EARLY CROATIAN ARCHITECTURE .A Study of the Pre-Romanesque
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EARLY CROATIAN ARCHITECTURE .A study of the Pre-Romanesque. ...-- - The churches of the early medieval kingdom of Croatia form one of the largest and most interesting groups of buildings in the formative period leading up to the flowering of Romanesque architecture. This book offers the first overall survey and analysis of these buildings, distinguishing a Pre-Romanesque style which can be appreciated in its own right apart trom later developments of the Romanesque. Bringing between one set of covers for the first time over 100 buildings of the period, this scholarly book provides the information necessary for a proper understanding of a little-known but important chapter of early medieval art. Vladi mir Goss took his BA and MA at the University of Zagreb and his PhD at Cornell. He is Director of the Ridgeway Arts Center in Hillsborough, NorthCarolina, USA. ISBN O 7156 21491 IN UKONLYE18 NET EARLY CROATIAN ARCHITECTURE EARLY CROATIAN ARCHITECTURE a study of the Pre-Romanesque Vladimir P. Goss Duckworth First published in 1987 by Gerald Duckworth & Co. Ltd The Old Piano Factory 43 Gloucester Crescent, London NWl © 1987 by Vladimir P. Goss All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. ISBN O7156 21491 British Library Cataloguing in Publication Data Goss, Vladimir P. Early Croatian architecture : a study of the Pre-Romanesque. 1. Church architecture- Yugoslavia Croatia- History I. Title 726' .5'094972 N A5942 ISBN 0-7156-2149-1 Photoset in North Wales by Derek Doyle & Associates, Mold, Clwyd Printed in Great Britain by Ebenezer Baylis & Son Limited, Worcester Contents Preface 7 List of Croatian names 10 List of illustrations 13 Introduction 17 Part One: General I. Traditional Pre-Romanesque 35 2. Royal Pre-Romanesque 73 3. Early Romanesque 87 4. Conclusion 96 Part Two: Catalogue 1. Traditional Pre-Romanesque 103 (i) Centralized buildings 103 (ii) Aisleless longitudinal buildings 116 (iii) South Dalmatian buildings 121 (iv) Aisled buildings 132 (v) Small-scale aisled Dalmatian buildings 136 (vi) Miscellaneous 144 2. Royal Pre-Romanesque 148 3. Early Romanesque 156 4. Problem Buildings 162 Illustrations 167 Maps 216 Bibliography 219 Index 243 Preface While I am fully aware that this book is only a step towards a clearer picture of an important and still inadequately known chapter of early medieval art, I hope that it will be found a useful introduction to the fascinating subject of Early Croatian architecture, and that the catalogue and illustrations, bringing between one set of covers for the first time over a hundred Pre-Romanesque and Early Romanesque buildings, will serve to provide essential information on every building and so prove a handy tool for scholars working in the field. Since the text was completed new ideas have been generated and new discoveries made - both by my colleagues and by me - but upon the most recent review I am convinced that no substantial changes are needed. Thus the latest research has raised doubts about the form, indeed the very existence, of the Baptistery at Nin (Catalogue No. 7) and St. Peter in Muc (No. 10); and the question which church on the island in Solin is St. Mary and which St. Stephen (Nos. 33 and 35) has been discussed yet again, the latest suggestion being that the larger northern church (No. 35) was indeed St. Stephen while the smaller southern church did not exist before the seventeenth century. But as there seems to be no clear consensus on these issues, I have left my Catalogue entries 7, 10, 33 and 35 unchanged. It remains for me to pay tribute to the many institutions and individuals who have helped and encouraged me. A Cornell University graduate fellowship gave me the opportunity to continue my graduate studies. Without this generous support my doctoral thesis and, consequently, this book would never have been written. I am deeply grateful to Cornell University, the Cornell Graduate School, the Departments of History of Art and History and their Faculties, my advisor Professor Robert G. Calkins, and Professors Albert S. Roe, Brian Tierney, Esther G. Dotson and James J. John, whose intelligence, guidance and patience contributed enormously to my completion of the work. 7 8 Preface My research in Europe was made possible by a grant of the Goldring Memorial Fellowship, and the preparation of the manuscript by a grant from the University of Michigan Dearborn. I have benefited at many points from the instruction, encouragement and advice of scholars whose knowledge and understanding of the subject have been immensely stimulating and who, in many cases, have kindly given me permission to use the illustrative material in their possession. I am particularly indebted for these courtesies to Dr Grgo Gamulin, Professor of Art History at the School of Arts and Sciences and the former Head of the Art History Institute of the Croatian University of Zagreb; Dr Milan Prelog, Professor of Art History of the School of Arts and Sciences and Head of the Art History Institute; Dr Ivo Petricioli, Professor of Art History of Zadar University; Dr Andre Mohorovicic, Member of the Academy, Professor of Art History at the School of Architecture of the Croatian University of Zagreb; Dr Stipe Gunjaca, Member of the Academy, Director of the Museum of Croatian Archaeological Monuments and the Institute of National Archaeology of Split; members and staff of the Museum of Croatian Archaeological Monuments and the Institute of National Archaeology of Split, particularly Mr Duje Jelovina; Dr Zdenko Vinski and Dr Ksenija Vinski-Gasparini, Senior Custodians of the Archaeological Museum of Zagreb; Rev. Dr Marijan Grgic, Head Custodian of the Museum of Croatian Sacred Art at Zadar; to Dr Miroslav Brandt, Professor of History at the School of Arts and Sciences of the Croatian University of Zagreb; Ms Melita Vilicic, Assistant Professor of Architectural History at the School of Architecture of the Croatian University of Zagreb; Dr Cvito Fiskovic, Director of the Regional Institute for the Preserv.ation of Monuments at Split, and Mr Davor Domancic and Mr Ivo Babic, Members of the Institute; Dr Tomislav Marasovic, Member of the Urban Planning Institute of Da,lmatia at Split; Dr Dubravka Beritic, Director of the Dubrovnik Institute for the Preservation of Monuments, and her father and former Director of the Institute, the late Captain Luksa Beritic; Dr Angjela Horvat, former Senior Research Member at the Zagreb Institute for the Preservation of Monuments of the Republic of Croatia; Ms Ksenija Radulic, Director of the Preservation of Monuments Institute of Zadar; Rev. Ante Dracevac of Ston; the Directors and the Staff of the Preface 9 Archaeological Museum of Zadar, Archaeological Museum of Osor, the City Museum of Nin, tpe Museum of the City of Biograd, the Museum of the City of Sibenik, the City Museum of Trogir, and the University Library of Zagreb. Finally, special thanks are due to my dear friends, Mr Vladimir Bedenko, Assistant Professor of Architectural History at the School of Architecture of the Croatian University of Zagreb, and Mr Draien Smaic, with whom I had the pleasure of sharing many an agreeable moment on our research trips all over Croatia; to my mother, Dr Sena Gvozdanovic-Sekulic, Professor of Architectural History at the School of Architecture of the Croatian University of Zagreb, who has been endlessly helpful in supplying drawings and photographs and who has assisted me in ways both innumerable and indispensable; to Ms Visnja Gvozdanovic, B. Arch., who shared many of my research trips and, with rare patience, copied many of the drawings and supplied the maps; to Professors Jean O'Meara and Christopher C. Dahl of the English Faculty of the Department of Humanities, University of Michigan-Dearborn; and to Ms Frances C. Locher, who kindly undertook the difficult task of improving the linguistic aspects of the manuscript. A final word of appreciation I owe to all those people whom I have had the pleasure of meeting during my work and who extended to me their friendly advice, encouragement or hospitality. September 1986 V.G. Croatian names and their English or Latin equivalents Sv. stands for Sveti (masculine) or Sveta (feminine) meaning Saint. Croatian English or Latin Andrija Andrew Ante Anthony Barbara Barbara Damjan Damian Danijel Daniel Dimitrije Dimitri Donat Donatus Eufemija Euphemia Filip Philip Ilija Elias Ivan John Jakov James Juraj George Kliment Clement Kriz Cross Krsevan Chrysogonus Kuzma Cos mas Lovro Lawrence Lucija Lucy Luka Luke Maksim Maxim Marija Mary Marta Martha Martin Martin Mihajlo Michael Mihovil Michael Mojsije Moses Nedeljica Domenica 10 List of Croatian names 11 Croatian English or Latin Nikola Nicholas Pelegrin Peregrine Petar Peter Pl a ton Plato Sigurata Transfiguration Silvestar Silvester Spas Saviour Src:t Sergius Stjepan Stephen Stosija Anastasia Teodor or Tudor Theodore Toma Thomas Tri fun Triphon Trojica Trinity Vid Vitalis Viktor Victor Ir Illustrations Unless noted otherwise, the photographs were taken by the author or belong to the collection jointly owned by the author and Professor Sena Gvozdanovic-Sekulic of the Croatian University of Zagreb, who is the author of all the drawings. 1. Split. Sv. Trojica (around 800). Plan. 2. Oslje. Octachora (probably tenth and eleventh century). Plan. 3. Zadar. Sv. Vid (probably second half of the eighth century). Plan. 4. Nin. Sv. Kriz (around 800). Plan. 5. Savar. Sv. Pelegrin (probably mid-eleventh century). Plan. 6. Povljana. Sv. Nikola (probably mid-eleventh century). Plan. 7. Uzdolje. Sv. Luka (895). Plan. 8. Solin. Sv. Stjepan (before 976). Plan. 9. Ston. Sv. Mihajlo (possibly tenth century and around 1100). Plan. 10. Solin. Sv. Marija (before 976). Reconstruction.