Reneissance

Gravira “Melanholija I” smatra se jednim od najznačajnijih dela renesansog majstora Albrehta Direra, ali o njenoj zagonetnoj ikonografiji i dalje ne postoji stručni konsenzus. Većina istraživača uverena je da se u osnovi vizuelne predstave nalazi učenje o četiri telesna fluida kao uzročnika četiri temperamenta (koleričnog, sangviničnog, flegmatičnog i melanholičnog), zbog čega predstojeći rad započinje istorijatom i kulturološkim implikacijama ove medicinske zablude. Zatim su prikazane četiri različite interpretacije “Melanholije I”. Prema prvoj, Direrova gravira portretiše frustriranog renesansnog genija koji se u traganju za savršenom lepotom suočava sa ograničenjima ljudske prirode. Prema drugoj, radi se o prikazu vizionarskog transa, pri čemu je glavna figura sjedinjena sa dobrim duhovima Saturna. Treća posmatra graviru kao direktnu ilustraciju Platonovog dijaloga “Hipija veći”. Četvrta, u stručnim krugovima još uvek apokrifna interpretacija tumači „Melanholiju I“ kao prikaz prve faze alhemijskog Magnum Opus-a.

Η Αναγέννηση, ήταν πνευματικό και καλλιτεχνικό κίνημα, του 15ου – 16ου αιώνα. οι ρίζες του κινήματος, εντοπίζονται στην Ιταλία στα τέλη του 4ου αιώνα. και από εκεί εξαπλώθηκε στην υπόλοιπη Ευρώπη κυρίως μέσω του εμπορίου. Ο όρος χρησιμοποιείται με αρκετή ελευθερία, καθώς πέρα από ένα πολιτιστικό ρεύμα, με τον ίδιο όρο περιγράφεται ιστορικά η συγκεκριμένη περίοδος. επίσης η περιοδολόγηση –χρονολόγηση, είναι πάλι αρκετά ελεύθερη, καθώς τα αποτελέσματά της, δεν εμφανίστηκαν σε ολόκληρη την Ευρώπη με την ίδια ένταση και με τον ίδιο τρόπο

Polish: W proponowanej książce odnajdą Państwo próbę przeanalizowania listów polskiego dyplomaty Jerzego z Tyczyna do Marcina Kromera pod kątem zagrożenia tureckiego. Sekretarz królewski, a także dyplomata-wykonawca reprezentował dwór królewski Zygmunta Augusta w Italii. Brał on chociażby czynny udział w dyplomatycznych zabiegach o spadek po Bonie Sforzy. Swoją aktywność oraz podnoszone na dworze papieskim zakulisowe plotki, obyczajowe i dyplomatyczne, w szczegółach relacjonował polskim przyjaciołom. W Polsce ich adresatem był przyjaciel z lat młodości, wybitny przedstawiciel polskiego renesansu, Marcin Kromer.



English: In the proposed book you will find an attempt to analyze the letters of the Polish diplomat Jerzy from Tyczyn to Marcin Kromer in terms of the Turkish threat. The royal secretary represented the royal court of Sigismund Augustus in Italy. He, for example, took an active part in diplomatic efforts to obtain the legacy of Bona Sforza. He reported in detail his activity and the backstage, moral and diplomatic gossip raised at the papal court to his Polish friends. In Poland, their addressee was a friend from his youth, an outstanding representative of the Polish Renaissance, Marcin Kromer.

Due to its history, architecture and artistic facilities, the
parish church in Brzeziny is one of the most valuable mon-
uments of the Lodz region. So far it has not been a subject
of monograph within the history of art. The conservation
works in the basement of the Lasocki Chapel and at the
church itself, which have been underway since 2014, pro-
vide new material, which requires more detailed analy-
sis. On this occasion, it is worth mentioning a number
of objects located in the church, which constitute its his-
torical facilities. Some of them can be reinterpreted. Other
objects mentioned below were discovered in the church
in recent years. This set includes a baptismal font, rein-
stalled in the old base. Thanks to separating the elements,
it can be assumed that the baptismal basin dates back to
the 1530s and comes from the workshop of Bernardino de
Gianotis, which is confirmed by the sources. A fragment
of the grille originally closing the Lasocki Chapel dates
back to the same period. This object is known from the
19 th -century descriptions and until now it was considered
to be irretrievably destroyed. A valuable and so far wrongly
dated monument is the stone sculpted group “Entomb-
ment”, which can now be dated at the early 17 th century.
This monument, unique on the Polish level, was probably
originally located in the basement of the Lasocki Chapel.
One of the recently discovered historical objects, which is
worth mentioning, is the frame dated at the early 17 th cen-
tury, originally located at the altar of the same chapel. The
discovered painting examples include a damaged painting
of “Our Lady of the Snows”, most probably from the 17 th
century. Another object of historical value is the unique
image of St. Homobonus, probably painted at the early
18 th century. The painting is a rare Polish example of in-
terpretation of the saint’s iconography, actualised for the
needs of townsmen. All the described objects are a testi-
mony to the supra-local position of Brzeziny in the Renais-
sance and Baroque.

The analysis is devoted to the St. Stanislaus chapel erected near Gniezno Cathedral on the initia-tive of Primate Jan Łaski between 1518 and 1523 (pulled down in the late 18th century). Foundation of this central, free-standing mausoleum plays an important role in the history of the beginnings of Renaissance art in Poland. Its realisation took place simultaneously with construction of the chapel: the mausoleum of King Sigismund I the Old at Wawel. Archbishop Jan Łaski was involved in bringing to Poland Bartolommeo Berrecci, a designer of the royal chapel, who perhaps also participated in preparing the Gniezno design. Undoubtedly, the Łaski foundation was influenced by his stay in Rome in 1513-1515, when the Archbishop was permitted to take some soil from the Roman necropolis of Campo Samo and use it to sanctify the cemetery at Gniezno Cathedral. The concept of the mausoleum was also connected with the tombstones ordered in Hungary in Giovanni Fiorentino studio.On the basis of the preserved line of foundations, we can distinguish a number of important featu-res of the building. It had a central layout. The core part took the form of a cylinder, most probably vaulted by the dome. Three semi-circular apses formed a elear triconch. From the south there was an entrance to the chapel. No less important was location of the mausoleum, situated between the cathe-dral and St George’s a collegiate church. On the same axis was the original location of the tomb of St. Adalbert. The solutions applied in Gniezno may have had their sources in a Roman art centre. They were used in a sedes of projects and concepts appearing around the Julius II foundation, renovation of St. Peter’s Basilica and the concept of the papai mausoleum. They were related to the work of Donato Bramante and Giuliano da Sangallo. The Vatican architectural designs were formulated in the context of unique historical significance of St. Peter’s burial place. A similar, ancient context appeared in Gniezno, a place associated with the beginnings of Christianity in Poland.

Faust Vrančić-"metafora renesanse" Marijana Borić, Zrinka Blažević, Bojan Marotti (ur), Faust Vrančić i njegovo doba. Zbornik radova s Međunarodnog znanstvenog skupa održanoga u povodu 400. obljetnice objavljivanja Novih strojeva Fausta Vrančića. Vodice-Šibenik, 22-23. rujna 2015, Prvić Luka: Memorijalni centar "Faust Vrančić", 2018, 261. str. Na početnim stranicama ovog zbornika nalaze se tri skice Vrančićevih izuma, ilu-stracije koje vizualno ujedno tvore broj "400". Toliko je godina prošlo od objavljivanja Machinae Novae, najpoznatijeg, ali i samo jednog u nizu od brojnih i tematski raznolikih djela Fausta Vrančića. Polihistor Faust Vrančić čovjek je kojega Marijana Borić, jedna od urednica zbornika, argumentirano naziva "metaforom renesanse" u Hrvatskoj. Kao što saznajemo iz dosadašnje historiografije, ali i njezina najnovijeg izdanka-ovog zbornika-bio je poduzetnik, izumitelj, filozof, teolog, svećenik i biskup, protonacionalni ideolog i jezikoslovac te, dakako, diplomat koji je svestranom ostavštinom zasluženo privukao pozornost iznimno širokog kruga stručnjaka iz društvenih, prirodoslovnih i humanističkih disciplina. Četiristo godina nakon prvog izdanja Machinae Novae, 2015. godine, održan je međunarodni znanstveni skup u organizaciji Memorijalnog centra "Faust Vrančić" u Prvić Luci. Tri godine kasnije objavljen i interdisciplinarni zbornik s radovima dvana-estorice stručnjaka-povjesničara, povjesničara znanosti, umjetnosti i glazbe, filozofa, jezikoslovaca te informatologa. Interdisciplinaran raspon stručnjaka očit je i u uredništvu zbornika, u čijem su sastavu, osim spomenute povjesničarke znanosti i organizatorice skupa, Marijane Borić, i povjesničarka Zrinka Blažević te filolog Bojan Marotti.

The booklet of Viktor Besali from Bar, published in Venice most probably in 1577, comprises the poem in laud of Paolo Tiepolo and the sonnets dedicated to Hieronimo Michiel and Bartolomeo Butta. It was the time when the exiled poet wandered through northern Italy, until he permanently settled in Dubrovnik. The reminiscences of homeland’s mosaic of Bar, Veneto and Friuli poetically intertwine with the intuition and spiritual ascents, marking the early literary opus of the member of the distinguished Besali family.