Ines Ivić | Università Ca' Foscari Venezia (original) (raw)

PhD Thesis by Ines Ivić

http://www.etd.ceu.edu/2021/ivic\_ines.pdf

Projects by Ines Ivić

ERC-CoG n. 865863 AdriArchCult Between the 15th and 18th century the Eastern Adriatic, partition... more ERC-CoG n. 865863 AdriArchCult

Between the 15th and 18th century the Eastern Adriatic, partitioned between Venetian and Dubrovnik Republics, the Kingdom of Hungary-Croatia and Habsburg and Ottoman Empires, was politically transformed into a vast archipelago, including mainland coastal towns divided from the hinterland. This process triggered the formation of a fluctuating and floating architectural market functioning within a multilingual and multiconfessional context.

The aim of the AdriArchCult project is an overall study of the architectural culture of the region, examining its political, religious, cognitive and practical sphere, and thus overcoming the divisions of historiographies in different languages and traditional approaches based on the national or center/periphery paradigm. The result will be an innovative and dynamic vision of the architectural production of a region that connects the various faces of European culture.

Papers by Ines Ivić

Ars Adriatica, 2021

This paper focuses on the representation of St Jerome in the Zadar Polyptych, painted by Vittore ... more This paper focuses on the representation of St Jerome in the Zadar Polyptych, painted by Vittore Carpaccio around 1496 and commissioned by Martin Mladošić. Approaching it as a commission and offering made by a pious canon of Zadar’s cathedral church, the scene has been analyzed in the context of spiritual changes that occurred during this period, through the prism of personal and Christocentric piety. This paper brings new interpretations of the depiction, seeing it as an expression of the commissioner’s meditative vision, to whom the saint served as a model of pious Chris- tian life and the embodiment of the imitatio Christi ideal. Even though St Jerome was already venerated as a patron saint of Dalmatia, this paper underlines the self-identification of the Zadar canon with the saint, expressed through moral and spiritual virtues, as the main motivation behind the commission. Interpreting the work as an expression of the popular Renaissance cult of St Jerome during the Late Middle Ages and the beginning of the Early Modern Period, it emphasizes the involvement of Zadar’s cultural circle in the pan-European spiritual, artistic, intellectual, and cultural currents of the era.

Ovaj rad se bavi poznatim djelom renesansnog slikarstva, Zadarskim poliptihom kojeg je venecijanski slikar Vittore Carpaccio naslikao oko 1496. godine za kanonika zadarske katedrale, Martina Mladošića. U dosadašnjoj literaturi, poliptih je razmatran uveliko, pretežno u kontekstu razvoja Carpacciovog slikarstva. Ovaj rad djelu pristupa iz druge perspektive, stavljajući naglasak na samog naručitelja, kojeg je Carpaccio i ovjekovječio portretirajući ga na središnjem panelu gornjeg registra, u društvu sv. Jeronima. Upravo je ovaj prikaz u fokusu ove rasprave. Pristupajući mu kao narudžbi i zavjetu pobožnog kanonika, prikaz se analizira u kontekstu duhovnih promjena tog vremena, kroz prizmu osobne, ali i popularne kristocentrične pobožnosti. Prikaz se tumači kao likovni izraz naručiteljeve meditativne vizije, kojem je svetac služio kao uzor pobožnog kršćanskog života i utjelovljenje ideala imitatio Christi, te se poistovjećivanje sa svecem kroz moralne i duhovne vrline ističe kao glavni razlog narudžbe. Tumačenjem djela kao izraza popularnog renesansnog kulta sv. Jeronima tijekom kasnog srednjeg i početkom ranog novog vijeka, naglašava se uključenost zadarskog kulturnog kruga u paneuropska duhovna, umjetnička, intelektualna i kulturna strujanja onog vremena.

Sveti Jeronim kroz vjekove. Kult i spomenici, ed. Emilio Marin, Katarina Horvat Levaj (Zagreb:Hrvatsko katoličko sveučilište, Institut za povijest umjetnosti, 2021), 219-244. , 2021

Ovaj rad razmatra početke štovanja sv. Jeronima kao regionalnog i nacionalnog zaštitnika u hrvats... more Ovaj rad razmatra početke štovanja sv. Jeronima kao regionalnog i nacionalnog zaštitnika u hrvatskim krajevima tijekom 15. stoljeća. Tada njegov svetački kult postaje sveprisutan diljem istočne obale Jadrana te lik Jeronima Dalmatinca dobiva svoje prve obrise. Ističe se, suprotno ustaljenim historiografskim postavkama, da se glavni poticaji širenju kulta nalaze u općem vrjednovanju Jeronimova svetačkog lika tijekom renesanse i humanizma, te u nestabilnim povijesnim i političkim prilikama. Rad ispituje kako se vjerovanje u pripadnost Jeronimovoj nebeskoj lozi, time i u posebnu zaštitu i zagovor koje je svetac pružao svojim sunarodnjacima, odražava na reljefima monumentalnih dimenzija izvedenih u Šibeniku (1465.–1468.) na sjevernom pročelju katedrale sv. Jakova te u krstionici katedrale sv. Lovre u Trogiru (1467.). Ističući ikonografske i kompozicijske posebnosti prikaza kao bitan odmak od ustaljenih praksi, predlaže se tumačenje obaju reljefa kao izraza kolektivnog zagovora.

This paper addresses the beginnings of veneration of St Jerome as a regional and national patron saint in Croatian regions during the 15th century, when his saintly cult became ubiquitous along the whole eastern Adriatic coast and the character of Jerome the Dalmatian was formed. The paper argues that the main force for the spreading of the cult lies in the general valuation of Jerome’s saintly character during the Renaissance and humanism, and the unstable historical and political situation. It analyses how belief in belonging to Jerome’s heavenly lineage, and thus in the special protection and intercession that the saint provides, is reflected in the monumental reliefs made in Šibenik (1465–1468) on the Cathedral of St James, and in Trogir (1467) in the baptistery of the Cathedral of St Lawrence. Focusing on the iconographic and compositional particularities as a significant departure from established practices, these two examples are interpreted as collective ex-votos.

Unity and dialogue / Edinost in dialog , 2020

The Vita et Transitus Sancti Hieronymi was a main devotional work upon which the humanist and the... more The Vita et Transitus Sancti Hieronymi was a main devotional work upon which the humanist and the renaissance cult of Saint Jerome was built, testified by a large number of manuscript copies, and printed editions of the work. This paper explores the previously unacknowledged presence of the work in the Eastern Adriatic Coast, especially in the Dalmatian communes, where Jerome has been praised as a national saint since the 15 th century. Based on the archival documents, quotations of the Transitus in other written works, and its use as a textual model for the visual representations, it discusses the direct and indirect influence on the promotion of veneration of Jerome. Furthermore, it contributes to the notion of the exchange of ideas and artistic models between two shores of the Adriatic Sea during the Late Middle Ages. Izvleček: Vita et Transitus Sancti Hieronymi je bilo glavno pobožno delo, na katerem je bil osnovan humanistični in renesančni kult svetega Hieronima z velikim številom rokopisnih kopij in tiskanih izdaj dela. Ta članek raziskuje prej nepriznano prisotnost dela na vzhodni jadranski obali, zlasti v dalmatinskih skupnostih, kjer je Hieronim že od petnajstega stoletja hvaljen kot narodni svetnik. Na podlagi arhivskih dokumentov, citatov Tranzita v drugih pisnih delih in njegove uporabe kot besedilnega modela za vizualne predstavitve razpravlja o neposrednih in posrednih vplivih na spodbujanje Hieronimovega čaščenja. Poleg tega prispeva k pojmu izmenjave idej in umetniških modelov med obema obalama Jadranskega morja v poznem srednjem veku.

Il Capitale Culturale , 2020

This paper analyzes the setting up of the cult of Saint Jerome in Rome at the end of the 13th cen... more This paper analyzes the setting up of the cult of Saint Jerome in Rome at the end of the 13th century in the papal basilica of Santa Maria Maggiore. It observes the development of the cult as part of the renovations of the church during the pontificate of Nicholas IV and the patronage of the Colonna family. It argues that it happened during the process of Franciscanization of the church and making the ideological axis between the Roman basilica and new papal basilica in Assisi, stressed also in their pictorial decorations – the mosaics in the apse in Rome, and the Life of Saint Francis in Assisi. It also studies the construction of Jerome’s Roman identity in correlation with the confirmation of Santa Maria Maggiore church as a “second Bethlehem” after the fall of the Latin Kingdom of Jerusalem, reflecting upon the leading proponents of the idea, architectural setting, artistic production and hagiographical texts produced to uphold this idea.

Il presente saggio analizza la formazione del culto di San Gerolamo a Roma presso la basilica di Santa Maria Maggiore al termine del XIII secolo e indaga lo sviluppo di questo culto in seno ai restauri della chiesa avvenuti durante il pontificato di Nicola IV e il patrocinio della famiglia Colonna. Si mette inoltre in evidenza come tale fenomeno sia avvenuto durante il processo di francescanizzazione della chiesa e la costruzione di un asse ideologico tra la basilica romana e la nuova basilica papale di Assisi, che è evidente anche nelle loro decorazioni pittoriche: i mosaici nell’abside di Roma e la vita di San Francesco ad Assisi. Inoltre, si studia la costruzione dell’identità romana di Girolamo in relazione alla conferma della chiesa di Santa Maria Maggiore come “seconda Betlemme”, dopo la caduta del Regno latino di Gerusalemme, riflettendo sui principali sostenitori di questa tesi, dell’architettura, della produzione artistica e di testi agiografici elaborati per sostenere questa idea.

Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective, 2018

The aim of this paper is to provide the general overview of the development of the cult of Saint ... more The aim of this paper is to provide the general overview of the development of the cult of Saint Jerome in the Eastern Adriatic Coast in the Late Middle Ages. While discussing the cult as the reflection of the growing cult in the Apennine peninsula, I will focus on the local characteristics of the cult - local origin, alleged attribution of Glagolitic letters, humanists’ identification with the saint’s virtues, personal and official veneration – which contributed to Jerome’s denomination as the national saint. Furthermore, the paper reflects upon the political context in which the denomination happened, as well as it introduces new ideas in the interpretation of certain visual representations of the saint. Particularly, the paper discusses the perception of Jerome being the inventor of Glagolitic letters in the 15th century, proposing the idea that the Glagolitic production was perceived as a saintly relic.

Lo scopo del presente articolo è quello di fornire un quadro generale sullo sviluppo del culto di San Girolamo, sviluppatosi durante il tardo Medioevo lungo la costa orientale dell’Adriatico. Oltre a trattare l’ipotesi che questo culto non sia altro che un riflesso di quello crescente sulla penisola apenninica, mi concentrerò sui caratteristiche locali, ossia: l’origine locale, la presunta attribuzione di lettere glagolitiche, l’identificazione degli umanisti con le virtù del santo in questione e infine la sua venerazione sia personale che ufficiale, la quale ha reso San Girolamo santo nazionale. L’articolo descrive, inoltre, il contesto politico in cui avviene tale proclamazione, introducendo allo stesso tempo nuove idee sull’interpretazione di alcune rappresentazioni visuali del santo. Si discute in particolare l’ipotesi che Girolamo sia l’inventore dell’alfabeto glagolitico nel XV secolo, proponendo l’idea che la scrittura glagolitica era percepita come una reliquia sacra.

Annual of Medieval Studies at CEU , 2017

The medieval church dedicated to Saints Peter, Lawrence and Andrew, known as Petilovrijenci, was ... more The medieval church dedicated to Saints Peter, Lawrence and Andrew, known as Petilovrijenci, was built in mid-14th century on the main street in Dubrovnik. In the early 19th century the remains of the church, rebuilt after the earthquake of 1667, were sold at public auction to Luka Sorkočević who built a Neo-Classicist palace on the site. The paper analyses the first, medieval phase of the construction of the church on the basis of available published and unpublished archival sources from the Dubrovnik State Archives, the description of the church in the records of the apostolic visitation of Giovanni Francesco Sormano and archaeological documentation of excavations on the site of the former church. New findings related to its architecture are compared to known representations of the church of Petilovrijenci.

Srednjovjekovna crkva posvećena sv. Petru, Lovri i Andriji, popularno zvanim Petilovrijenci, izgrađena je sredinom 14. stoljeća na Stradunu. Crkva danas nije sačuvana te se njezini tragovi mogu naći samo u arheološkim ostacima u prizemlju klasicističke palače koja je sagrađena na mjestu na kojem je crkva nekad stajala. Uz pregled saznanja o kultu Petilovrijenaca u srednjovjekovnom Dubrovniku, u tekstu je analizirana prva, srednjovjekovna faza izgradnje crkve na osnovi dostupnih i novopronađenih arhivskih izvora iz Državnog arhiva u Dubrovniku te arheološke dokumentacije istražnih radova. Smještaj, izgled i oprema oltara detaljno će se analizirati na osnovi opisa crkve u apostolskoj vizitaciji Francesca Sormana. Nove spoznaje o izgledu crkve bit će uspoređene s poznatim likovnim i kartografskim prikazima crkve Petilovrijenaca. Uvod Izgradnja crkve Petilovrijenaca, bokeljskih mučenika, na re-prezentativnom mjestu na Stradunu uvelike odražava status koji je kult imao u Dubrovniku, uzevši u obzir činjenicu da je uz crkvu sv. Vlaha bila jedina crkva sagrađena općinskim novcem na glavnoj ulici. Izuzev političkog i religijskog kon-teksta, gradnju crkve treba promatrati u širem urbanistič-kom kontekstu izgradnje općinskih kamenih najamnih kuća na sjevernoj strani Straduna započetih oko 1360. godine. Niz najamnih kuća protezao se između crkve Petilovrijenaca i Sponze, bio je ujednačenih dimenzija i arhitektonskog oblikovanja. Postavljanje crkve duljom stranom na Stradun ne odražava samo poštovanje ustaljene orijentacije svetišta crkvi prema istoku nego i poštovanje zadane urbane struk-ture, uvažavajući dimenzije blokova unutar kojih su građene kuće na sjevernoj strani ulice.

Saints Abroad, 2016

In present day Croatia, St Jerome is considered a national saint, the outcome of a long period of... more In present day Croatia, St Jerome is considered a national saint, the outcome of a long period of appropriation beginning in the Middle Ages. The spread of his cult in medieval Dalmatia can be traced to the fifteenth century, when Jerome became a synonym for Dalmatia and the Dalmatians. This article discusses the historical circumstances which led to the formation of the common Dalmatian identity: establishment of the Venetian government after 1409, changes in the social structure in the Dalmatian communes and the rise of humanism there. This research focuses on the first two towns to adopt official celebrations of Jerome's feast, Dubrovnik and Trogir. They still hold the largest numbers of artistic representations of the saint. We take the perspective of the private and public veneration expressed in these artworks.

Conference Presentations by Ines Ivić

Obnova Dubrovnika nakon Velike trešnje 1667. nužno je zahtijevala usvajanje novih znanja, kao i u... more Obnova Dubrovnika nakon Velike trešnje 1667. nužno je zahtijevala usvajanje novih znanja, kao i uspostavljanje administrativnog i pravnog okvira unutar kojeg su se radovi takvog raspona mogli odvijati bez poteškoća. Polazeći od shvaćanja da je preduvjet obnovi bilo nesmetano cirkuliranje znanja među svim sudionicima, od radnika, preko arhitekata i graditelja, do naručitelja i izvršitelja vlasti, ovaj rad prvi put ocrtava složeni sustav donošenja i izvršenja odluka i propisa o gradnji te postavlja smjernice daljnjem istraživanju ove široke teme. Nove spoznaje temelje se na sustavnom proučavanju arhivskih fondova (odluke Malog vijeća i Senata, privatna pisma, računske knjige), propitkivanju nadležnosti različitih grana vlasti i uprave te prisutnosti znanja o arhitekturi među donositeljima odluka (provisores civitatis, senatori) i izvršiteljima odluka (officiales fabricae). Posebna pažnja posvećuje se „pravilniku obnove”, nizu odluka koje je Senat prihvatio tijekom 1668. na prijedlog providnika grada i koje predstavljaju osnovu brojnim kasnijim odlukama državnih tijela kojima se diktirao tijek obnove, reguliralo tržište materijala i radne snage, poticao povratak stanovnika, olakšavala privatna gradnja, sprječavalo profiterstvo te naposljetku omogućilo usvajanje novih urbanih koncepata i arhitektonskih rješenja.

The paper aims to analyse the centre and periphery paradigm in art history by comparing two semin... more The paper aims to analyse the centre and periphery paradigm in art history by comparing two seminal contributions of Croatian and Italian scholarship: Ljubo Karaman’s Problemi periferijske umjetnosti (1963) and Enrico Castelnuovo’s and Carlo Ginzburg’s Centro e periferia (1979). Despite only sixteen years separating them, these contributions present an opposite approach in many respects. The paper will debate the reasons for this very different perspective contextualising the authors and their objectives. Karaman, Castelnuovo and Ginzburg belonged to different generations in the first instance,and their formation differed significantly. Educated in
early twentieth-century Vienna, Karaman was one of the first Croatian art historians and sought to establish working categories about centre and periphery for the next generations. The art historian Castelnuovo and the historian Ginzburg had quite the opposite view. Educated in post-war Italy, they attempted to dismantle a deeply rooted paradigm in Italian art history since Giorgio Vasari and Luigi Lanzi. If Karaman attempted to play the pars construens in the historiography discourse, Castelnuovo and Ginzburg performed the pars destruens. This opposite aspect of the two essays reflects the different professional settings in which the authors worked. On the one hand, Karaman’s operative attitude adopted in the conservation office needed a constructive theory easy to implement. On the other hand, Castelnuovo’s and Ginzburg’s academic environment permitted an entirely theoretical approach that could freely explore and criticise
the historiographical construction from its very beginning. Finally, the paper intends to analyse the impact of the two essays in Croatian and Italian art history. To do this, it will consider some relevant examples showing the different approaches applied to some shared subjects, such as the art of the Adriatic basin. By comparing these different perspectives, the paper will give new and multifaceted insights into the centre and periphery paradigm.

The devastating earthquake of 1667 that struck the small maritime Republic of Ragusa has been see... more The devastating earthquake of 1667 that struck the small maritime Republic of Ragusa has been seen as the turning point in the history of the urban and architectural reasoning in Dubrovnik, one of the main cultural centres in the Early Modern Eastern Adriatic. The destruction of almost the entire city with its residential and institutional buildings—which required rapid and efficient reconstruction— only strengthened already existing channels of exchange between the two coasts of the Adriatic Sea and accelerated the adoption of architectural and technological innovations. In architectural terms, this materialised primarily in the new cathedral designed by Pier Andrea Bufalini (1671) and a Jesuit College and Church designed by Andrea Pozzo (1699).
Stemming from the idea that the pre-condition for the successful adoption and realisation of new complex spatial forms and decorative expressions was the equally advanced adoption of the new knowledge about the use of the building materials and construction techniques, this paper deals with the less visible segment of Dubrovnik's Baroque: the formation of the building materials market and their practical use. It examines the relatively under-researched questions: Which materials were used during the city's renovation? Where did they come from? How did traditional materials and techniques transform due to the needs of the large-scale construction projects in the city? How did local masters answer the impulses of the technical and technological innovations applied in the Roman construction sites at the period, suggested in the series of letters by Stefano Gradi (1613–1683), a distant manager of Ragusan renewal?
This paper will present selected examples extracted from the number of archival documents, describing the changes in the architectural practices on the construction sites of Dubrovnik, implemented to ensure the fast and safe construction, creating earthquake-resilient buildings. It starts by identifying implicit knowledge about materials applied on construction sites through the analysis of entries in selected building accounts (Libri di fabbrica), interpreting it with the help of known copies of architectural treatises in Dubrovnik and written discussions on the use of materials such as Istruzione per la fabrica del Duomo di Ragusa (1671) by Stefano Gradi. Therefore, the use of wood as the anti-seismic material will be discussed and new conclusions will be drawn on the mortar formula and the use of different types of sand, including pozzolana. The mass production of lime, bricks, roof tiles and architectural stone elements will be outlined, together with the reuse of materials, primarily stone, cleared from the rubble.

From Decision to Execution: The Administrative Framework of Architectural Commissions in Early Mo... more From Decision to Execution: The Administrative Framework of Architectural Commissions in Early Modern Dubrovnik (panel: Architectural Culture of the Eastern Adriatic I: Constructing the Sacred Space), The 68th Annual Meeting of the Renaissance Society of America (RSA Dublin 2022 - 30/03/2022)

Join us for the ERC AdriArchCult Sessions at RSA Dublin 2022! Wednesday, March 30, 2022 9 am - 12... more Join us for the ERC AdriArchCult Sessions at RSA Dublin 2022!
Wednesday, March 30, 2022 9 am - 12.30 pm
The Convention Centre Dublin - Liffey Meeting Room 5 - 1st Floor

Da je gradnja nove crkve sv. Petilovrijenaca u Dubrovniku nakon potresa 1667. godine tekla svojim... more Da je gradnja nove crkve sv. Petilovrijenaca u Dubrovniku nakon potresa 1667. godine tekla svojim zacrtanim planom, danas bi predstavljala primjer ranog usvajanja baroknog stila i koncepta prostora na istočnoj obali Jadrana. Unatoč nekoliko desetljeća duge gradnje i značajne količine utrošenih financijskih sredstava, crkva centralnog tlocrta s
bogatom arhitektonskom dekoracijom nikad nije dovršena te o njenom nekadašnjem postojanju svjedoče samo arheološki ostatci i arhivski izvori. Pitanje tijeka izgradnje crkve, usvajanja modela, kao i razloga zbog kojih se naposljetku odustalo od takvog ambicioznog projekta, dodatno komplicira činjenica da nam nije poznato tko je bio autor nacrta, niti tko je bio protomagister gradnje. S obzirom da je u trenutku odobravanja nacrta mjesto službenog arhitekta republike bilo prazno, s razlogom se postavlja pitanje je li crkva Petilovrijenaca, za razliku od katedralne crkve, isusovačkog kolegija i crkve, pa i nove crkve sv. Vlaha, bila produkt domaćih graditelja. Jesu li dubrovački graditelji imali dovoljno znanja da takav kompleksan projekt sprovedu u djelo? U ovom izlaganju analizira se knjiga troškova gradnje crkve (libro della fabbrica) te se razmatra niz faktora koji su doveli do nedosljednosti u gradnji primijećenih u izvoru – poput dugih prekida, dodatnih učvršćivanja temelja, kao i opetovanog urušavanja crkve tijekom gradnje. Uspoređujući gradnju crkve sv. Petilovrijenaca s gradnjom nove katedralne crkve, kao i prezentirajući moguće likovne i tehničke modele, pridonosi se daljnjoj raspravi o uskoj povezanosti cirkulacije znanja i likovnih modela kao preduvjeta za usvajanje novih kulturnih koncepata.

"Knowledge, Interpretation and Dissemination: Circulations in Mediterranean Architectural Culture... more "Knowledge, Interpretation and Dissemination: Circulations in Mediterranean Architectural Culture between XVII and XVIII centuries" (Sapienza University of Rome, 15-16 Sept. 2021)

The extensive reconstruction of the city of Dubrovnik after the 1667 earthquake enabled a consistent transfer of architectural knowledge, decorative and spatial formulas between Italy and the Eastern Coast of Adriatic. In order to identify the protagonists of such a complex project and to understand its artistic and technical novelties, this paper confronts and correlates the intentional evidence of the theoretical knowledge in architectural treatises with the non-intentional evidence in archival documentation such as books of building expenses. Analyzing the mentioned sources in the correlational perspective, we intend to develop and test a methodological model for the study of processes of circulation and adoption of the architectural taste and knowledge in a specific context of the town that functioned as a hub of exchange between the Ottomans and Italian states.

Department of History, Representation and Restoration of Architecture, Sapienza University of Rom... more Department of History, Representation and Restoration of Architecture, Sapienza University of Rome, 15-16 September 2021.

Conoscere, Interpretare, Diffondere: La circolazione nella cultura architettonica mediterranea tra XVII e XVIII secolo.
Convegno Internazionale
Dipartimento di Storia, Disegno e Restauro dell’Architettura, Sapienza Università di Roma
15-16 settembre 2021

A number of hitherto unpublished and non-researched archival documents which keep records of cons... more A number of hitherto unpublished and non-researched archival documents which keep records of constructions, remodeling and restorations of certain buildings, mainly churches, have been preserved in the Croatian archives. This mainly refers to Libro della Fabbrica, a detailed list of the expenses of the construction, dating from the end of the 16th until the end of the 18th century. Due to its economic nature, such sources have been explored mainly through the perspective of history of economics, while their potential for the history of architecture and the history of construction has been mainly neglected. By focusing on the linguistic particularities and the terminology used in them, this paper explores the influences of the Italian architecture and the architectural manuals on the development of the construction practices and the introduction of new architectural styles in the Eastern Adriatic Coast, offering an insight in a very dynamic and productive modes of exchange between two coasts of Adriatic Sea.

S razvojem ikonografije sv. Jeronima u talijanskom slikarstvu od 14. stoljeća njegovi prikazi pos... more S razvojem ikonografije sv. Jeronima u talijanskom slikarstvu od 14. stoljeća njegovi prikazi postaju sporadično prisutni i na istočnoj obali Jadrana. Jačanjem političkih, trgovačkih i kulturnih veza između dvije obale Jadrana, kao i uplivom humanizma i renesanse, tijekom 15.
stoljeća Jeronimovi prikazi postaju sveprisutni u dalmatinskim komunama. Razlog tomu je i štovanje Jeronima kao nacionalnog sveca od strane njegovih sunarodnjaka. Ovo izlaganje bavit će se procesom vizualnog usvajanja popularnih ikonografskih prikaza sveca, poput
Jeronima učenjaka ili Jeronima pustinjaka, kroz naručivanje slika talijanske produkcije, ali i kroz adaptacije lokalnih majstora. Osim tipskog razlaganja umjetničke produkcije prisutne u dalmatinskim komunama tijekom 14. i 15. stoljeća, izlaganje će dati pregled razvoja ikonografije temeljene na pisanim izvorima i sačuvanim likovnim djelima, vodeći se pitanjem postojanja specifičnog prikaza koji odražava Jeronimov novi status. U tom kontekstu, izlaganje će donijeti novo čitanje ikonografije renesansnog reljefa sv. Jeronima u špilji iz trogirske krstionice koji je izradio Andrea Aleši 1467. godine, kao apotropejskog prikaza koji
odražava Jeronimovu zaštitničku ulogu. Razlažući razloge njegovog nastanka, umjetničke modele i nasljednike, istaknut će se previđena važnost ovog djela za razvoj renesanse umjetnosti i ideja u Dalmaciji, kao i za formiranje i širenje kulta sv. Jeronima diljem istočne
obale Jadrana.

http://www.etd.ceu.edu/2021/ivic\_ines.pdf

ERC-CoG n. 865863 AdriArchCult Between the 15th and 18th century the Eastern Adriatic, partition... more ERC-CoG n. 865863 AdriArchCult

Ars Adriatica, 2021

Sveti Jeronim kroz vjekove. Kult i spomenici, ed. Emilio Marin, Katarina Horvat Levaj (Zagreb:Hrvatsko katoličko sveučilište, Institut za povijest umjetnosti, 2021), 219-244. , 2021

Unity and dialogue / Edinost in dialog , 2020

Il Capitale Culturale , 2020

Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective, 2018

Annual of Medieval Studies at CEU , 2017

Saints Abroad, 2016

Tijekom kasnog srednjeg vijeka u Dalmaciji, izuzev postojeće glagoljaške tradicije, štovanje svet... more Tijekom kasnog srednjeg vijeka u Dalmaciji, izuzev postojeće glagoljaške tradicije, štovanje svetog Jeronima dodatno se institucionalizira odabirom sveca kao zaštitnika Franjevačke provincije Dalmacije. Unutarnjom reorganizacijom franjevačkih provincija 1393. godine, osnovana je provincija Dalmacija, pod zaštitom svetog Jeronima - Provincia sancti Hieronymi in Dalmatia. Ovo izlaganje promatra dva istraživačka pitanja vezana uz sam proces formiranja Jeronima kao reprezentativnog simbola provincije. Prvi dio propituje razloge odabira sveca kao zaštitnika, predlažući da je osim pobožnosti domaćih franjevaca, poticaj za imenovanje došao od samog vodstva franjevačkog reda. Pritom se sagleda opća uloga sveca kao modela za franjevačko apostolsko djelovanje, i ističu dodirne točke između života svetog Jeronima i svetog Franje. Drugi dio analizira likovnu produkciju franjevačke provenijencije s ciljem propitivanja postojanja specifičnog ikonografskog prikaza koji odražava Jeronimovu ulogu zaštitnika provincije.
________________

During the late Middle Ages in Dalmatia, apart from the existing Glagolitic tradition, the veneration of St. Jerome was further institutionalized by the choice of a saint as the patron saint of the Franciscan Province of Dalmatia. With the internal reorganization of the Franciscan provinces in 1393, the province of Dalmatia was founded under the protection of St. Jerome - Provincia sancti Hieronymi in Dalmatia. This presentation looks at two research questions related to the very process of forming Jerome as a representative symbol of the province. The first part questions the reasons for choosing a saint as a patron, suggesting that in addition to the piety of the local Franciscans, the impetus for the appointment came from the leadership of the Franciscan order. In doing so, the general role of the saint as a model for Franciscan apostolic activity is considered, and the points of contact between the life of St. Jerome and St. Francis are highlighted. The second part analyzes the artistic production of Franciscan provenance with the aim of questioning the existence of a specific iconographic representation that reflects Jerome's role as patron of the province.

Introduzione ai lavori TOMMASO CALIÒ (Presidente dell'AISSCA) Ore 11.00 Panel: "Comunicare la san... more Introduzione ai lavori TOMMASO CALIÒ (Presidente dell'AISSCA) Ore 11.00 Panel: "Comunicare la santità" nel variegato mondo della Riforma Coordina: STEFANO CAVALLOTTO STEFANO CAVALLOTTO (Università di Roma "Tor Vergata" -Pontificia Università Lateranense) "Comunicare la santità" nella tradizione luterana degli inizi: santi e primi testi agiografici LOTHAR VOGEL (Facoltà Valdese di Teologia) Riconoscere e comunicare la santità in ambito riformato GIANCARLO RINALDI (Università degli Studi di Napoli L'Orientale -Shepherd University) Dottrina ed esperienza della santità nel mondo protestante da John Wesley ai Pentecostali Discussant: EMANUELA PRINZIVALLI (Sapienza Università di Roma) Ore 13.00 -Pausa Ore 14.00 Panel: Intorno alla comunicazione della ricerca agiografica. Santi in Cammino, Cammini di Santi

In the period of the 15th century, when the cult of Saint Jerome was at its peak, primarily in It... more In the period of the 15th century, when the cult of Saint Jerome was at its peak, primarily in Italy, the saint was used as a model in different contexts of veneration: from monastic reform to the humanist movement. The general popularity of the saint was reflected in the Eastern Adriatic Coast as well, where the saint gained a new denomination and a new role; he starts to be praised due to his local origin. This paper will present the dynamics of the adoption of the Renaissance cult from Italy through different means of veneration and its manifestations (textual and visual production), focusing on the adaptations done by local humanist in order to reflect the new status of a national saint. Furthermore, it will bring the new analysis of the humanist network between the two coasts of the Adriatic Sea, as well as the local network between the main cultural centers in Dalmatia – Zadar, Šibenik, Trogir, and Dubrovnik – focusing on the devotional practices by locally influential families such as Nassi, Cippico and Gozze. The main objective is to determine in what way the worship of Saint Jerome as the national saint developed from the private devotional practices of the humanists who promoted the idea of him being their compatriot, to the generally accepted idea of Jerome being the universal protector saint of Dalmatians.

The universality of the ideas during the Renaissance, present in the artistic representations exe... more The universality of the ideas during the Renaissance, present in the artistic representations executed in the Eastern Adriatic Coast, was often neglected by the researchers whose focus was mostly kept on the artistic qualities of the execution. Some of them, like the chapel of
blessed John built in 1460s as the addition to the cathedral of Trogir, are already recognized as complex expressions of the Renaissance, both by style and the ideas, while others like the baptistery of the cathedral in Trogir finished in 1467 were left out of the interest radar of the scholars.
Even though the baptistery in its artistic and architectural characteristics reflects the elements of the transitional style from gotico fiorito to Renaissance, in its idea it reflects a unique iconographic program which is based on popular humanist literature – Vita et transitus Sancti Hieronimi – which Saint Jerome and Saint John the Baptist are paired
due to their penitential nature. The presentation will analyze how this idea is reflected in the baptistery, primarily in the visual pairing of the two saints – Saint Jerome in the relief inside the baptistery and Saint John in the sculpture on the altar. Furthermore, it will deal with the specific iconography of Saint Jerome, proposing the reading of the symbolic
representations of the animals as the reflection of Jerome’s commentaries on the Psalms.
Taking into consideration that manuscript copies of such texts of local provenance weren’t preserved until the present day, it represents an important contribution to the development of Latin literacy and humanist thought in Trogir. The uniqueness of the representation in which the text was embedded, demonstrates that such texts were known
in the humanist circle in Trogir. Following this specific iconographic invention in the architectural setting, the presentation will observe it in the context of the rising humanist culture in the town of Trogir, with the
focus on the role of Coriolano Cipiko as the main proponent of such invention due to his classical education, understanding of the contemporary Italian devotional trends and his correspondence with the Italian humanists. Furthermore, Coriolano Cipiko is given attention due to his role in the renaissance Renovatio Urbis of Trogir, and the completion of cathedral where he served as operarius in several instances.

29.Marulićevi dani, 25.-27. travnja (Split), 2019

From the mid-15th century on, the cult of St Jerome gained increasingly in importance on the east... more From the mid-15th century on, the cult of St Jerome gained increasingly in importance on the eastern coast of the Adriatic. Jerome began to be celebrated as the national saint. The veneration stemmed from the existing local Glagolitic tradition, but it was also a reflection of the growing popularity of Jerome among European humanists. Although the Jerome cult has been the subject of research in Croatian historiography, scholars have not concerned themselves with the direct influence of the Italian expressions of the cult – the hagiography, iconographic depictions, devotional literature – on the development in Dalmatia.
Because of the large number of expressions of the veneration of the saint and the phenomenon of its unique iconographic depictions, Trogir can lay claim to be a cradle of the Renaissance cult of Jerome. Taking as its place of departure the depiction of St Jerome in the baptistery made in 1467, the paper will deal with written prototypes for the one-of-a-kind depiction of the saint in the cave, as well as for the visual and ideological coupling of St Jerome and St John the Baptist. The iconographic model is founded on the letters of Pseudo-Eusebius, Pseudo-Cyril and
Pseudo-Augustine, better known as the Transit of St Jerome, which constituted the core of the Renaissance cult of St Jerome. Since the letters are extant today in a relatively small number of manuscript copies, their influence on the development of the cult in Dalmatia has often been neglected, and the emphasis placed on the debate with the Italian humanists about the descent of Jerome. As well as the letters,
the paper will discuss the knowledge of Jerome’s homilies, the proposition being that they served as a direct origin for the unique symbolic depictions of animals on the relief in the baptistery showing the saint reading in the cave. The purpose of this paper is to show that the cult of St Jerome in Dalmatia should be seen in the context of the Renaissance veneration of the saint that is manifested in the many expressions of the cult, which was greatly fostered by personal devotionalism. A particularly important role here was played by individuals inspired by humanism who possessed copies of Jerome’s works or works about Jerome. Stress will also be laid upon the importance of the study of the relation between written texts and literary works. Here the text of the Transit, which was known in Latin manuscript copies as well, is particularly interesting. In this paper, attention will be drawn to its direct and previously unobserved influence on the
Trogir baptistery. The paper places the cult of St Jerome in Trogir in the wider context of humanist veneration, in which the educated and pious saint naturally appeared as a perfect model. Identified at the same time is a network of Dalmatian humanist families that venerated Jerome with particular attention: Cippico in Trogir, Nassi in Zadar and Gozze in Dubrovnik, which were the most responsible for promoting the cult
of the saint. It is in the light of this that the role of Coriolanus Cippico is particularly investigated as the founder of the cult in Trogir, with respect to his humanist education and his role as master of the fabric or operarius of the cathedral.

Judging by the reputation Saint Jerome had in the Late Middle Ages, it is difficult to imagine th... more Judging by the reputation Saint Jerome had in the Late Middle Ages, it is difficult to imagine that this saint, despite his relevance for Christianity, had developed a cult only at the end of the 13th century when his body was translated to the Roman church of Santa Maria Maggiore. While in the scholarship this act was represented as an intention of the church canons to endorse their authority with the image of the saint, it is a far more complex story which reflects the political situation of the period when Latin Kingdom of Jerusalem ceased to exist and the Franciscan influence inside the Western church was increasing, backed by the Roman aristocracy - the Colonna family. This paper will study the construction of Jerome’s Roman identity in correlation with the confirmation of Santa Maria Maggiore church as “second Bethlehem”, reflecting upon the leading proponents of the idea, and reflect upon architectural setting, artistic production and hagiographical texts produced to uphold this idea.

Among the many commodities of exchange between two coasts of the Adriatic Sea which had happened ... more Among the many commodities of exchange between two coasts of the Adriatic Sea which had happened over the centuries, the saints can be included. Very often their veneration goes beyond popular piety, carrying certain political or cultural messages expressed in the manifestations of the cult – devotional literature, artworks, and liturgy. Among these, the cult of Saint Jerome seems a particularly interesting example. Although Saint Jerome was venerated in the Eastern Adriatic Coast from as early as the 12th century, his cult reached its peak in the 15th and 16th century when Jerome was elevated to the status of a national saint. However, regardless of the local origin of the saint as a main reason for the veneration, most of the manifestations of the cult (written works of and about Jerome, visual representations) were imported from the Apennine Peninsula. This paper will address this exchange, focusing on the literary and visual adoptions and adaptations of Jerome’s image in the artworks made in Dalmatia (mostly in Dubrovnik and Trogir) in the 15th century, reflecting on the correlations of the text and image. Additionally, it will discuss how this adoption reflects the direct implementation of the Renaissance ideas in the Eastern Adriatic coast.

This special issue of Il Capitale Culturale. Studies on the Value of Cultural Heritage contains p... more This special issue of Il Capitale Culturale. Studies on the Value of Cultural Heritage contains proceedings of the conference Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective (Zagreb, Faculty of Humanities and Social Sciences, University of Zagreb, 30-31 May 2017) organized by the HRZZ research project Visualizing Nationhood: the Schiavoni/Illyrian Confraternities and Colleges in Italy and the Artistic Exchange with South East Europe (15th - 18th c.)
Slavic people from South-Eastern Europe immigrated to Italy throughout the Early Modern period and organized themselves into confraternities or founded colleges for students based on common origin and language. These institutions played a vital role in the construction of the image of the whole immigrant community and its visibility and recognition in the cosmopolitan urban contexts such as Venice, Rome, Bologna or Ancona, as well as in smaller centers of the Marche region. Moreover, they represent important hubs of exchange of ideas and knowledge both in Italy and with places of origin.

The volume aims at interdisciplinary perspective on images related to Schiavoni/Illyrian confraternities in Early Modern Italy. It explores both visual and linguistic constructs produced or commissioned by members of Schiavoni/Illyrian institutions, questioning intentions and mechanisms behind their creation, as well as the reverberation of their meaning in different contexts. These phenomena are also regarded in comparative perspective of similar expressions found in “proto-national” institutions of other foreign communities on the Apennine peninsula in the same period. The conference will bring together scholars working in the fields of art history, history, visual, literary and material culture studies, thus broadening the existing understanding of Schiavoni/Illyrian proto-national identity.

At the end of the sixteenth century, Roman construction practices reached the peak of a centuries... more At the end of the sixteenth century, Roman construction practices reached the peak of a centuries-old process of technical-operational improvement, which had remained unsurpassed for a long time. Founded on the strategic coordination of qualified workers, this practice made use of very effective methods of procurement and transport of materials, as well as of scaffolding and work machines that allowed the successful contraction of the financial commitment and the direct transfer of a precious operational knowledge in a long course. The Fabbrica di San Pietro in Vaticano, the first workshop of the art of building in Rome, put in place a capillary work of assistance to other construction sites, public and private, reflected both in the supply of materials and equipment, and in the decisive contribution of its highly qualified workers. The Fabbrica embodied an undisputed authority for a long period and controlled all major building interventions conducted up to the unification of Italy, in the city of Rome and in the entire Papal State.

18 June 2021
h. 3 pm
The seminar will be held online
on Zoom. Please register at
https://unive.zoom.us/meeting/
register/tZIpc--urT4tHt2maUISsNRuL4l6leMLrzqM
For further information:
ines.ivic@unive.it
Guest hosted by the ERC GA n. 865863
ERC-AdriArchCult

The Cathedral of the Assumption of the Blessed Virgin Mary in Koper is almost entirely the work o... more The Cathedral of the Assumption of the Blessed Virgin Mary in Koper is almost entirely the work of Giorgio Massari (1687-1766), the leading Venetian architect of the mid-18th century. Already at the time of bishop Paolo Naldini (1632-1713) the idea of renewing the Romanesque basilica began to be considered: the first project for the new presbytery was commissioned in 1690, but the construction began only in 1720. Massari enters the construction site in 1738 with the project for the church aisles. The seminar will present the various questions related to the construction process and the organization of the site during the period between 1690 and 1749, underlining its significance for the development of the other Istrian and Friulian construction sites of the period.

The seminar will be held online
on Zoom. Please register at
https://unive.zoom.us/meeting/
register/tZYtfu-sqzoiGdSrN2HfRXLnsZdAZZIDJrXi

For further information:
ines.ivic@unive.it

Guest hosted by the ERC GA n. 865863
ERC-AdriArchCult

Javno predavanje „Crkva nasred Place: Petilovrijenci kroz stoljeća“ održat će se u četvrtak, 23. ... more Javno predavanje „Crkva nasred Place: Petilovrijenci kroz stoljeća“ održat će se u četvrtak, 23. svibnja u 19.30 sati u dvorani Ivana Pavla II. u Dubrovniku. Predavanje će održati povjesničarka umjetnost Ines Ivić, a predavanje organizira Vijeće za kulturu i znanost Dubrovačke biskupije.

Ovo predavanje želi približiti javnosti povijest jedne od važnih gradskih crkava na čije postojanje danas podsjeća samo naziv jedne od gradskih ulica. Crkva Petilovrijenaca izgrađena je na Placi (Stradunu) u 14. stoljeću (1363.) i posvećena trojici kotorskih mučenika Petru, Lovrijencu i Andriji (tzv. Petilovrijenci), a od 15. stoljeća bila je i sjedište bratovštine krojača. Ta je stara crkva u potpunosti srušena u strašnome potresu 1667. i počela se obnavljati 1677. godine gradnjom zapravo nove crkve u baroknome stilu.

Na predavanju će se na temelju pisanih, vizualnih i arheoloških izvora koje je predavačica obradila otkriti kako se stara crkva gradila i razvijala kroz stoljeća, a prvi će put biti riječi i o novoj baroknoj crkvi Petilovrijenaca izgrađenoj nakon Velike trešnje. Da je ta nova crkva ostala sačuvana do danas, bila bi važan korak u razvoju barokne umjetnosti na istočnoj obali Jadrana jer je riječ o prvoj baroknoj crkvi kružnoga tlocrta kod nas. Nažalost, nikada posve dovršena crkva srušena je 1801. godine da bi se na njezinu mjestu izgradila palača Sorkočević, a oltar u spomen na sv. Petra, Lovrijenca i Andriju (Petilovrijence) izgrađen je u katedrali Gospe Velike u čijemu se Moćniku čuvaju i njihove relikvije. Na temelju arhivskih istraživanja crkve Petilovrijenaca prikazat će se tadašnja dubrovačka građevinska produkcija te otkriti nova imena ljudi koji su sudjelovali u poslijepotresnoj obnovi Grada.

Ines Ivić (1990.) je povjesničarka umjetnosti i doktoradica na Srednjoeuropskome sveučilištu (Central European University) u Budimpešti. Njezini istraživački interesi obuhvaćaju razmjenu umjetničkih ideja između dviju obala Jadrana, kulturnu povijest te štovanje svetaca kao izraze socijalnoga, političkog i vjerskog života. Između ostaloga, bavila se proučavanjem arhivskih izvora o razvoju dubrovačke umjetnosti u kasnome Srednjem vijeku.

The saints of Rome have always been among the most venerated and the most popular heavenly patron... more The saints of Rome have always been among the most venerated and the most popular heavenly patrons in Christendom, grafting the noble air of universality and integration onto emerging Christian cultures. From the apostles and Early Christian martyrs through the Early Modern period and beyond, the textual and material dissemination of Roman saints made a significant impact on the rise of the cult of the saints. Saints living in Rome (from Bridget of Sweden to Catherine of Siena and from Francesca Ponziani to Filippo Neri) were role models all over the Christian world. Post-Tridentine Roman cults spread by the Society of Jesus and the revival of catacomb cults brought a new wave in the world-wide cult of the saints of Rome in the early modern period.
What strategies, mechanisms and considerations informed the spread of the cult of the saints of Rome? Who were the actors: Roman ecclesiastical hierarchy or local communities? How did these cults transform through local reception in diverse local contexts? How did pilgrimages and Jubilees promote the cults of Roman saints ? Did „Romanness“ assure efficacious links with the centre of Christendom or possess a symbolical meaning? In what ways did the saints of Rome impact local saints‘ cults?
The conference aims at discussing the ways in which the cults of the saints of Rome were accepted and negotiated, defined and redefined over the centuries in Latin Christianity. What is the politics of the export and import of Roman saints? To what extent do Roman saints shape and define medieval and Early Modern Latin culture in the new Christianities of Europe, Asia, and America? Does the export of the saints conform to individual and regional interests or rather to the political and cultural agenda of the papacy? Inquiries on these issues in various media (texts, images, relics, devotional objects and architecture, liturgy, music) are welcome.

by Associazione Italiana per lo Studio della Santità dei Culti e dell'Agiografia AISSCA, Alessandra Bartolomei Romagnoli, Marco Guida, Scuola Superiore di Studi Medievali e Francescani, Peloux Fernand, Rodrigo Furtado, Alessandro Serra, Antonio Antonetti, Antonio Tagliente, Mario Loffredo, David Franz Hobelleitner, Ines Ivić, Dorottya Uhrin, Iliana Kandzha, Giuseppe Capriotti, Laura Carnevale, Gabriella Zarri, Giuseppe Caputo, and Daniele Solvi

I Cantieri dell'Agiografia hanno lo scopo di favorire lo scambio scientifico tra gli studiosi e d... more I Cantieri dell'Agiografia hanno lo scopo di favorire lo scambio scientifico tra gli studiosi e di far emergere i principali o più innovativi campi di ricerca e orientamenti metodologici degli attuali studi agiografici. L'evento si svolge ogni anno nel mese di gennaio e prevede la presenza di seminari tematici (panels), composti da un numero limitato di relatori – da tre a cinque, ciascuno con un tempo di 20 minuti a disposizione – coordinati da un proponente e con un discussant designato dal Comitato scientifico.

U ovom radu obrađena je crkva svetih Petilovrijenaca, kotorske braće Petra, Lovre i Andrije koji ... more U ovom radu obrađena je crkva svetih Petilovrijenaca, kotorske braće Petra, Lovre i Andrije koji su umrli mučeničkom smrću. Ne možemo sa sigurnošću tvrditi kada su oni živjeli, a sudeći po nekoliko verzija legende o prijenosu, njihova tijela su u Dubrovnik prenesena tek u 13. ili 14. stoljeću kada se na glavnoj gradskoj ulici gradi i posvećuje crkva sv. Petilovrijenaca. Početkom 19. stoljeća crkva se nalazila u ruševnom stanju te je naposljetku i prodana na javnoj dražbi, a na njenom mjestu sagrađena je palača obitelji Sorkočević. Štovanje kulta je preseljeno u katedralu gdje je novcem dobivenim od prodaje zemljišta na kojem se crkva nalazila i njezinih ruševina izgrađen
novi mramorni oltar s pripadajućom palom. U radu je donesena povijest izgradnje crkve te njezine arhitektonske faze temeljene na dostupnim, poznatim i novopronađenim arhivskim izvorima te arheološkom dokumentacijom istražnih radova na mjestu gdje se crkva nekad nalazila. Nove spoznaje o izgledu crkve uspoređene su s poznatim likovnim prikazima crkve Petilovrijenaca. Osim interpretacije izvora, u radu je donesena i stilska analiza srednjovjekovne crkve i crkve izgrađene nakon potresa, kao i povijesni i umjetnički kontekst izgradnje. Prijepisi važnijih arhivskih izvora doneseni su u prilogu s pripadajućim glosarom nepoznatih riječi i pojmova iz dokumenata.