APA 6th Edition Fisković, I. (1995). Firentinčev kip u Trogiru sv. Jeronima. Peristil, 38 (1), 59-66. Preuzeto s https://hrcak.srce.hr/151182
MLA 8th Edition Fisković, Igor. "Firentinčev kip u Trogiru sv. Jeronima." Peristil, vol. 38, br. 1, 1995, str. 59-66. https://hrcak.srce.hr/151182. Citirano 29.03.2020.
Chicago 17th Edition Fisković, Igor. "Firentinčev kip u Trogiru sv. Jeronima." Peristil 38, br. 1 (1995): 59-66. https://hrcak.srce.hr/151182
Harvard Fisković, I. (1995). 'Firentinčev kip u Trogiru sv. Jeronima', Peristil, 38(1), str. 59-66. Preuzeto s: https://hrcak.srce.hr/151182 (Datum pristupa: 29.03.2020.)
Vancouver Fisković I. Firentinčev kip u Trogiru sv. Jeronima. Peristil [Internet]. 1995 [pristupljeno 29.03.2020.];38(1):59-66. Dostupno na: https://hrcak.srce.hr/151182
IEEE I. Fisković, "Firentinčev kip u Trogiru sv. Jeronima", Peristil, vol.38, br. 1, str. 59-66, 1995. [Online]. Dostupno na: https://hrcak.srce.hr/151182. [Citirano: 29.03.2020.]
Sažetak In the Renaissance chapel of the blessed John of Trogir dating from the last quarter of the fifteenth century the statue of Saint Jerome has been placed, along with the figures of the twelve apostles, in one of the niches of the middle zone. In numerous studies this figure has been attributed to Andrea Alexius, the sculptor who was commissioned to work on the decoration of the chapel with Nicolo di Giovanni in 1468. After a detailed analysis of the morphology and expressiveness of the statue of Saint Jerome, in this text attrubuted it is to Nicola. In the statue the author recognizes the work of an artist who learned his craft in Italy. Owing to its iconology the author relates it to other statues of holy hermits found in Trogir and attributes them to Nicolo, although former critics tended to attrlbute them to Alexius. He also points out that the size of the base and lower part of the statue was subsequently reduced in order to fit it into a narrower niche which was evidently not its first location. Studying historical documents the author discovers that the small church of the Assumption of Mary situated just across the cathedral had previously had an altar with a statue of Saint Jerome. In that very church Nicolo di Giovanni added in 1476 an altar of Saint Sebastian with a fine sculpture of this saint. Comparing these two statues the author concludes that they both belong to the first phase of Nicolo's activity in Trogir, also drawing attention to their painted models (sketches). This leads to an entirely new evaluation of a notable sculpture and throws new light on the relation of two famous artists of Renaissance Dalmatia.