Goran Niksic

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.

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.

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.

On 20-22 September, 2011 International Conference - Community and Historic Environment was held in Tbilisi, Georgia. The Conference was funded by the Ministry of Foreign Affairs of Norway and organised by ICOMOS Georgia and Riksantikvaren (Cultural Heritage Directorate of Norway). During the Conference, keynote speakers and experts from Norway, Canada, ICCROM, UK, Ukraine, Italy, USA, Bulgaria, Croatia, Egypt, Estonia, Russia, Spain and Georgia presented theories, practices and cases highlighting importance of involvement and participation of communities and wider public in the urban heritage preservation. The focus of the Conference was Betlemi Quarter Revitalisation Programme in Tbilisi and, respectively, problems of Tbilisi Historic District. As a result of the final discussions (22.09.11.) and brainstorming among the Conference participants, Lessons Learnt and Recommendations were elaborated. The publication presents proceedings of the Conference.

Conservation rather than restoration, the use of traditional materials and techniques, emphasizing the maintenance of properties and reconstruction of urban infrastructure are some of the basic principles of the recent conservation practice in the historic core of Split. Restoration of key buildings has being used as good practice examples. The objective of the new Management Plan is to preserve the Spirit of the Place by minimizing conflicts between cultural values and stakeholders’ interests, with a need for development and change. In line with its Action Plan, the City has launched several projects, some of which deal with the improvement of infrastructure and with the enhancement of energy efficiency in historic buildings.

U clanku se naznacuju moguci pravci istraživanja djelovanja korculanskih radionica u Dubrovniku 15. i 16. stoljeca, osobito onih vezanih uz klesarsku i graditeljsku obitelj Andrijicâ. Donosi se dopunjeno rodoslovno stablo sire obitelji. Rekonstrukcijom rodbinskih veza između clanova nekoliko obitelji može se bolje shvatiti nacin njihova nastupanja na dubrovackom tržistu, gdje je u jakoj konkurenciji radio mali broj radionica. Za vece poslove udruživalo se vise majstora koji su cesto bili u srodstvu. Prepoznavanje veza između pojedinih majstora, odnosno radionica, trebalo bi pomoci pracenju difuzije graditeljske i klesarske prakse. Nasljeđivanje dekorativnog repertoara unutar pojedinih radionica se podrazumijeva, ali sirenje pojedinih stilskih elemenata i, jos važnije, složenijih graditeljskih znanja, ponekad i u udaljena mjesta, postaje jasnije tek nakon sto se prepoznaju utjecaji između rodbinski povezanih radionica. Ti su se utjecaji mogli ispoljiti zajednickim radom na partnerskim projektima i uz pomoc majstorskih bilježnica.

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.