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A Contribution to Knowledge of gothic Goldsmithing in Dubrovnik
APA 6th Edition
Lupis, V.B. (2008). A Contribution to Knowledge of gothic Goldsmithing in Dubrovnik. Starohrvatska prosvjeta, III (35), 165-165. Preuzeto s https://hrcak.srce.hr/81345
MLA 8th Edition
Lupis, Vinicije B.. "A Contribution to Knowledge of gothic Goldsmithing in Dubrovnik." Starohrvatska prosvjeta, vol. III, br. 35, 2008, str. 165-165. https://hrcak.srce.hr/81345. Citirano 30.11.2023.
Chicago 17th Edition
Lupis, Vinicije B.. "A Contribution to Knowledge of gothic Goldsmithing in Dubrovnik." Starohrvatska prosvjeta III, br. 35 (2008): 165-165. https://hrcak.srce.hr/81345
Lupis, V.B. (2008). 'A Contribution to Knowledge of gothic Goldsmithing in Dubrovnik', Starohrvatska prosvjeta, III(35), str. 165-165. Preuzeto s: https://hrcak.srce.hr/81345 (Datum pristupa: 30.11.2023.)
Lupis VB. A Contribution to Knowledge of gothic Goldsmithing in Dubrovnik. Starohrvatska prosvjeta [Internet]. 2008 [pristupljeno 30.11.2023.];III(35):165-165. Dostupno na: https://hrcak.srce.hr/81345
V.B. Lupis, "A Contribution to Knowledge of gothic Goldsmithing in Dubrovnik", Starohrvatska prosvjeta, vol.III, br. 35, str. 165-165, 2008. [Online]. Dostupno na: https://hrcak.srce.hr/81345. [Citirano: 30.11.2023.]
The author continues his research into the Reliquary of the cathedral in Dubrovnik. Certainly the most important Gothic exponent in the Reliquary is the reliquary bearing the hand of St. Mary Magdalene. It is realistically formed and it belonged to the Convent of St. Clare. It is decorated in front with a relief image of St. Mary Magdalene in a Late Gothic niche. The surface of the sleeve of this richly gilded brachial is covered with 18 medallions in three rows bearing portrayals of: a dragon, St. Peter, a lion, an unidentified saint, an eagle, the saint with a cross, an archangel, a basilisk, an unidentified saint, a griffin, an unidentified saint, a unicorn and an unidentified saint. Certainly one of the most interesting items from the Dubrovnik Reliquary is the reliquary for the hand of St. Anthony the Abbot (XXXI), bearing images of falconry, while the image of a man and woman on this reliquary are associated with amorous symbolism, exceptionally popular under the designation caccia d’amore, which has its literary foundation in Boccaccio’s Ninfale fiesolano. The third reliquary examined is the brachial (XXXIX) of canonized Petilovrijenci brothers of Boka Kotorska, made of embossed, engraved and gilded silver. These reliquaries can be attributed to the hypothetical Master of the 2nd fantastic bestiary, who was in the fullest sense an artist that belonged to the international Gothic, with a rich artistic ensemble of motifs reflecting the complex medieval artistic imagination. Most of this group of reliquaries have their origins in the Church of St. Clare. An unknown goldsmith of Dubrovnik had at his disposal the most complex iconography, with a fantastic array of animals and figural portrayals of sophisticated courtly life and falconry.
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