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Papers by Goran Niksic

Saint Duje cathedral in Split, Croatia, is a reconstructed mausoleum made as a part of Diocletian... more Saint Duje cathedral in Split, Croatia, is a reconstructed mausoleum made as a part of Diocletianus palace. Main reconstruction, beside construction of church tower, is added part of construction on eastern side. On this part fissures occurred because of different conditions in the foundations compared with original mausoleum foundation. Deformations are partly caused with constructions, reconstructions and archeological investigations on buildings surrounding added part of cathedral. For the purpose of the building reconstruction monitoring system with 11 points of measurements is applied. Monitoring system measure parameters: a surrounding ambient temperatur, ambient moisture and a displacement of the fissures (opening and closing). Measurements were made for three years, since September 1996. Analyze of the fissures displacement occurred on a connection between old part and added part of building, shows good agreement with temperature changes. So, the main reason for the movements are temperature extensions of the walls material. A fissures on the eastern side of the added part shows tendency of opening. Different displacements in points along the fissure shows that the main reason of deformation is insufficient lateral support of the foundation on north wall. Lateral support (meaning earth and constructions) is removed during archeological investigations and diggings made in last 30 years. For the purpose of reconstruction validity test and prove, monitoring system shall be hold few years after the reconstruction finish. Non-destructive damage analysis methods are very usefull when damages are not so large as to endager the building's stability, since they demand long-period data gathering. Automatic monitoring and data recording, as well as permanent statistical data analysis, are welcome. This paper demonstrated that monitoring shorter than a year is almost of no use in this sort of analysis. Correct interpretation of the obtained data, based on statistical analysis, is also of major importance. This paper presented just a few possible statistical methods.

Klesarstvo i graditeljstvo, 2006

italianoSebbene un calcare locale di alta qualita fosse il materiale strutturale primario per gli... more italianoSebbene un calcare locale di alta qualita fosse il materiale strutturale primario per gli edifici monumentali della Dalmatia, nel palazzo imperiale di Spalato altri materiali da costruzione – laterizi, malta e cementizio – ebbero ruoli importanti, specialmente in punti dove non ci si aspetterebbe di trovarli. Il laterizio fu utilizzato nell’opus testaceum delle murature, volte e cupole o in loro porzioni. Normalmente, in una struttura di opus mixtum il laterizio fu impiegato regolarmente nei piani di orizzontamento, per gli stipiti di porte e finestre, nonche per altri dettagli che richiedevano speciale attenzione: le reni delle volte a crociera, le porzioni inferiori degli edifici termali, le pilae degli ipocausti, absidi, nicchie semicircolari, ecc. A dispetto della forte tradizione locale della costruzione in pietra, il laterizio fu usato per incrementare la velocita di costruzione e rispettare i tempi ristretti del completamento dell’opera, nonche per costruire le strutture piu impegnative, come la cupola del Mausoleo, dove era richiesta una conoscenza tecnica specializzata. L’uso di laterizi su larga scala era possibile solo in un progetto imperiale che poteva fornire i sostanziali apporti di materiale e di manodopera specializzata. E probabile che l’architetto e la maggior parte degli operai, che gia avevano lavorato usando il laterizio per realizzazioni architettoniche complesse, siano venuti dalle province orientali dell’impero. EnglishAlthough local high quality limestone was the prime structural material for monumental Roman buildings throughout Dalmatia, in the imperial palace at Split other building materials – brick, mortar and concrete – had important roles, especially in places where they were not expected to be seen. Brick was used in the opus testaceum technique for building walls, vaults and domes, or their parts. Typically, in an opus mixtum structure, brick was regularly used for bonding courses, for door and window jambs and arches, and for other details that require special care: springing of cross vaults, lower parts of bath buildings, pilae of hypocausts, apses, round niches etc. In spite of the strong local tradition of building in stone, brick was used to increase the speed of construction to meet the severe deadlines for its completion, and for building the most demanding structures, such as the dome of the Mausoleum, where a specialized expert technical knowledge was required. The use of brick on a large scale was possible only in an imperial project, which could provide for substantial import of materials and of skilled workforce. It is probable that the architect and the majority of builders working on more complex architectural features using brick came from the eastern provinces of the empire.

Prilozi povijesti umjetnosti u Dalmaciji, Dec 22, 1988

Izvorni znanstveni rad Goran Nikšić Regionalni zavod za zaštitu spomenika kulture, Split Goran Ni... more Izvorni znanstveni rad Goran Nikšić Regionalni zavod za zaštitu spomenika kulture, Split Goran Nikšić Autor donosi nove podatke o izgledu središnje g d ije la Tvrd alja u vrije me Petra Hektorovića. Analizom rezultata konzervatorskih istraživanja za potrebe rekonstrukcije id en tificirane su pojedine faze gradnje i vrednovan njihov doprinos u razvoju ovog složenog arhitektonskog sklopa.

Izvorni znanstveni rad Goran Niksic Goran Niksic Uprava za zastitu kulturne i prirodne bastine Ko... more Izvorni znanstveni rad Goran Niksic Goran Niksic Uprava za zastitu kulturne i prirodne bastine Konzervatorski odjel-Split

Kvartal : kronika povijesti umjetnosti u Hrvatskoj, 2008

Prilozi povijesti umjetnosti u Dalmaciji, Aug 12, 2005

Split) lzvo rni znanstveni rad Goran Niksic Ministarstvo kulture Ko nzervatorsk i odjel u Splitu ... more Split) lzvo rni znanstveni rad Goran Niksic Ministarstvo kulture Ko nzervatorsk i odjel u Splitu Goran Nik s ic Povodo m nedavn o dovrse nih rad ova temeljite obnove kora splitske katedrale donose se nedovoljno poznati detalji vezani uz gradnju , arhitektonska analiza i vrednovanje te du go za nemarene i potcijenjene gradevine. Objavljuj e se ni z starijih kamenih i mramornih ulomaka , pronadenih tijekom sanac ije. Od njih su naj znacajniji dijel ovi crkvenog namjestaj a kojima se upotpunjuju saznanja o srednjovjekovnim transformacijama katedrale. Uredenjem unutrasnjosti ko ra ponovo su dosle do punog izrazaja vrij ednosti te znacajne umjetni cke cjeline. Pri tome su vracene kor ske klupe u po lozaj koji su imale u 17. stoljecu i tako ponovo uskladene s baroknom arhitekturom koja im je bil a prilagodena.

Prilozi povijesti umjetnosti u Dalmaciji, Dec 22, 1988

Prilozi povijesti umjetnosti u Dalmaciji, Aug 11, 1998

lzvorni znanstveni rad Goran Niksic Ministarstvo ku1ture Konzervatorsld odjel u Sp1itu Izvanredan... more lzvorni znanstveni rad Goran Niksic Ministarstvo ku1ture Konzervatorsld odjel u Sp1itu Izvanredan znacaj opusa Marka Andrijica za razvoj da1rnatinske urnjetnosti prikazan je njegovirn najvecirn ostvarenjirn a: ciborijern nad g1avnirn oltarorn i zavrsnirn katorn zvonika korculanske katedrale kojirn je, zajedno sa svojirn posljednjirn djelorn , zvonikorn franjevacke crkve u Hvaru, stvorio prototip citavog niza dalmatinskih renesansnih i baroknih zvonika. Autor takoder Andrijicu pripisuje dva do sada neprepoznata djela iz korculanske katedrale: sakristiju i grobnicu biskupa Malumbre.

Prilozi povijesti umjetnosti u Dalmaciji, 1986

De Gruyter eBooks, Dec 31, 2004

Since the extensive restoration of the interior of the Cathedral of St. Domnius (1880-1885) and i... more Since the extensive restoration of the interior of the Cathedral of St. Domnius (1880-1885) and its dilapidated bell tower (1886-1908), and the clearing and restoration of the antique portico (at the beginning of the 20th century), conservation and maintenance were neglected, and problems arose in all parts of the building. In 1996 restoration works started at the most critical places. 1 The roof of the Mausoleum was overgrown with plants and partly leaking. In 1996 it was completely restored. We took the opportunity of the restoration works to investigate the building history and to clear some doubts about the original appearance of the building and about the reasons for the thorough change of the form of the roof. Ever since Robert Adam architects, archaeologists and art historians have been puzzled by the wonderfully intricate pattern of the bricks in the Mausoleum dome, and asked questions about the geometry of the dome and the form of the original roof. 2 Our first conservation architect Vicko Andric made accurate measured drawings of Diocletian's Mausoleum in 1852. He was convinced that the Mausoleum originally had a dome like the one of the Pantheon, with the extrados visible from the outside, and with a hole in the apex. 3 In order to prove his theory, Andric summoned a commission who investigated the western side of the roof, where he had all the layers removed, down to the extrados of the brick dome. He succeeded in persuading the commission that the attic wall, about 80 centimetres high, erected above the exterior cornice of the Mausoleum, was of a later date, as well as the pyramidal roof-which was correct. The other conclusion, however, was erroneous, namely that the dome had 1 NKSIC 1999,2-3.

Portal, 2021

Kameni ciborij iznad glavnog oltara korčulanske katedrale je remek-djelo najvećega korčulanskog k... more Kameni ciborij iznad glavnog oltara korčulanske katedrale je remek-djelo najvećega korčulanskog klesara i graditelja Marka Andrijića, s proporcijama zlatnog reza i elementima pravog renesansnog stila. Potkraj 18. stoljeća četvrti, završni kat krova ciborija je uklonjen, a neki dijelovi su nestali. Donji dio ciborija je besprijekorno isklesan, dok je osmerostrani krov izrađen znatno lošije, s brojnim nedovršenostima, pogreškama, preklesavanjima i skraćivanjima. Na temelju detaljne analize tragova klesarskog alata i promjena geometrije kamenih elemenata, te studije izvornog ugovora o gradnji, donesen je zaključak da je donji dio ciborija izradio Marko Andrijić sa svojom radionicom, a gornji dio klesari koji nisu razumjeli njegov nacrt, odnosno konvenciju prikazivanja projekcije kosih površina u skraćenju. Srećom, iako je radi ispravka klesarske pogreške gornji dio ciborija malo sužen i snižen, ukupna proporcija nije se zbog toga bitno promijenila, pa je nakon restauracije izvornog stanja to najbolje djelo korčulanske renesanse ponovo zasjalo izvornim sjajem.

Prilozi povijesti umjetnosti u Dalmaciji, Aug 11, 1998

Archdeacon Thomas, who was at the head of the Split Capitol for 38 years, often had a mayor role ... more Archdeacon Thomas, who was at the head of the Split Capitol for 38 years, often had a mayor role than the bishops themselves in the ecclesiastic and political life of the city. His role was probably important in the reconstruction of the Cathedral, during the period after the fourth Latheran Council in 1215 wich probably influenced on the changes in the liturgy of the western church, and consequently in the decoration of the interior, especially the presbytery. Thoma's connection to the Franciscan reform, the encounter with St. Francis himself, as well as his numerous visits to italy, could have inspired him for the "modernisation" of the interior of the Cathedral. In this study we attept to give an integral picture of the Cathedral interior in the 13th century, only parts of wich have been preserved: Buvina's doorframes, the marble pulpit, the so-called backs of the choir stalls and stone reliefs walled in the church tower. Based on alalyses of iconography, shapes and sizes of these monuments, we can deduce that the so-colled "backs of the choir stalls" are in fact remains of Romanesque wooden choir partitions, and only logical position could be in the place of the today's stair between the nave and the presbytery, where the longer sodes colul have been placed, and the shorterones perpendiculary towards the east.

Klesarstvo i graditeljstvo, 2006

Prilozi povijesti umjetnosti u Dalmaciji, Dec 22, 1988

Kvartal : kronika povijesti umjetnosti u Hrvatskoj, 2008

Prilozi povijesti umjetnosti u Dalmaciji, Aug 12, 2005

Prilozi povijesti umjetnosti u Dalmaciji, Dec 22, 1988

Prilozi povijesti umjetnosti u Dalmaciji, Aug 11, 1998

Prilozi povijesti umjetnosti u Dalmaciji, 1986

De Gruyter eBooks, Dec 31, 2004

Portal, 2021

Prilozi povijesti umjetnosti u Dalmaciji, Aug 11, 1998

Marko Andrijić, egregius et prudens magister, 2022

Marko Andrijić, the most prominent member of a numerous family of stonemasons and certainly the g... more Marko Andrijić, the most prominent member of a numerous family of stonemasons and certainly the greatest Korčula stonecutter and master builder, was trained in the workshop of his father, the famous stonemason Andrija Marković, but also working on numerous commissions throughout Dalmatia all the way to Italy. He particularly distinguished himself with his works in Dubrovnik, where under the guidance of the chief engineer of the Republic, his uncle or cousin Paskoje Milićević, he gained knowledge about the construction of the then most modern fortifications, which he applied in his project to modernize the fortifications of Korčula.
Earlier, his role in certain buildings was recognized, but until now no attempt has been made to attribute to Andrijić the complete concept of the new, then modern Renaissance system of fortifications. Similar to Dubrovnik, the medieval fortifications of Korčula were not demolished, but the high curtain walls and rectangular towers were kept or partially replaced by semicircular towers. Cavaliers and corner round bastions were added to them. The breadth of scope and the purity of Andrijić’s idea reveal him as a true Renaissance builder, although for practical reasons he also retained medieval elements. This pragmatic concept showed its full value when the city withstood the siege of Uluz-Ali in 1571.
Andrijić's ramparts gave Korčula a completely new look, and the panorama of the city was completed by the construction of the upper part of the cathedral's bell tower, which Marko executed in an unprecedented way. He combined an octagonal loggia with a dome, a lantern and a terrace surrounded by a balustrade, which served as an observation post. The bold and innovative construction of the thin stone dome probably influenced the equally daring design of the vaults of the Šibenik cathedral. With his works on the city walls and the cathedral, he dazzled the people of Korčula and the Venetian authorities, who appointed him lifetime master builder of all public buildings.
Until now, these constructions have not been fully recognized, as well as other works about which archival data have not been preserved. For this reason, it was necessary to add to the documented works of Andrijić those that can be attributed to the master or his workshop in terms of design details and architectural features.
In addition to the bell tower and the magnificent ciborium above the main altar, of remarkable proportions and brilliantly executed details, for

which the original contracts have been preserved, Andrijić transformed the entire cathedral. Above the aisles he erected vaults and on top of them the galleries. He raised the entire building, which got slenderer proportions. He decorated the upper part of the facade with rich stonework. He added the sacristy, bridged the street across to the bishop's palace and built the tomb of Bishop Malumbra. Due to the importance of the monument, and the fact that the chronology of its construction was not clearly resolved until now, the entire cathedral was analyzed. The role of Malumbra, the longest-serving and most significant bishop of Korčula, and his collaboration with the master builder became clearer. Particular attention is paid to the interpretation of the iconographic program of the cathedral's stonework decoration. It was conceived by Malumbra, and Andrijić provided vivid and imaginative forms that still attract attention and confuse the observer with their hidden meaning. The study of the urban significance of the cathedral particularly emphasized the role of the bell tower, which was built on the site of an earlier, probably free-standing building.
Marko Andrijić is a great builder between the Middle Ages and the Renaissance, with excellent knowledge of the up-to-date theoretical and practical knowledge in a wide area: from the art of warfare and construction of fortifications, to the virtuoso construction of bold structures in excellent and reliable Korčula stone, based on a perfect mastery of stonemasonry, but also on experiences in wooden construction, to in-depth knowledge of the secrets of geometry and designing in intricate proportional systems. Analyzing on the one hand the architectural and masonry forms, and on the other hand those invisible mental processes that lie in the substance of every good project, we pointed out the essential congruence of these two areas. The label "mixed Gothic-Renaissance style", which is so often used in the history of Dalmatian art, also applies to Andrijić’s design procedures, in which he competently combines the traditional practice of a medieval master stonemason and the approach of an architect of the new style, who, when necessary, masters modern forms, and innovative and complete – and therefore Renaissance – approach to the construction task.
Firmly rooted in the tradition of his workshop and branching business-family relationships, Marko Andrijić is at the same time a visionary looking into the future. His best works strongly influenced the development of Dalmatian architecture. Andrijić's ciborium, as the final stage in the development of the traditional "Apulian-Dalmatian" ciborium, became a model for a series of similar stonework achievements of a somewhat more modest scope. The completion of the Korčula bell tower and its immediate successor, the bell tower of the Hvar Franciscans, created a model from which a special type of Dalmatian bell tower developed, which underwent numerous transformations in the style of Renaissance and Baroque.