Following a devastating fire of 1435, some parts of the Rector's Palace in Dubrovnik had to be built anew. The con- struction of the western wing was begun at the end of the 1430s. Neapolitan engineer Onofrio di Giordano della Cava was in charge of this important endeavour and the sculptor Pietro di Martino da Milano is documented as his important collaborator. At the time of Filippo Diversi's description of Dubrovnik (1440) the western façade has already been at least partly fi nished, since the entrance hall (loggia) with six arcades and fi gurative capitals is already mentioned. The work on the decorations of the upper floor of the façade is mentioned in the first half of the 1440s, when two single arched windows ("fenestre serachine") and two mullioned windows, one three- and one four-light, were com- missioned. Following the analysis of the descriptions of the architectural sculpture in archival documents (National Archives in Dubrovnik: series Diversa notariae and Diversa cancellariae) as well as of the comparative material in the Adriatic area, it is possible to reconstruct the organization of windows on the first floor of the west façade of the Rector's Palace: both monumental single arched windows and the four-light window between them were placed in the central part of the west façade while the three-light window was on its northern part, built into the north-west tower ("tore de Campana") of the palace. From the measurements of single architectural elements mentioned in the archival sources we can also conclude that the upper fl oor as constructed in 1440s was much higher than today, probably as high as the ground floor. Therefore, it must have been rebuilt later, most likely already after the explosion of gunpowder in 1460s. Besides that, in comparison to today, the distribution of openings and decoration was at that time much closer to the contemporary Venetian palaces. Since it overlooks the main city square, this important part of the Rector's Palace has always played an important role in shaping the architectural and iconographic image of the city.
COBISS.SI-ID: 55976802
The purpose of the present study was analysis of plasters used as supports for mural paintings carried out by what was known as 'Older Villach's workshop' and its followers, active in the first half of the fifteenth century in Carinthia (Southern Austria) and Slovenia. The composition of plasters, the number of layers, the application of giornatas and a possible use of lime-wash was of interest, as was the comparison of results obtained, in order to establish a possible technical characterization and connection among the selected wall cycles that show an important stylistic relationship. Small samples were analysed by OM, SEM-EDX and XRD. The results revealed significant differences in the composition of plasters that can roughly divide the murals into two groups. The first group, starting with works by 'Older Villach's workshop' and its founder Frederic of Villach, is characterized by plasters made of lime and sand, while the second, starting with Frederic's son, Johannes of Ljubljana, shows a composition of lime and crushed marble or lime-rock. Intonaco was applied everywhere by the system of giornatas, while lime-wash was rarely used. The analyses also made it possible to confirm/reject authorship hypotheses previously suggested by art historians.
COBISS.SI-ID: 54874210
The article is focused on the group of paintings in Cistercian nunnery of Lichtenthal in Baden-Baden and their printed models. The unusually large group of paintings by anonymous artists of the first quarter of the 16th century is modeled on woodcut illustrations for small prayerbook Salus animae, produced in the circle of Albrecht Dürer in Nuremberg in 1503. The density of copies after artistically modern prints suggests the involvement of ambitious patron, probably the abbess Mary of Baden.
COBISS.SI-ID: 37798701
The discovery of three venetian well-heads in Havana (two from the 15th century and one from 19/20th century) is a significant contribution to the research of the destiny of venetian art works in the time of the flourishing art market in Americas in the first half of the 20th century.
COBISS.SI-ID: 55181666
During the last few years, Beti Žerovc has done a lot of research on Ivana Kobilca, a Slovene realist painter. In the year 2014 Žerovc published two scientific papers about her in English.
COBISS.SI-ID: 56783714