Slavonija

Knjiga donosi pregled povijesti te sakralne baštine osječkog donjega grada od kraja 17. stoljeća do druge polovine 20. stoljeća. Posebna je pozornost posvećena povijesti Donjega grada u 18. stoljeću kada je on bio samostalna gradska općina. Specifične političke okolnosti utjecale su snažno na podizanje brojnih sakralnih građevina: župne crkve Imena Marijina, pravoslavne parohijske crkve Uspenja Presvete Bogorodice, kapela svetog Roka i Gospe Snježne. U drugoj polovini 19. stoljeća u Donjemu su gradu također podignute brojne nove sakralne građevine: katoličke kapele Uzvišenja svetog Križa i Gospe Snježne, te pravoslavna svetog Nikole, kao i kasnohistoricistička sinagoga.

Tekst govori o povijesti izgradnje i opremanja župne crkve Imena Marijina u osječkom Donjem gradu u 18. stoljeću na temelju arhivskih, kartografskih, grafičkih i drugih izvora. Istraživanjima se pokazalo da je današnja građevina podignuta tijekom dviju građevinskih kampanja na mjestu starije crkve iz 1714. Sjeverni dio, zvonik s korom, podignut je između 1758. i 1763., a potom je 1768. – 1775. uslijedilo podizanje broda i svetišta. Stilsko rješenje arhitekture crkve, ponajprije zvonika i zapadnog pročelja, povezuje se s mogućim uzorima u baroknoj arhitekturi Italije i Srednje Europe, a opremanje s djelokrugom umjetnika-obrtnika koji su sredinom i u drugoj polovini 18. stoljeća radili u Osijeku. U tekstu se donosi niz imena raznih umjetnika koji su radili za donjogradsku crkvu koji se do sada u literaturi nisu vezali uz ovu građevinu (graditelj Joseph Hatzinger, kipari Georg Egger i Joseph Erdt, stolari Heinrich Kessler i Thomas Firtler, slikar Franciscus Antonius Witz).

A csata korabeli, sokszor művészi igényű ábrázolásai, térképvázlatai olyan azonosítható földrajzi elemeket, terepjellegeket tartalmaznak, amelyek a terepen, a korszerű térképműveken azonosíthatók. Egyes csataképek a madártávlati nézetük belső változásai mellett is arányosak, így meggondolandó térinformatikai eszközökkel való elemzésük. A vizsgálat kiterjedt a csatatér és az érintett környezet seregmozgásokat befolyásoló földrajzi, felszínmorfológiai viszonyaira, a hadmozdulatok által érintett távolabbi tér vizsgálatára is. A művészi ábrázolásokon túli egyes képi megjelenítések, térképek, korábbi szakirodalmi eredmények elemzésével a további régészeti kutatás kiemelt fontosságú területei is meghatározhatók.
Draft V0R3

Cilj je istraživanja proniknuti u prirodu glazbene strukture, u proces stvaranja glazbe, u osobine glazbenog mišljenja i mišljenja o glazbi. U iskazima o glazbi s područja Slavonije dominira ideja glazbenih vrsta, proisteklih iz upotrebe glazbe, a u zbirkama folklorne glazbe ideja glazbenih oblika (napjeva ili pjesama). Povezivanjem ta dva koncepta – analizom po kriteriju teksta, teksture i konteksta izvođenja – pokazuje se da je u svakoj izvedbi u stanovitoj mjeri na djelu međuodnos između zajedničkog i osobnog, normativnih uporišta i imanentno osobnih glazbenih sklonosti određenog pjevača.
Summary: The objective of the research is to penetrate to the nature of musical structure, to the process of creation of music, to the characteristics of musical thought and thought about music. Statements about music from Slavonia are dominated by the idea of musical genres, while in the collections of traditional tunes there is the idea of musical forms (tunes or songs). By connecting these two concepts (analysis according to text, texture and context of performance) it was found that every performance is the result of creative tension between communal and personal, normative and individual.

Studija istoričara Milana Radanovića, “Prisilna asimilacija, internacije i masakri. Položaj pokatoličenih Srba u Velikoj župi Baranja, 1941–1942.”, nastala na osnovu nekorišćene ili slabo korišćene arhivske građe, napose one iz Hrvatskog državnog arhiva i Vojnog arhiva u Beogradu, na primjeru jedne upravne jedinice Nezavisne Države Hrvatske dokazuje da je pristanak na pokatoličavanje bio posljedica prethodnih pritisaka ustaških vlasti te da pokatoličavanje nije bilo garancija sigurnosti života i imovine pokatoličenih Srba. U prvom dijelu studije autor je istražio položaj Srba u slavonskoj Podravini i dijelu srednje Slavonije (sedam kotareva) u razdoblju koje neposredno prethodi njihovom pokatoličavanju, ukazao na glavne protagoniste politike pokatoličavanja na tom području, mapirao proces pokatoličavanja po naseljima i hronološki ga prikazao te kontekstualizovao rušenje lokalnih pravoslavnih crkava u okviru državne politike prema Srbima. U drugom dijelu studije, autor je mapirao proces internacije srpskog stanovništva iz zapadnog dijela Velike župe Baranja u ustaške logore tokom ljeta 1942. te rekonstruisao sedam masakara nad tamošnjim Srbima u jesen i zimu 1942. Interniranje u logore i ubijanje u mjestima za izolaciju te masakriranje po selima jasno ukazuju da pokatoličavanje nije jemčilo život onima koji su prihvatili rimokatoličku vjeru.

Among the most interesting episodes in art history of the late 19th
century Osijek is undoubtedly the sculpture of mythological Hindu
queen Sakuntala (Shakuntala), placed in 1892 in Le Maitre park in
Osijek, which at the time was situated in an undeveloped area of
the city between the Capuchin street to the west, the Fortress to the
east, the Jäger street to the south and the Drava River to the north,
but which soon became one of the most important urban parks /
squares in the city. The legend of Queen Sakuntala was dramatized
in 4th or 5th century AD, by one of the greatest Indian writers, Kalidasa. The legend has since become one of the common places of Indian cultural history. The English translation introduced the story
into European art in the late 18th and 19th century and Sakuntala
became the character of numerous literary works, operas, paintings
and sculpture.
The reasons for selecting Sakuntala as the topic for public
sculpture in Osijek undoubtedly lie in the complex circumstances of
ethno-religious settings and fluttering political arena of the city. In
the late 19th century Osijek was, in fact, a highly multinational, multiconfessional city with a high proportion of German, Hungarian
and Jewish population. The city never accomplished the ambition to
become the capital of Slavonia (Landeshauptstadt), and not only the
capital of one of Croatian counties. The city government of that period regularly sided with the Khuen regime in Zagreb, trying to take
advantage of the economic power to strengthen Osijek’s political position, which suited Khuen’s policy because conflicts within Croatian
political scene helped him control the land. Under such circumstances, memorials and parks dedicated to prominent individuals
from any of the ethno-religious groups would provoke the opposition
from other groups and so the choice fell on the Indian queen who
represented a sufficiently universal theme from the Far East mythology that nobody could object to. Finally, a copy was purchased of
the work of the Berlin sculptor Gottwald Kuhse (originally created
in 1881), made in terracotta by the factory Ernst March'Söhne,
Thonwaarenfabrik from Charlottenburg / Berlin in 1892.
It is not easy to establish the immediate cause for placing the
statue in one of the city’s parks, or why it was exactly Sakuntala
that was selected. The key role in ordering the sculpture was played
by teacher Bogdan Penjić the Older and City Captain Peter (Peter)
von Modesti, in charge of communal parks. It is hard to tell what
inspired them, but it could be one of the performances of Kalidas’
play or one of the operas. Peter Modesti, who had an important role
in the cultural life of his city at the time as head of the Society for
the Embellishment of Osijek, probably played a more prominent role
in the initiative. In Croatian art history he is better known as the
uncle of Bela Csikos Sessija, who played an important role in guiding
his nephew to painting.

Rad posvećen slabo poznatoj i još slabije istraženoj temi zločina Hrvatskog domobranstva / Domobranstva NDH - konkretno zločinima 4. gorskog zdruga u zapadnoj i srednjoj Slavoniji 1942. i 1943. Četvrti gorski zdrug je krajem ljeta 1942. učestvovao u racijama po srpskim selima u kotarima Đakovo i Požega, nakon čega je pohvatano stanovništvo internirano u logore Jasenovac i Stara Gradiška. Riječ je o internacijama mirnog i lojalnog stanovništva koje je prethodno prihvatilo rimokatoličku vjeru. Naredne godine pripadnici 4. gorskog zdruga su u Kamenskom Vučjaku izvršili masakr nad srpskim civilima iz naselja smještenih između Kamenskog i Novog Zvečeva. Riječ je o najmasovnijem masakru koji su domobrani počinili u Slavoniji tokom rata.

ÖZET:

“Hırvat Milliyetçiliğinin Doğuşu: 19. yy’ın İlk Yarısında Milliyetçi Kişi ve Kuruluşlar” adlı bu tezde, 19. yüzyılın ilk yıllarında Slavonya ve Dalmaçya’da gerçekleşmiş diriliş hareketini başlatan nedenler ve bu hareketin özellikleri anlatılmaktadır. Tezde diriliş hareketini şekillendiren iç ve dış faktörlerin yanı sıra, hareketin yapısına katkıda bulunan tarihi olaylardan da bahsedilmektedir. Tezin ilk bölümünde Hırvatların kökenleriyle ilgili teorilerden bahsedilecektir. Sonraki bölümlerde ise Devrim Hareketinin yapısını ve yönünü etkileyen unsurlar işlenecektir. Başlangıçta bu hareketi etkileyen unsurlar; kilise, ekonomi, diğer etnik gruplar, Panslavizm, Osmanlı, Yunan ve Roma dönemleriydi. Tezin genel konusu olan Slavonya ve Dalmaçya’dakidiriliş hareketi özelliklerinin daha iyi anlaşılabilmesi amacıyla, Slavonya ve Dalmaçya’da geçmişte yaşamış halklar da ele alınmıştır. Bu bölümde işlenen başlıca konular Devrim Hareketinin önemli isimleri, hareketin yayılmasında etkili olmuş unsurlar, hareketi öne çıkaran önemli olaylar ve bu olayların medyadaki yeridir. Tezin yazılmasındaki asıl amaç ise, 19. yüzyılda yaratılmaya başlanmış ve modern bir ülkenin temellerini atmış karmaşık bir hareket olan Slavonya ve Dalmaçya’daki diriliş (milli) hareketini aydınlatmaktır.

ANAHTAR KELİMELER: Ulusal Hareket, Diriliş Hareketi, Hırvatistan, 18. yüzyıl, 19. yüzyıl, Slavonya, Dalmaçya ve İstirya bölgesi

ABSTRACT:

National movements in Croatia (end XVII and first half of the nineteenth century) is the theme that describes the national (Revival) movement in what is now the Republic of Croatia (Slavonia and Dalmatia with Istria). Through this thesis we will briefly describe the basic external and internal influences that shaped this national (Revival) movement, as well as the historical background that influenced their design. A lot of attention will be given to the marking of the population of the region of Slavonia and Dalmatia in the past, in order to obtain a clearer picture of this complex issue. The first part of the thesis will be devoted to theories about the origin of the Croatian Ethnus. Later on, it will be given more details about the influences on the design and direction of the Revolutionary Movement. In the first place, there are different influences; influence of the church, economic influence, influence of the other ethnos, influence of pan-Slavism, influence of the Ottoman, Greek, and Roman period. At the very least it will be given some basic information about the main elements of the revival movement in Slavonia and Dalmatia in the end XVII and first half of the nineteenth century. Here we primarily think of the main actors of the Revolutionary Movement, the institution that contributed to the realization of the movement, the important events and the media through which the movement manifested itself. This thesis will try to illuminate the problem of the revival (national) movement in Slavonia and Dalmatia. It will try to illustrate in a simple way, the complexity of creating a nation in the 19th century, and shaping it into an modern Country.

KEY WORDS: National Movement, Resurrection Movement, Croatia, 18th century, 19th century, Slavonia, Dalmatia and Istirya region.

The purpose of this work is to show the change of political and ideological stances in the ranks of the Croatian Social Democrats in the First World War. The topic is analysed in the methodology of the constellational research, in the connection with the events in German and Austrian Social Democracy, as well as in the context of the war policy of the Central Powers. The first part of the work discusses the shift of political and ideological views of the Croatian Social Democrats that occurred in the first two years of the war, while the second part discusses this topic during the last two years of the war, until the creation of the National Council of the Slovenes, Croats and Serbs in Zagreb at the beginning of October 1918. It is shown that the primary shift from the revolutionary and internationalist principles towards the reformist principles of the leading Croatian Social Democrats occurred due to the complex political and war circumstances, as well as the pressure of the state. The events of the last two years of the war, especially after the October Revolution in Russia, caused visible stratification of political and ideological views in the ranks of Croatian Social Democracy, primarily with regard to the revolutionary/international and reformist/national tactics.

The construction of the Vukovar's old water tower, built in 1913 by Banheyer & Son Company based on the design of the Vukovar engineer Fran Funtak, is described in the paper. It is a fine specimen of the late secession architecture in Croatia. The water tower is made of reinforced-concrete and was built according to construction principles that were considered highly advanced at that time. Its capacity is 50,000 litres and it is 19,00 metres high. The water tower was damaged during the 1991-95 war and was rebuilt in accordance with the original plans immediately after the end of hostilities.

Vieux château d'eau de Vukovar bâti en 1913
La construction du vieux château d'eau de Vukovar, bâti en 1913 par Banheyer & Son selon le projet d'ingénieur de Vukovar M. Fran Funtak, est décrite dans l'ouvrage. Il s'agit d'un monument intéressant de l'architecture fin de l'époque de sécession en Croatie. Le château d'eau est fait en béton renforcé et a été bâti selon les principes de construction considérés très avancés à l'époque. Sa capacité est de 50.000 litres et sa
hauteur est de 19.00 mètres. Le château d'eau a été endommagé pendant la guerre 1991-1995, et a été reconstruit, conformément aux plans originaux, immédiatement après la fin des hostilités.

Der alte Wasserturm von Vukovar aus dem Jahr 1913.
Im Artikel beschreibt man den Bau des alten Wasserturms in Vukovar aus dem Jahr 1913., den die Firma Banheyer u. Sohn nach dem Entwurf des vukovarer Ingenieurs Fran Funtak erbaute. Es handelt sich von einem interessanten Denkmal der Ingenieurarchitektur des späten Jugendstils in Kroatien. Der Turm wurde aus Stahlbeton nach den damals modernsten Prinzipen erbaut, mit Kapazität von 50 000
Liter Wasser und Höhe von 19,00 Meter. Der Wasserturm war während des Krieges 1991./95. beschädigt, wurde aber sofort danach in Originalform erneuert.

Zahvaljujući izgradnji kompleksa tvornice češke tvrtke Bat'a, grad Vukovar nezaobilazno je mjesto povijesti hrvatske moderne arhitekture internacionalnog stila. Iako ni ovaj kompleks još nije monografski obrađen s povijesnoumjetničkog stajališta, što svakako zaslužuje biti s obzirom na njegovu važnost u povijesti ne samo hrvatske već i šire srednjoeuropske arhitekture prve polovine 20. stoljeća, u još manjoj je mjeri u vidokrug istraživača ušla okolnost da je u vrijeme izgradnje navedena kompleksa na zemljištu nedaleko od sela Borova, tvrtka Bata u samome centru grada Vukovara istodobno podigla stambeno-poslovno-trgovačku zgradu koja svojim oblikovnim rješenjem predstavlja zapravo prvo pravo ostvarenje arhitekture internacionalnog stila ne samo u Vukovaru već i u gradskim sredinama na širemu području Slavonije, a sa zagrebačkim djelima arhitekata Marka Vidakovića, Drage Iblera, Stanka Kliske, Zlatka Neumanna, Ivana Zemljaka i drugih, ubraja se i u rana ostvarenja ovoga stila u hrvatskoj arhitekturi uopće. U radu se govori o izgradnji te zgrade, a njezino će se stilsko rješenje nastojati kontekstualizirati sa stilskim rješenjima drugih, prvenstveno trgovačkih, zgrada tvrtke Bata na području međuratne Čehoslovačke.
Projekt za zgradu izrađen je 1931. godine, no sama je građevina izvedena na prijelazu iz 1932. u 1933. godinu. Tek 1934. dobila je uporabnu dozvolu. Tko je njezin projektant, nije jasno jer potpisi na projektu nisu čitljivi, no gotovo je sigurno da je riječ o nekom od inženjera ili arhitekata zaposlenih u centrali koncerna Bate u Zlínu. Projekte koji su izrađeni u Čehoslovačkoj potom su preradili i prilagodili lokalnim uvjetima najprije inženjer Ivan Kurtović iz Zagreba, a potom graditelj Lujo Karlovsky i inženjer Otto Stubenvoll u Vukovaru. Svojim ravnim krovom, konstrukcijom izvedenom djelomično od armiranog betona te pročeljima dijelom ostakljenim, dijelom bijelo ožbukanim i bez ikakve dekoracije, zgrada je predstavljala radikalnu modernističku interpolaciju u glavnoj vukovarskoj ulici, karakterističnoj po baroknim i historicističkim zgradama. Time se njezino arhitektonsko rješenje nastavlja na arhitektonsko rješenje drugih Batinih trgovačkih zgrada u Europi i odraz je brendiranja tvrtke putem modernizma kao stila.
Zgrada je isprva bila projektirana kao dvokatnica i da je izvedena prema prvotnom projektu, dosta bi nalikovala na trgovačku zgradu koncerna Bate u češkom Kolínu. Naposljetku je izvedena kao jednokatnica. Nakon Drugoga svjetskog rata pregrađena je, a nakon rata 1990-ih nije više obnavljana, tako da se na njezinu mjestu danas nalazi potpuno druga građevina.

Druga knjiga Priloga za povijest Broda i okolice uglavnom je posvećena temama iz 20. stoljeća, kojima se bavi šest od osam zastupljenih autora: I. Mikuš je obradio osnivanje i djelovanje „Hrvatskog orla“ u Brodu i Brodskom Varošu, N. Barić ulogu Broda kao željezničkog čvorišta u krijumčarenju hrane u NDH, M. Tomas krizu poduzeća „Đuro Đaković“ od demokratskih promjena do Domovinskog rata, dok su tri priloga komentirane arivske građe (o tvrtkama u Brodu  1919. – 1923., posjetu Brođana grobu Aleksandra I. Karađorđevića 1934. i pjesmama iz logora Krndija 1945. – 1946.) priredili M. Artuković , D. Zovak i V. Geiger. L. Jakopčić autor je ekohistorijski usmjerenog poglavlja Crtice iz života rijeke Save – složeni procesi 18. stoljeća, a najopsežniji je u zborniku prilog D. Hrkaća, naslovljen Neki aspekti povijesti mentaliteta kroz brodske katoličke matične knjige od 1780. do 1850. godine.

Đakovo Cathedral is one of the most significant buildings of historicism in Croatia. It replaced an earlier rather small cathedral, a Baroque adaptation of a the remains of a medieval church. (ealy 18th ct.). It is less known that before the plans made by Rösner and Schmidt for the present-day building (1866 – 1882), a whole series of stylistically interesting designs was proposed. Between the end of the 18th and the middle of the 19th century. Although none of then was carried out, they offer an interesting insight into the history of Central European religious architecture of the period.
The first attempt was made under the Bishop Franjo Matija Krtica (1773–1805), who commissioned a project which could be probably identified with the one in State Archives of Croatia (figs. 1–3). It was made around 1800, and it is typical of the late Central European Baroque with small touches of Classicism. Krtica’s successor, Bishop Antun Mandić (1805–1815) abandoned the project and commissioned a new one. The first one, from 1806, was provided by the Hungarian Court Chancery, but it did not seem to have met the Bishop’s wishes, so he ordered another project in 1814. This provided for a sumptuous baroque-classicist building. Mandić embarked on preparation of building material but he died in 1815. His successor, Mirko (Emerik) Karlo Raffay (1816.–1830.) followed the lead of his predecessors. He was determined to build the new cathedral, but he rejected the earlier projects, and ordered new ones.
He entrusted the project to the Zagreb architect, Bartol Felbinger. Felbinger’s first design for the cathedral dates from 1817, and provides for a representative two tower Wandpfeiler church with a crypt. Both in spatial conception and detail of composition this design closely follows the Cathedral of Temišvar (1736–1773) by Emanuel Fischer von Erlach. Only in some details of the architectural composition which bear a stronger classicist flavor did Felbinger depart from his model. Just two years later, in 1819, Felbinger offered another design, the reasons for which remain unclear. Possibly, the first project was too costly. It is interesting that the two proposals by the same architect are very different. In terms of space, it is still a Wandpfeiler church, but architectural organization of the 1819 design is truly classicist, and closer to the contemporary European developments.The project was, however, rejected by the Vienese Hofbaurat, the well-known architect Peter von Nobile, primarily because of an incomplete expense account. The Hungarian Court Chancery and the Vienese.Hofbaurath would try to impose their own new design on Bishop Raffay in 1821, but the latter would refuse it. Thus the building was postponed until the election of Bishop Josip Juraj Strossmayer.

The year 1915 may be, from the perspective of a researcher of Croatian Social Democracy in Banska Croatia, the darkest period because of the lack of sources, mostly conditioned by war circumstances and the prohibition of activity of Social Democratic Party of Croatia and Slavonia. On the basis of unpublished and published sources, as well as secondary literature, this work reconstructs the position of the leading Croatian Social Democrats during 1915 in Banska Croatia, primarily in the wider context of events in the German and Austrian Social Democracy. Complete passivity of Croatian Social Democracy due to its treatment by the government during the outbreak of the war, which caused cooling of relations toward other Social Democratic parties in Austria-Hungary and the animosity toward the state, is shown to be the reason for a gap in historiography.

In the period between the two World Wars the urban tissue of the town of
Vukovar marked a relatively fast and significant growth. Still, as in other places, this
growth could only go hand in hand with the economic trends then prevalent in the
town and the country at large. What was marked as the period of more aggressive
economic development – 1920s and the second half of 1930s, was characterized by
an intense activity of contruction industry, which later subsided and virtually perished
during the Great Depression (1931 – 1934). Besides a number of new residential
buildings, a significant number of industrial plants and similar production facilities
emerged at the time in the new industrial zone on the fringes of the western and
northern part of Vukovar (Priljevo and other parts of the so-called New Vukovar).
Despite the aforementioned no significant advances were made at the time in
respect of a planned urban development of Vukovar. The first regulatory document
stemming from the 1920s was of a completely unofficial character, while the other
one, dating from 1934 was too general to be feasible. The town grew on the basis of
partial blueprints which only had relevance for individual streets and zones. In the
second half of 1930s, there finally came to the establishment of city engineering,
whose experts acted as contractual technical managers. This position was filled by
Fran Funtak, the most significant project manager in Vukovar in the period between
the two Wars.
1920s saw significant investments in the community infrastructure – which was
a prerequisite for the establishment of the system of water supply and for the completion of the paving and electrification of the town. During the 1930s this trend in
investments slowed down for shortage of funds – still a new bridge was built in the
town center, after the old Baroque one had been destroyed in a flood. Towards the
end of 1930s a new market place was errected.

Zapadni obod Osmanskog carstva tijekom 17. stoljeća bio je rubno područje na kojemu su se ispreplitale različite civilizacijske i vjerske silnice. Vjerski su odnosi ovisili o lokalnim prilikama s jedne, i širim političkim prilikama s druge strane. Dok su šire političke prilike imale često neizravan utjecaj različitog intenziteta, lokalne su prilike usprkos dojma statičnosti bile ono što je neprestano određivalo socijalni i vjerski položaj lokalnog stanovništva. Na visokoj crkvenoj razini vidljiva je nestabilnost dijecezanske strukture Katoličke Crkve na ovom području koja je izazivala povremene prijepore među tamošnjim prelatima. Međutim, korespondencija između katoličkog klera i Propagande ukazuje ne samo na jurisdikcijska nesuglasja, nego i na svakodnevne lokalne poteškoće s kojima su se suočavala kako duhovna lica, tako i obični puk. Kleru su primarni problem predstavljale otežane mogućnosti školovanja svećeničkog podmlatka što je za sobom povlačilo i prepreke pri osiguranju adekvatne pastoralne skrbi. Za lokalni katolički puk upravo je ovo pitanje dušobrižništva znatno utjecalo na svakodnevni život, u kojemu je redovita pastoralna skrb, prije svega dijeljenje sakramenata, imala važnu ulogu. Dokumenti ovog vremena pokazuju da su franjevci nastavili, kao i u prethodnim razdobljima, preuzimati dušobrižničku odgovornost na sebe. Uz katoličku, na promatranom području djelovale su i hijerarhije drugih vjerskih zajednica, islamske, pravoslavne i protestantske. Promatrana izvorna građa svjedoči da su međusobni odnosi predstavnika svih hijerarhija bili izrazito kompleksni. To je posebice vidljivo u odnosu katoličkih i pravoslavnih predstavnika koji su uvelike varirali – od konstantnih nastojanja da se što veći broj vjernika privuče svojoj crkvenoj obedijenciji do povremenih pokušaja stvaranja crkvene unije (doduše na ograničenom području). Odnosi među katolicima također su bili vrlo složeni, što je naročito dolazilo do izražaja u ratnim vremenima kada je dolazilo do hajdučkih upada na protivnički teritorij. Franjevački izvještaji upućeni Propagandi svjedoče kako su takve akcije nanosile značajnu materijalnu i ljudsku (posebice porobljavanje) štetu čitavom području na kojem su se odvijale. Čak i Šilobadovićeva kronika koja hajduke percipira kao „naše“ zorno je svjedočanstvo o tome da su metom njihovih akcija osim protivnika–Osmanlija, često bili i katolici.