Original scientific paper
Reinterpretation of the Collegiata Church in Pag
Radovan Ivančević
; Sveučilište u Zagrebu
Abstract
On the basis of the complete analysis of architecture and sculpture of the collegiata church in Novi Pag (New Pag) founded in 1443. critical interpretation of the written and other sources, as well as on the basis of the comparative analysis of the church in Stari Pag (Old Pag) author examines the previous hypothesis in the competent literature which tackles the problems dependance between the old and the new churcb. He also discusses a non-exactly defined formulations on Georgius Mathei Dalmaticus's participation in constructing the collegiata church; author publishes the new evidence (Ruić's drawing of the portal, capitals in the sanctuary, reliefs built into the campanile walls) and reanalysing the former almost always inadequately treated sculpture on the fasade he recognises the work of three sculptors, and suggests a new iconographic and stylistic-artistic interpretation of the fasade as well as revaluation of the entire church. Emphasising the significance of Cvito Fisković's contribution (1935) in the previous interpretation of the collegiata in Pag
author continues analysing the three main phases of construction: gothic, renaissance and baroque. In the first gothic phase sculptors Pavao and Juraj Dmitrovi from Zadar agree (1443—1445) upon constructing the three apses. after which the sacristy was built. The very spatial concept of the complete three naves (one nave and two aisles) type of basilica was also probably theirs. Author maintains that the three apsed sanctuary of the New Pag church is not only different but (for one whole stylistic phase) »more advanced« than the apsidal part of the church in Old Pag: square ribbed vaulted apses of the new church are typically gothic (influence of the mendicant orders) while in the church of Stari Pag and early romanesque compositios is applied in the central protuberant semioircled apse and lateral apses, immerged in the wall (variable of the istrian type, alike the one in Zadar cathedral). Author presumes that such archaic apses could not have been conceived by Paulus from Salmona, gothic sculptor and architect who modelled the reliefs on the main fasade (1392) as it had been suggested by some earlier authors (Fisković, Petricioli). Except the stylistic-typological reasons the technical analysis of the church in Stari Pag also proves that gothic fasade of the 14th century was built in front of and earlier
romanesque church. Second — gothlc-renaissance phase of collegiata in Novi Pag commenced by the intervention of Juraj Dalmatinac in the fourties of the 15th century lasting up to the fifties of the 16th century. Author considers that Juraj's could be the project of the principal fasade bearing the non-completed monumental high reljefs. Recheking the 1466. dated contract which has been constantly cited as the proof of Juraj's participation in the erection of the collegiata fasade in Pag — author assumes that subject of discussion in the document »frontespizio capella maggiore« (frontspice of the chapel) is not the church fasade because it undoubtely concerns the »fasade of the main apse«, respectively the main arch. It is by this document that we deduce Juraj's former participation parallel to the documented works performed on the city walls and towers of Pag in the Sth decade of the 15th century — in reconstructing the previously but modestly built apsidal part of the church. The church apparently seeked for a more monumental aspect and the remains of this labour might be the two capitals built into the sanctuary pavement; it is possible that Juraj contrived the relief composition above the main arch (»fasade of the main apse«) executed later in the period of baroque. That Juraj also projected the main fasade of the church is not proved only by the late document (1492), but in author's opinion clearly displayed through the structural analysis. At the
request of the investor some of the iconographic and formal elements from the old church were applied to the new fasade but it reveals a completely new gothic-renaissance structure; horizontal network of the four tectonically distributed cornices (the old one has only two) exchange with the vertically distributed reliefs-figures. Author reconstructs the former composition of the collegiata fasade maintaining that the middle of the gable was occupied by the semiflgure of Christ, now built into the campanile wall. The figure of the angel also built into the campanile was probably symmetrically situated with the identical
angel at the southwest corner of the fasade (effigy of the Saint on the northern corner replacing the angel, might represent the mourning Madonna carved for the Juraj's composition on the triumphal arch). Through the analysis of the iconographic programme of the fasade author concludes that theologically-speculative and symbolic programme of the old churcb fasade had been transmitted into the new one with renaissance and humanistic features; similar creative interpretation occured in Šibenik cathedral and baptistry, the fact inducing author to
ascribe the fasade of Pag also to Juraj. Instead of Archangel Gabriel, personifying the Annunciation on the old fasade, on the new one there is the scene of Annunciation with Virgin Mary and the pidgeon of the Holy Spirit; instead of two reliefs of St. George on the old fasade, here we have St. George and St. Michael, while the typically medieval figure of St. George on the horseback is being substituted by a typically renaissance standing figure. Assuming that Juraj himself defined the size and the volume of the sculptures, that is the high relifs on the fasade, author in their uncompleted dressing distinguishes three stonemasons: to the first one he assignes the unfinished figures of St. Michael and St. George (and perhaps St. Gabriel) in their idealistic gothic style; to the second obviously worse and almost naive stonemason he ascribes the Lady from the Annunciation and the semifigure of Christ (both of which are situated in the frame with indentation). To the third master, stylistically nearest to the Juraj's workshop author ascribes the sculpture of the angels with their wide spread wings, and the saint (maybe a Madonna). Reconstructing the former display of the main portal on the basis of Ruić's drawing which author presently publishes (with three pairs of columns instead of two and 12 stars around the Holy Vergin, showing the combination of the themes Virgin Assumption and Vergin of Mercy) author scrutinises, in details the relief of Virgin of Mercy on the lunette and concludes that the composition probably belongs to Juraj, but the execution for its emphasised realism and naturalistic details indicate the hand of his assistant Ivan Prlbislavić. Pribislavić also worked in Pag in those years (on the Bishop's palace) and we know of his collaboration with Juraj on costructing the portal of St. Francis church in Ancona [1454) established by the documents. The heads of the old men in the lintel of the Ancona portal typologically correspond to the men figures of the Pag lunetta. The churcb arcades with renaissance capitals, probably the work of Andrijić's workshop (C. Fisković) were constructed somewhat later and the latest is campanile over the sacristy (1552). Author proposes that campanile should not be connected to the romanesque one in Rab, or the renaissance campanile in Hvar (C. Fisković) because it represents the typical renaissance campanile, though particularily depending on the older traditions of trecento and with specific usage of reliefs on the fasade. The third phase of construction the collegiata belongs to the baroque renovation in the 18th century when the lateral fasade with false arcades was renewed, and two portals opened, the main apse was rebuilt, changed the windows and stucco decorations installed on the ceiling. Both underlined problems in this study — the relation of the old and the new Pag churches — as well as the role of Juraj Dalmatinac (Georgius Mathei Dalmaticus) and his workshop overcross, under author's opinion, the boundaries of local interest, because the first problem is methodologically important in general, and the second pertains to the most important artistic opus in the middle of 15th century on the East Adriatic coast. Insisting upon the originality and value of the iconographic programme and modelling of the principal fasade on the New Pag church author declares that it is an original and significant architectural and sculputral monument of the mixed gothic-
renaissance style of the 15th and 16th century in Croatia.
Keywords
Hrčak ID:
160212
URI
Publication date:
15.12.1982.
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