APA 6th Edition Maruševski, O. (1988). Suvremenost oblika u obnovi sakralnih objekata. Peristil, 31-32 (1), 59-60. Retrieved from https://hrcak.srce.hr/153314
MLA 8th Edition Maruševski, Olga. "Suvremenost oblika u obnovi sakralnih objekata." Peristil, vol. 31-32, no. 1, 1988, pp. 59-60. https://hrcak.srce.hr/153314. Accessed 29 Nov. 2020.
Chicago 17th Edition Maruševski, Olga. "Suvremenost oblika u obnovi sakralnih objekata." Peristil 31-32, no. 1 (1988): 59-60. https://hrcak.srce.hr/153314
Harvard Maruševski, O. (1988). 'Suvremenost oblika u obnovi sakralnih objekata', Peristil, 31-32(1), pp. 59-60. Available at: https://hrcak.srce.hr/153314 (Accessed 29 November 2020)
Vancouver Maruševski O. Suvremenost oblika u obnovi sakralnih objekata. Peristil [Internet]. 1988 [cited 2020 November 29];31-32(1):59-60. Available from: https://hrcak.srce.hr/153314
IEEE O. Maruševski, "Suvremenost oblika u obnovi sakralnih objekata", Peristil, vol.31-32, no. 1, pp. 59-60, 1988. [Online]. Available: https://hrcak.srce.hr/153314. [Accessed: 29 November 2020]
Abstracts The Cathedral was re-built in the 1895 — 1897 period,
according to H. Bol/e's project, in the neo-Gothic style, referring
to the 14lh century when an Augustinian monastery
had existed in the area, changed into a Baroque Franciscan
one since the 17th cenfury The Hol y Cross Churcb f rom
the 13th — 14th century, with a presevved Gothic sanctuary
and a nave baroquized in the 18th century, was restored in
1912 — 1913 as the first building according to the recommendations
of the Board for Protection of Ar t and H>storical
Monuments, founded in 1910. A proposal given by D. Sunko
t o re-gothicize the churcb according to the t races on the
building and descriptions from the r ecords >vas declined.
A procjet by S. Podhorski, preserving the then present state
but erecting the ruinous tou er and the pre»iously den>olished
vestry in the Jugendsty/e forms n'as adopted. Due to the
concurrence of events, opposing approaches to restoration
came into collision, i.e. stylistic uniformity> in the spirit of
historisn>, and presar»ation instead of restoration, initiating
the period of Modernism wit h i t s ini t ial out lines for the
protection of monuments gi»en in A. Riegl's paper entitled
»Der moderne Denkmalkultus sein Wesen seine Entstehune«.
Today, the style of the Cathedval as an expression of the
modem taste may be re-e»aluated, extending the sense ofRiegl's»artistic cravingsa to historism.