APA 6th Edition Tudor, A. (1998). Prilog poznavanju utjecaja Jurja Dalmatinca u Hvaru. Peristil, 41 (1), 51-57. Preuzeto s https://hrcak.srce.hr/153848
MLA 8th Edition Tudor, Ambroz. "Prilog poznavanju utjecaja Jurja Dalmatinca u Hvaru." Peristil, vol. 41, br. 1, 1998, str. 51-57. https://hrcak.srce.hr/153848. Citirano 07.04.2020.
Chicago 17th Edition Tudor, Ambroz. "Prilog poznavanju utjecaja Jurja Dalmatinca u Hvaru." Peristil 41, br. 1 (1998): 51-57. https://hrcak.srce.hr/153848
Harvard Tudor, A. (1998). 'Prilog poznavanju utjecaja Jurja Dalmatinca u Hvaru', Peristil, 41(1), str. 51-57. Preuzeto s: https://hrcak.srce.hr/153848 (Datum pristupa: 07.04.2020.)
Vancouver Tudor A. Prilog poznavanju utjecaja Jurja Dalmatinca u Hvaru. Peristil [Internet]. 1998 [pristupljeno 07.04.2020.];41(1):51-57. Dostupno na: https://hrcak.srce.hr/153848
IEEE A. Tudor, "Prilog poznavanju utjecaja Jurja Dalmatinca u Hvaru", Peristil, vol.41, br. 1, str. 51-57, 1998. [Online]. Dostupno na: https://hrcak.srce.hr/153848. [Citirano: 07.04.2020.]
Sažetak The extensive building activity in 15th century Hvar was influenced by Juraj Dalmatinac. This influence was not as marked as in the cities where the master lived and worked, but judging by the works that can be stylistically or formally connected with the influence of the great master, it is to be concluded that he is present indirectly, in echoes in the works of more or less successful pupils and followers who were drawn to Hvar primarily by the great workshop and the building site of the Cothic cathedral. It is not surprising therefore that the best examples of Juraj Dalmatinac's influence in Hvar are visible in sacral works of art. Juraj's influence in Hvar is present also in the late-Gothic architectonic decoration of residential buildings, mostly in the form of leaf decorations on various fasade openings. These decorations are characterized by convoluted leaves, whose tips are rolled into curls. In the segment between the pointed arch of the opening and the exterior rectangular frame of the monoforium on the first floor of the southern fasade of the so-called Hektorović palace there is a motif of a fist holding a leafy branch, known from the west porch of the Šibenik cathedral, more exactly from the base of the northern column of that porch, ascribed to Bonino of Milan. The stone basin built alongside the main city gate (ca. 1924) is also interesting. It is decorated with a series of Juraj-esque ornamental motifs, among which the motif of a dragon from whose jaws curly foliage emerges, is particularly prominent.