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THE DISAPPEARANCE OF THE OLDEST CROATIAN FRANCISCAN SITE IN TROGIR
Milan Ivanišević
; Domovinskog rata 2A, Split
Sažetak
The first Franciscans (after the division of the order, the Conventuals) stayed in Trogir from 1214 to 1795. Up to 1538 they moved eight times. The first church and monastery were in the Trogir plain, at the intersection of the ancient cardo and decuman (now in ruins; 1214-1265). The building of the second church and monastery was commenced in the western part of town but never finished (close to the present Dominican monastery; 1265-1272). The third church and monastery were on the mainland close to the city (now the current Parish Church of Our Lady of the Angels), and they had their residence there three times (1272- 1315; 1319-1412 and 1420-1538). They moved from this into the city, into the Benedictine monastery and church of St John the Baptist (1315-1318) and twice into the Benedictine monastery and church of St Peter (1318-1319 and 1412- 1420). The last move was onto the island of Čiovo (1538-1795), hard by the old church of St Lazarus, alongside which they built a new monastery and church, which lasted even after the Conventuals moved to Šibenik, and is still there today. The site of the first church and monastery, dedicated to the Madonna of the Angels, was found thanks to cadastral records of 1830 and 1831, when it was already in ruins (the last fragment of the church collapsed on January 2 1831 ). There was a church on the site from 1214 to 1831, and it is the oldest Franciscan site outside Italy. Today of all the buildings, only a part of the apse and the place of its juncture with the southern wall of the church can be seen, in the garden of a newly built and rather large family house, started several years before 2000 and still not completed. This paper prints for the first time reports about the Franciscan buildings of 1579, 1603, 1625, 1631 and 1647. The report of 1579 concerning the Church of St Lazarus states that there was a painting of the Madonna over the main altar, a picture particularly revered by the congregation, and that it was decorated with silver donations. In a study of this information, I pointed to the likelihood that this painting was transferred from the old church to the church in Čiovo, and after the dissolution of this monastery was probably moved to some other Trogir church, for the diocese would not have wanted to interrupt the custom of reverence for the painting. In Trogir Cathedral there is a painting that up to 1931 still had silver crowns over the heads of Virgin and Child. When the painting was restored (1931-1933) the crowns were removed and are still kept in the sacristy. This painting is ascribed to the Trogir painter Blaž Jurjev (his first known painting was contracted for in 1412, and he wrote his will in 1448). A contract he made with the Trogir Fraternity of St Mary on September 15 is in existence. The Fraternity commissioned a painting for the main altar of the Franciscan church; the painting had five fields, and it was agreed that it would be completed by the Feast of the Annunciation in 1438, for a price of 200 libras, to be paid in agreed instalments by September 1438. In my opinion this contract is connected with the painting described in 1579 in the Church of St Lazarus, which, as I conclude, is the remains of the central picture ordered in the contract of 1437. This is the picture that was moved to the Trogir cathedral, and is today kept in the Trogir Ecclesiastical Art Collection. In terms of iconography this is a painting of Virgin and Child with Angels in a heavenly rose garden. It is known that the first Franciscan church in Trogir had the Portiuncula Indulgence, and thus I have attempted to interpret the iconography of the painting as a condensed symbolisation of the Portiuncula Indulgence. The Indulgence is essentially characterised by worship of the Virgin and Christ surrounded by angels in heaven, and on earth, the cult importantly features the rose garden in which St Francis of Assisi was living when he experienced the Portiuncula Indulgence. Starting off from the picture of the Virgin and Child, whom the people revered the most highly, the painter was able to bring in the significance of the Indulgence when he added angels, the heavenly rose garden and the rose that the Child offers to his Mother, all of these in this picture. This iconographic hypothesis would tend to confirm that the picture originally belonged to a Franciscan church, and when all of it is linked together with the 1437 contract, the likelihood of there being a connection between contract and painting is enhanced. This has enabled me to classify the painting (stylistically linked with the works of Blaž Jurjev) indubitably among his works, and in addition to provide a dating for it.
Ključne riječi
Hrčak ID:
110126
URI
Datum izdavanja:
8.8.2005.
Posjeta: 1.397 *