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Franka Horvat ARTISTIC TRANSFERS FROM ACROSS THE ADRIATIC SEA: THE THIRTEENTH CENTURY FRESCOES IN THE CHURCH OF SAINT CHRYSOGONUS IN ZADAR MA Thesis in Comparative History, with a specialization in Interdisciplinary Medieval Studies. CEU eTD Collection Central European University Budapest May 2014 ARTISTIC TRANSFERS FROM ACROSS THE ADRIATIC SEA: THE THIRTEENTH CENTURY FRESCOES IN THE CHURCH OF SAINT CHRYSOGONUS IN ZADAR by Franka Horvat Croatia Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Comparative History, with a specialization in Interdisciplinary Medieval Studies. Accepted in conformance with the standards of the CEU. ____________________________________________ Chair, Examination Committee ____________________________________________ Bela Zsolt Szakacs ____________________________________________ Examiner ____________________________________________ Examiner CEU eTD Collection Budapest May 2014 ARTISTIC TRANSFERS FROM ACROSS THE ADRIATIC SEA: THE THIRTEENTH CENTURY FRESCOES IN THE CHURCH OF SAINT CHRYSOGONUS IN ZADAR by Franka Horvat Croatia Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Comparative History, with a specialization in Interdisciplinary Medieval Studies Accepted in conformance with the standards of the CEU. ____________________________________________ External Reader CEU eTD Collection Budapest May 2014 ARTISTIC TRANSFERS FROM ACROSS THE ADRIATIC SEA: THE THIRTEENTH CENTURY FRESCOES IN THE CHURCH OF SAINT CHRYSOGONUS IN ZADAR by Franka Horvat Croatia Thesis submitted to the Department of Medieval Studies, Central European University, Budapest, in partial fulfillment of the requirements of the Master of Arts degree in Comparative History, with a specialization in Interdisciplinary Medieval Studies. Accepted in conformance with the standards of the CEU ____________________________________________ External Supervisor Budapest May 2014 CEU eTD Collection I, the undersigned, Franka Horvat, candidate for the MA degree in Comparative History, with a specialization in Interdisciplinary Medieval Studies declare herewith that the present thesis is exclusively my own work, based on my research and only such external information as properly credited in notes and bibliography. I declare that no unidentified and illegitimate use was made of the work of others, and no part of the thesis infringes on any person’s or institution’s copyright. I also declare that no part of the thesis has been submitted in this form to any other institution of higher education for an academic degree. Budapest, __ May 2014 __________________________ CEU eTD Collection ACKNOWLEDGEMENTS In 2011 I briefly worked for the Croatian Conservation Institute on the project of the restoration of the church of Saint Chrysogonus. It was this experience that inspired me to write about the frescoes, and Ivan Srša, my employer at the time, who encouraged me. I owe him a thank you for this, as well as for all the visual material he gave me. As many researches do, this one started as a project with an idea quite different than how it ended up. I would therefore like to thank my supervisor Bela Zsolt Szakacs for giving me sound advice throughout the way and not letting me get lost, while still allowing me to pursue a direction in which I wanted to go. Acknowledgements must also go to my second reader, Gerhard Jaritz, who urged me not to forget about particular social aspects, and to Judith Rasson, who corrected the language, but also gave me a couple of words of support when I most needed it. I am very grateful to professor Linda Safran of the University of Toronto for helping me decide how to narrow my search for comparative material, and for all of her other advices, articles, and photographs which she shared with me. I would also like to thank Roberto Rotondo of the Lama d'Antico Park, who guided me to the sights, and sent me photographs of great quality, when mine turned out to be fuzzy. This thesis was truly written with “a little help of my friends”, some of whom contributed beyond moral support. I would like to thank Aleksandar Kondić and Ivan Marić for technical help, and Vedran Sulovsky, for his amazing engagement of reading the entire thesis on such short notice; for all of his comments, suggestions, and effort most of all. CEU eTD Collection Last, but not least, a very special thanks goes to a very special person; Anna Christidou, who is no longer with us, but who helped me tremendously in the first year of my studies - both professionally, and personally. I consider her my supervisor, but also - my friend. Anna, I hope you would have liked what this thesis turned out to be. TABLE OF CONTENTS LIST OF FIGURES ..................................................................................................................................... ii INTRODUCTION: SETTING A CONCEPTUAL FRAMEWORK .................................................................... 1 Chapter 1: CREATING THE SETTING: THE CULTURAL AND DOCUMENTARY CONTEXT ....................... 5 Historiography .................................................................................................................................... 5 The monastery and its archive ........................................................................................................... 8 Dismissing Venice ............................................................................................................................. 13 Chapter 2: THE CHURCH OF SAINT CHRYSOGONUS UNDER A MAGNIFYING GLASS ......................... 16 Architectural Features ...................................................................................................................... 16 The Mosaic ........................................................................................................................................ 18 The Frescoes ..................................................................................................................................... 21 Iconographic analysis ....................................................................................................................... 27 Dating ................................................................................................................................................ 35 Chapter 3: CONNECTIVITY TO SOUTHERN ITALY ................................................................................. 40 Reconstructing the connection pattern ........................................................................................... 42 The complexity of the Southern Italian territory ............................................................................ 45 Visual evidence of connection ......................................................................................................... 51 CONCLUSION ........................................................................................................................................ 57 BIBLIOGRAPHY ...................................................................................................................................... 61 FIGURES ................................................................................................................................................ 68 CEU eTD Collection i LIST OF FIGURES Fig. 1. The church of St. Chrysogonus, Zadar – view from the west (photograph by author). Fig. 2. The church of St. Chrysogonus, Zadar – view from the east, http://proleksis.lzmk.hr/58319/. Last accessed May 2014. Fig. 3. The church of St. Anastasia, Zadar, http://hr.wikipedia.org/wiki/Zadarska_katedrala. Last accessed May 2014. Fig. 4. San Nicola, Bari, http://en.wikipedia.org/wiki/Saint_Nicholas. Last accessed May 2014. Fig. 5. The cathedral of San Sabino, Bari, http://wikimapia.org/5840077/Cathedral-of-St- Sabinus. Last accessed May 2014. Fig. 6. The cathedral of Sant' Eustachio, Matera (photograph by author). Fig. 7. The church of St. Chrysogonus, Zadar – interior, http://www.panoramio.com/photo/9012535. Last accessed May 2014. Fig. 8. The cathedral of San Sabino, Bari – interior, http://www.officeoftourism.org/img/europe/ita/pug-ba-duomo.jpg. Last accessed May 2014. Fig. 9. The cathedral of San Nicola Pellegrino, Trani – interior, http://www.dpeck.info/italy/italy2011c.htm. Last accessed May 2014. Fig. 10. The church of St. Chrysogonus, Zadar – view on the northern apse and the northern wall (photograph by author). Fig. 11. The church of St. Chrysogonus, Zadar – the Transfiguration scene: a. current state, b: ideal reconstruction by Miljenko Domjan, The Croatian Conservation Institute, The Report of the Restoration Campaign of 2011-2012, 25-26. Fig. 12. The church of St. Chrysogonus, Zadar – the northern apse calotte, (photograph by author). Fig. 13. The row of bishops in the northern apse, detail - Cosmas and Damien, (photograph property of the Croatian Conservation Institute). CEU eTD Collection Fig. 14. The row of bishops in the northern apse, detail - unidentified saint (photograph property of the Croatian Conservation Institute). Fig. 15. The row of bishops in the northern apse, detail - inscription held by John the Baptist (photograph property of the Croatian Conservation Institute). Fig. 16. View on the triumphal arch - the Annunciation scene, (photograph by Ivan Srša). ii Fig. 17.

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