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ST. ANASTASIUS CHAPEL IN ST. DOMNIUS CATHEDRAL IN SPLIT
Radoslav Bužančić
; Konzervatorski odjel u Splitu
Sažetak
The first mention of the new chapel of St. Anastasius occurs in an agreement concluded in the town’s lodge near the porto marina next to the Venetian castle on the coast, June 30, 1448 in Split. The document reads that an agreeement for the construction of the chapel of St. Anastasius was made there between the primicerius Bertan Dominikov, cannons Cvitan Dragošev and noblemen Juraj Petrov, Andrija Markov, Arnin Lovrin and Petar Markov Splićanin (Pečenić), with the permission and consent of the Archbishop Jakov Baduario and town prince Aleksandar Marcello on the one side, and the stonemason Juraj Matejev from Šibenik on the other. The witnesses of the meeting were equally respectable: former mayor Marko Memo, castellan of the nearby castle Bartolomej Tagliapietra, Pavao Vučinin and the chamberlain Andrija Miladinov. The agreement examinator was Miha Madije.
Juraj received an order to create a ciborium with the corresponding altar dedicated to St. Anastasius from the procurator of the cathedral. The chapel was to be erected on the site of the existing chapel of St. Anastasius, which, according to the agreement, was supposed to be brought down first. The type of stone the master could use was noted in the agreement on the construction of the chapel. Three stone blocks around the church were at the master’s disposal, and of course, he was allowed to use the material left after tearing down of the chapel. The contractors recommended that the stone used for the mensa be of good quality and abundant, i.e. made of a solid single piece to make the service on it comfortable. There was a mention of opening two windows in the northern wall of the mausoleum, and installation of the iron bars on them.
In the same document it was agreed and repeated several times, that the new chapel would be modelled like the chapel right to the altar made by Bonino da Milano in 1427. The arch of the chapel vault was to be made of tufa stone according to the agreement, and the remaining stone, iron and lead was to be provided for by the master himself at his own expense. The number and arrangement of the saints which decorated the altar was also set, all modelled on the altar of Bonino da Milano.
The salary of 306 golden ducats was agreed for a task that was to be completed within a period of a little over two years, namely until January 1450. Juraj was supposed to be paid 300 ducats of the church goods, two ducats by the Archbishop, and a ducat by Bretan’s, Cvitan’s, Juraj’s and Markov’s proxies each.
The original agreement for the construction of the Arnir chapel was not preserved, only its transcript, published and according to some speculation, lost by Ivan Kukuljević Sakcinski. He stated a similar price in the order of that altar, amounting to 320 gold ducats.
Construction related documents describe the circumstances in which the chapel of St. Anastasius was built more precisely and help to keep track of Juraj’s travel from Šibenik to Split and back. Juraj gathered his disciples and craftsmen for the construction of the chapel of St. Anastasius in Split and thus formed a workshop there. One part of the apprentices was brought from Šibenik, while the other part was employed in Split. Radmilo Ratković is mentioned as the oldest among the apprentices. It is well-known that the stone mason Matej Markošević, son of Petar from Split, was already under the supervision of Juraj. Markošević agreed to work with him without a salary because he acquired artistic skills in return.
During his research and conservation work at the City Institute for the Conservation of Cultural Heritage in Split, in 1974, Milan Ivanišević created a new interpretation of the original appearance of the altar of St. Anastasius which he reconstructed according to Farlati the same way Cvito Fisković had done before with Arnir’s chapel according to the drawings from the same work. After completing the procedure, he published an extensive study on Juraj Dalmatinac in Split and critically corroborated it with transcripts of documents related to his work and residence in town in 1444 and 1448, when agreements for two chapels were reached with the master. The new reconstruction in 2019 was a chance to revise this venture. New finds have shed a new light to Juraj’s work created under the influence of Bonino da Milano, possessing a more expressive artistic expression. The only correction of the excellent presentation of the seventies was the separation of the mensas from the console tables with the motifs of lion heads into which the mensa was forced during one of the historic reconstructions.
Ključne riječi
chapel of St. Anastasius; conservation work; presentation
Hrčak ID:
220257
URI
Datum izdavanja:
16.5.2019.
Posjeta: 1.419 *