Agrarian and “Settlement Martin, Marie Jean Linda Safran, “The Art of Veneration: of Art “The Safran, Linda Visual evidenceconnectionVisual of lhuh h poic o Br hd dfeet eorpi stain te visual the situation, demographic different a had Bari of province the Although 142 145 , 129. ,

How this type of acti of type this How

. a place of extreme cultural interchange, one sees a variety of examples of inter of examples of variety a sees one interchange, cultural extreme of place a 144 From the perspective of rock of perspective the From

o a pcfc socio specific a n

- V ice, d aqe Lfr, eie orso ad en ire oii (Paris: Sodini Pierre Jean and Morrisson Cecile Lefort, Jacques ed. siècle), XV “La decorazione pittorica delle chiese rupestri.” In rupestri.” chiese delle pittorica decorazione “La

that bothEastern Western saintswere and venerated,

vity reflected on art is a matter of one can only judge through judge only can one of matter a is art on reflected vity

Saints and the Villages in the Salento and the Mani”, in Les Villages Villages Les in Mani”, the and Salento the in Villages the and Saints

141 - eiiu evrnet n h ae. tde i the in Studies area. the in environment religious

- and frequently traded with the other side of the sea,the of side other the frequentlywith and traded cut churches, th churches, cut 51

d the West. This can be seen as a result of the of result a as seen becan This West. the d Southern Italy”, 115. Southern The Society of Norman Italy Norman of Society The e area has been much less studied less much been has area e

Le chiese rupestri di Puglia e Puglia di rupestri chiese Le , ed. G.A. Laud and and Laud G.A. ed. , rt of the same the of rt 143

and one - CEU eTD Collection referring to the rock the to referring 146 rock the that and Basilicata, and Calabria for then area Apulian the rockthe in theme dominant arethe inscriptions, donor by supported often saints, of images Devotional cycles. these from absent pattern of Byzantine iconography and Basilicata frequency with thesame as inApulia. of laymen’s patronage. However, one can see the Deesis scene in rock a suggests Apulia of apses in Deesis the post three the of this point it seems to me impossible to distinguish meaningfully between iconographic patterns particular, but also for the wider Apulian area, and the Southern Italian developmental werepeople of bothdenominations thechurch. using that claim can one where this as such cases is it that believe I and Latin, and Greek both in written are arches blind the in depicted bishops the of names the d’Antico Lama In majority. wa population Greek the artists, although prevail, the inscriptions of Greek which since to especially and patrons of denomination the of reflection a are inscriptions signif patrons, about information crucial reveal not do certainly and extensive not reflected in art. pro do examined have I churches three

It is most likely this argument that caused the interchangeable usage of the terms “church” and “cryp and “church” terms the of usage interchangeable the caused that argument this likely most is It icant: T icant: eeal sekn, h rock the speaking, Generally As i The inscriptions in the churches of Santa San LorenzoCecilia, and Lama d’ Antico are n all cases of fragmentarily preserved evidence, it is hard to establish meaningfula hey are in two languages two in are hey

line for the frescoes of the rock

- - cut churches. cut Byzantine regions. Marina Falla Castelfranchi states that the appearance of appearance the that states Castelfranchi Falla Marina regions. Byzantine

with a peculiar circumstance: N - cut c cut - u cuce i Suhr I Southern in churches cut – vide some clues on how the cultural interchange was was interchange cultural the how on clues some vide

hurches. It has been claimed that this is more true for for truemore is this that claimed beenhas It hurches.

funerary character funerary Greek and Latin. It is hard to say to what extent the extent what to say to hard is It Latin. and Greek 52 -

cut cut churches. This goes for the Bari province in

146

for these churches and is a signa is and churches these for arrative scenes are frequently ay eel re a reveal taly - cut churches of these two two these of churches cut - cut churches of Calabria

territory in general. At

but one thing is thing one but nt n the in not s - occurring occurring t” when when t” CEU eTD Collection 150 a is which rupestre 149 148 In rupestri.” chiese delle 147 pr apse the to unrelated scene individual an as wall lateral the on depicted is one other the and apse, the in is Deesis One Casalrotto. in Nicola San of church the in Apulia, in attested been more S than a candidate plausible seems who Christ, is figure central the that accepts one if Zadar in Chrysogonus church. chapter, except that there one of the saints flanking Chr previous the in mentioned briefly Zadar in Peter Saint of church the of apse the in happened Damien. and Cosmas saints by flanked is Christ where Fasano, the in as such saints, other by replaced being Baptist the John and the figure of John the Baptist with another saint (Fig. 51 a pl are iconographic manner apse an has church the that (providing apse betweenregions, termsat in theoficonography. least differences delineate to criteria functional fully establish to difficult extraordinarily is it that from examples regions have richernarrativeprograms, devotional andfewer representations. Marina Falla Castelfranchi, Falla Castelfranchi, Marina FallaMarina Castelfranchi, usage, formonastic their an argument constitutes Which ogram. It has been argued that the latter has a devotional a has latter the that argued been has It ogram. Marina Falla Marina “Quando abitavamo grotta,” in Castelfranchi, in The church of Santa Cecilia near Monopoli, for instance, does not. does for Monopoli, instance, near Cecilia of Santa Thechurch enty of variations, including the Angel Deesis, the Great Deesis, and the replacement of of replacement the and Deesis, Great the Deesis, Angel the including variations, of enty , , 112, says that this is not very unusual, but that does not appea The same tothecan Deesis thingapplied inthe benorthern apse the church ofSaint of Most rock cave churc terminus post quem post terminus

around Matera, the capital of Calabria, exhibit just the opposite, which shows which opposite, the just exhibit Calabria, of capital the Matera, around Le chiese rupestri di Puglia e Basilicata e Puglia chiese di Le rupestri

–

featuring Christ between the Virgin and John the Baptist, although there

“La decorazione pittorica delle chiese rupestri”, in rupestri”, in chiese delle pittorica “Ladecorazione for this church. church. forthis aint Chrysogonus. The occurrence of two Deeisis scenes has also has scenes Deeisis two of occurrence The Chrysogonus. aint hes with preserved painting have the Deesis scene depicted in the

53 .)

148

The scene often appears in the most usual most the in appears often scene The

Atti Atti dei I. internazionale Convegno sulla civilita , 133. , ist ist is most likely the patron saint of the - d). There are cases of both the Virgin

r r before the beginning of the 13th century,

- funerary purpose funerary Le chiese rupestri,chiese Le 149

one of San Marco near near Marco San of one

hs s xcl what exactly is This “La decorazione pittorica pittorica “Ladecorazione 147 , 150

However, the

just like the like just 138.

CEU eTD Collection devotional purpose. with there placed were they that suggest might which cannon, iconographic as interpreted Biagio figures can be found on other scenes. An example of this can again be in the seen church of San show not does that disc Deesi a borderline between Archangel Michael from the church of Saint Chrysogonus likewise shows the idea of a scene Deesis,western and a (Fig Domini Majestas 52). way, this In evangelists. the of symbols the by surrounded and depicting Christ 152 an argument. such 151 whe distinguish to impossible are churches cave rock the of apses the Furthermore, reduced. seriously be to have would images the of scale the bishops, the depict to order in and small a purposeful a as it regard can one extent which to other territories with Byzantine traditions prese regions) two other the for true also is (which same Deesis type,theone because Nicola inSan presents thefiguresinfull Chrysogonus, Saint from archangel the with Deesis small

Marina Falla Castelfranchi, Falla Castelfranchi, Marina exactly of Theunevenness surface 86. the footnote See s/ Majestas Domini from Lama D’ Lama from Domini Majestas s/ The icon from Pisa brought into discussion as the parallel to the representation of the the of representation the to parallel the as discussion into brought Pisa from icon The d’ Lama the from one the is scene Deesis the of variants unusual most the of One , where , It has been argued that the absence of bishops in apses of Apulian rock c rock Apulian of apses in bishops of absence the that argued been has It

pr two figures in discs feature in the Annunciation scene (Fig 53 (Fig scene Annunciation the in feature discs in figures two flanked by the Virgin and John the Baptist, but who is also placed in a mandorla ophets, and their appearance in the scene seems to fall beyond fall to seems scene the in appearance their and ophets,

Byzantine andByzantine Western, which

what it is suppose is it what “La decorazione pittorica delle chiese rupestri”, in rupestri”, in delle chiese pittorica “Ladecorazione

e h clte tp, n te eitr elw trs Finally, starts. bellow register the and stops, calotte the re Antico. Furthermore, the idea of Saint Michael with a with Michael Saint of idea the Furthermore, Antico. . d 152

to 54

This is certainly true, but I cannot help wondering

may not have existing templates, but discs with discs but templates, existing have not may

in places that mark the borderline of the scene support scene borderline ofthe mark places the that in

lteration of the canon. The apses are rather are apses The canon. the of lteration is essentially the same asthe inthecase of is essentially thesame nts a peculiarity of the area compared area the of peculiarity a nts 151

although these two are not the not are two these although the image is both a Byzantine a both is image the

reua, n i i often is it and irregular, Le chiese rupestri, rupestri, chiese Le

). They have been have They ). size.

oe id of kind some

ave of the usual the of - 130. churches churches Antico, Antico,

on on to

CEU eTD Collection Sculpture and Wall Painting”, Academia.edu, Academia.edu, Painting”, Wall and 156 Century_The_Pr https://www.academia.edu/905195/Exploring_Artistic_Links_Between_Epirus_and_Apulia_in_the_Thirteenth_ Sculpture 155 379. 2008), Polomnik, Severnyi (Moscow: Zakharova, Vladimirova Popovoi O.S. cest' 154 depicted. was 153 Byzanti the of case typical a 54) sculpture the Magi upside down. is choir the of absence the namely, in in Saint Chrys Nativ the to particularities iconographic in parallels show not does unfortunately and cycles,good be depicts a ofpoint. mostly scenes,illustration this and narrative might bes the is which Normanni, Dei Vito San in Biaggio fragmentar only preserved are cycles the of most as might devotionalwith asimilar beleadas churches. ideainApulian northern the in placement their but line, longer much a probably was what moved to the northern wall. There are no clues to help identify the three figures remaining from chu elsewhere alt Ibid., 457. Ibid., hough thebishopsareabsent Valentino Pace, “La chiesa di Santa Maria della Cerrate e i suoi affreschi”, in affreschi”, in e suoi Cerrate i della Maria di Santa “La chiesa Pace, Valentino The representation of baby Jesus has been completely destroyed so one c one so destroyed completely been has Jesus ofbaby representation The the depiction of shepherds (Fig 55 a 55 (Fig shepherds of depiction the Linda Saf Linda , c fSitCrsgns weetesit dpce r o bsos n ihp were bishops and bishops, not are depicted saints the where Chrysogonus, Saint of rch 154

which which Linda Safran brings into connection with Epiros. nte Ntvt rpeetto fo te w the from representation Nativity Another I scene Nativity only The The absence of - - –

ran, “Exploring Artistic Links b Links Artistic “Exploring ran,

and comes from the portal of the church of Santa Maria della Cerrate in Lecce (Fig. as as one can see i oblem_of_Sculpture_and_Wall_Painting ogonus

[ The Image of Byzantium: A collection of Articles in the honor of O.S P O.S of honor the in Articles of collection A Byzantium: of Image The

narrative scenes could neither neither is Joseph placed on the wrong side, nor is there anything unusual

n the case of Lama d’Antico (Fig 54). The same can be said of the ne Nativity, ne

from the apse, they butdepictedwere likely most notomitted,

of angels above the cave, and the fact that the angel leading angel the that fact the and cave, the above angels of found in the rock the in found etween Epiros and Apulia in the 13 the in Apulia and Epiros etween - b). 156 153

55 it can, on a conceptual level, be compared to the to compared be level, conceptual a on can, it

be the current state rather than a general principal,

It rather reveals some reveals rather It

, last accessed May 2014, May458. 2014, last accessed , - cut churches of Apulia comes from there, there, from comes Apulia of churches cut t preserved of all the rock the all of preserved t ide il y. The program of the of program The y. pro i i a ifrn medium different a in is period r

155 annot say anything about the way he wayhe the about anything say annot Although Although it does not represent Obraz Vizantii: Sbornik statei v statei Sbornik Vizantii: Obraz

particularities th

Century: The Problems of of Problems The Century:

wall of the church the of wall

opova church of San San of church - cut

of its own: its of

churches’ ] , ed. Anna ed. , ity scene scene ity

- -

CEU eTD Collection 157 observedevidence transfers. ofsuch as of similarities the is it general, in already some study. of theobject been so in terms of portal of the cathedral in a

- Pina Belli D’Elia, “Presenze pugliesi del cantieri delle cattedrale”, in cattedrale”, in delle cantieri del pugliesi “Presenze D’Elia, Belli Pina called Master Radovan’s portal and sculpture from Apulian churches Apulian from sculpture and portal Radovan’s Master called Although there are no documented artistic transfers from Apulia to Zadar, nor Dalmatia

style, which should be seen

nother Dalmatian center

riat fud n ifrn sds f e ta sol be should that see of sides different on found artifacts 157

in the larger frame

–

Trogir (Fig 56). The two share similarities work Master Radovan

of of the connections between the , , 39 –

an issue that has that issue an - 58. 58.

CEU eTD Collection the between similarities stylistic demonstrates analysis comparative Furthermore, Italy. Southern rock the in seen be can occurrence same The demands. local to according Byzant of pattern happenexamples. inDalmatian scene Nativity Byzantine the of changes compositional that evident is it representation, the Magi ar cathedral the Trogir oftheHowever, theportal in since in needed. are examples additional argument, an into this develop to order In tradition. local of matter a it call to tempted be might one representations, both for common in peculiarities Since boththe location of thisfigure inrelationandthe Christ, drapery to the shepherds of a representation, his is equally close to the cave as Joseph from the church of Saint Chrysogonus. evangeli f him place or Magi, the below Joseph depict to impossible it made which composition, the of outlook horizontal elongated considerably the on based decision Byzantine unparalleled in his proximity is toChrist found in Byzantine examples, although the left hand side is a more common solution. However, provide substantial comparati research of state rock fr particularities iconographic

frescoes frescoes of Saint Chrysogonus and the three fresco cycles in the province of Bari. Based on - cave churches, this can be ascribed to the fragmentary the to ascribed be can this churches, cave Therefore, it can be said that the frescoes of the church of Saint Chrysogonus Saint of church the of frescoes the that said be can it Therefore, The placement of Joseph on the right rather than the the If Chrysogonus. St. at frescoes the for explanation historical art easy no is There ary of of Trogir shows a simi . The large body of frescoes from Southern Italy, relatively unknown, may unknown, relatively Italy, Southern from frescoes of body large The . n taiin n cngah ta mre wt cran etr elements Western certain with merges that iconography in tradition ine ves at aves later atdate. om the Nativity scene do Nativityscene the om

lar pattern. Although Joseph is placed on the left side of the CONCLUSION 57

examples that I know of, and it could be a a could be andI know of, it examples that not

find left side of the composition

state of frescoes, but also to the to also but frescoes, of state direct e placed on theright sideof e placed parallels in the Apulianthe in parallels r rm h cv. The cave. the from ar - cut churches of of churches cut

show a show

can be re re CEU eTD Collection monumental cyclesurbangreat frommajority centers, the has ofwhich lost. been the mirror frescoes their that implies communities, monastic than rather laymen, by used compared to a monastic church in an urban setting, but the fact that the rock reg two the between socio in difference great the by blurred is connection the although Ages, Zadar of study the for clue solid a provide Italy Southern in and row theseverely ofbishops. damaged Deesis, and Archangel the Nativity, the of presence the by demonstrated as scenes, narrative Saint of church the in scenes narrative more Chysogo no are there that say to reversed be can in SouthernItalian frescoes could bea consequ Byzantine tradition. Another asp of frescoes for unique hardly is feature this but latter, the and former the both to common rock turned an into argument. be to substantiation enough not has claim This cycle. Christological the from scenes other it Annunciation fresco was a repetition of the older scene (in theme, although not in layout), then century fifteenth the that accepts one If material. preserved the of percentage small a such on astime thethree rock were Chrysogonus Saint of frescoes the that proposed have I this

is possible to claim that the missing representations in the upper register would have featured - u cuce i Aui cn tl b dan Te essec o te ess cn i in is scene Deesis the of persistence The drawn. be still can Apulia in churches cut But if the program of Saint Chrysogonus ca Chrysogonus Saint of program the if But of reconstruction The The common features of the fresc the of features common The nus, but that the current state shows the combination of devotional representations and ions. It may seem that the frescoes in rock in frescoes the that seem may It ions. - cut churches inquestion.

the fresco program of Saint Chrysogonus cannot be done based based done be cannot Chrysogonus Saint of program fresco the ect is more significant. I have argued that the rarity of narration oes

of Saint Chrysogonus and the rock the and Chrysogonus Saint of

ence ofthe state ofpreservation

nnot be reconstructed, parallels with the with parallels reconstructed, be nnot - Apulian relations in the Middle Middle the in relations Apulian - cut churches should not be not should churches cut executed around the same the around executed - cut churches were - eiiu context religious . The argument - cut churches cut

CEU eTD Collection 2000), 480. 480. 2000), 159 2006), 72 Publishing, Blackwell (Oxford: Rudolph Conrad ed. 158 comparison between the frescoes of Saint Chrysogonus and th inZadarsituation can twodifferentat be the time, provided. solutions coasts, two the between contact of aspects different several consideration into taking After speculate. only can one which about matter a is happened transfer artistic this way Which such. as observed be should and basin, Mediterranean the cultu the of puzzle the of part a present Chrysogonus Saint of frescoes the soil, inappropriate. commi that nor negative was Greeks” the of “art the of audiences Latin or patrons Latin of perception the century)… norcared neither knew, about the art of theGreeks Anthony thatthe“maj Cutler’s opinion arbitrary. audiences attitudesare of images The Even towards likewise ifone obscure. accepts whether painting even had a role in liturgy. In this sense, even the religious separation becomes Little is known about the relationship of monumental painting and litur Apulia all situatedonthe coast as andfunction port centersmissing likelyare these cyclesmost centersinfrom churches which reflect; urban that chu these with connection into brought be not should they Fasano, are comparable to those of Santa Cecilia near Monopoli, Lama d’ Antico and San Lorenzo near Chrysogonus Saint of church the in frescoes the although Therefore, areas. rural in those and cit the in painting monumental in tendencies between distinction clear a make to possible Anthony Cutler, Cutler, Anthony Madeline Harrison Caviness Harrison Madeline The cycles that have been preserved in urban centers in Apulia suggest that it is not is it that suggest Apulia in centers urban in preserved been have that cycles The The first one involves the idea that a direct artistic transfer occurred. Given that the the that Given occurred. transfer artistic direct a that idea the involves one first The As a rare example of monumental painting from the period preserved on the Dalmatian

soig Gek rit o an a ai cuc wud ae en considered been have would church Latin a paint to artist Greek a ssioning

Byzantium, Italy and the North: Papers on Cultural Relations Cultural on Papers North: the and Italy Byzantium,

, “ , Reception of Images by Medieval Viewers,” in in Viewers,” Medieval by Images of Reception

ority ofWestern artists… (of and thetwelfth thirteenth 59

- - cities. 3.

e ones in the rock cave churches , as well as the general political general the as well as ” 159

this this in no way that implies rches per se, but with the with but se, per rches

(London: The Pindar Press, Pindar The (London: gy in the Latin rite ompanion to Medieval Art Medieval to ompanion ral transfers in transfers ral 158 ies,

or , CEU eTD Collection epigraphy o scope the outside aspects Moreover, Chrysogonus. Saint in ones the to parallels iconographic direct finding in result may which understudied larger inits part, provides the possibility broadeningcomparative of material the area Apulian The research. more requires certainly consequence were that. occurring before long the thirteenth century, before the v contact the analyze meaningfully to one allow not does sources of scarceness the Although historiography. in emphasized frequently been have Apulia and Dubrovnik geographical as well as trade, of terms in Zadar than competitive more much was that city the Dubrovnik: through came Chrysogonus such example. presentsone of church the that and period this around transfers of variety a been have must there that excluded be not should It examples. Apulian to connections medium, its in each show, (1243), period this exactly to dated Radovan, master of portal The art. on reflected also which regions, two the between contact intensified in resulted year1240 the around Dalmatia of cost the in cities of involvement Frederic II in the political matters of Zadar a the that plausible seems it However, evidence. visual be cannot with theory substantiated this master, the of hands same the show not do Bari of province the in The topic of relations of Apulia and Zadar and cultural transfers that occurred as a a as occurred that transfers cultural and Zadar and Apulia of relations of topic The On the other hand, it can be argued that the transfer was indirect, and that it most likely –

should be taken into accountget be into should taken clearer to a image.

and the fresco in the cathedral of Zadar, dated only a couple of decades later, later, decades of couple a only dated Zadar, of cathedral the in fresco the and isual material from the Elaphiti churches suggests that artistic transfers y lsr o pla Frhroe te oncin between connections the Furthermore, Apulia. to closer ly

ti thesis this f

60 nd his attempt to establish a connection with other

such as pilgrimage, hagiography and and hagiography pilgrimage, as such

, rich in visual evidence and evidence visual in rich ,

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rock for plans ground of varieties the of Some 50. Fig. May 2014. accessed Last Fig.49. dell’Aquila Lama D’Antico, interior, interior, LamaD’Antico, , Aldo Messina, Aldo ,

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