Commision to preserve national monuments

Pursuant to Article V para. 4 Annex 8 of the General Framework Agreement for Peace in

Bosnia and Herzegovina

and Article 39 para. 1 of the Rules of Procedure of the Commission to Preserve National Monuments, at a session held from 20 to 26 January 2004 the Commission adopted a

The architectural ensemble of the Franciscan monastery and church of St John the Baptist in Kraljeva Sutjeska, together with the movable heritage items within the Monastery Museum, are hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).

The movable items referred to in para. 1 of this Clause consist of consisting of 54 pictures, 1 sculpture, 187 metalwork items, 11 textile items, 11 documents held in the archives, 1 stone monument and the organ in the monastery church (hereinafter: the movable heritage items).

The National Monument is located on cadastral plots nos. 2, 8 and 9, cadastral municipality Kraljeva Sutjeska, municipality Kakanj, Federation of Bosnia and

Herzegovina

Bosnia and Herzegovina

The commercial building dating fron 1929 located on the other side of the river Trstionica, erected by cadastral plot no. 10, cadastral municipality Kraljeva Sutjeska, is not protected by the provisions of this Decision as a national monument, and the restrictions stipulated in this Decision do not apply to it, but it does constitute part of the architectural ensemble.

The provisions relating to protection and rehabilitation measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of the Federation of BiH nos. 2/02 and 27/02) shall apply to the National Monument.

The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for ensuring and providing the legal, scientific, technical, administrative and financial measures necessary to protect, conserve, and display the National Monument.

The Commission to Preserve National Monuments (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and setting up signboards with the basic data on the monument and the Decision to proclaim the property a National Monument.

To ensure the on-going protection of the National Monument, the following measures are hereby stipulated:

Protection Zone I consists of the area specified in Clause 1 para. 3 of this Decision.

§ the rehabilitation of existing buildings and works designed to present the National Monument, the landscaping/making good of the plots, and minor infrastructural works are permitted subject to the approval of the Federal ministry responsible for regional planning and under the expert supervision of the heritage protection authority of the Federation of Bosnia and Herzegovina (hereinafter: the heritage protection authority);

§ new buildings that will not be detrimental to the value as a monument of the complex may be erected subject to the approval of the Federal ministry responsible for regional planning and under the expert supervision of the heritage protection authority

§ A protective zone is hereby stipulated with a width of 300 m from the outer limits of Protection Zone I. In this protective zone the following protection measures shall apply:

§ the construction of industrial facilities, facilities the use of which could pose a risk to the architectural ensemble, quarries or environmental polluters is prohibited;

§ works of any kind to the infrastructure are permitted only with the approval of the ministry responsible for regional planning and under the conditions stipulated by the heritage protection authority.

The following protection measures are hereby stipulated relating to the movable heritage items

The Commission will take steps to have the following works of art returned to

Bosnia and Herzegovina

from the Strossmayer gallery in Zagreb:

§ several items of mass vestments, together with the parament of Queen Katarina of

Bosnia

The Government of the Federation of Bosnia and Herzegovina willl provide appropriate museum conditions for the movable heritage items, and in particular;

§ wil provide the appropriate museum conditions for the presentation of the textile items to protect from from further deterioration, by providing showcases to store and display the items in a horizontal position

§ will install an air conditioning system that will ensure the necessary quality of atmospheric humidity (50-60%) and air temperature (16-22 deg) in the museum, library and archive, together with the introduction of a video surveillance system.

The display and other forms of presentation of the movable heritage items in

Bosnia and Herzegovina

shall be carried out in to the conditions stipulated by the Federal Ministry responsible for culture.

Oversight of the implementation of the measures designed to protect the movable heritage items shall be carried out by the Federal Ministry responsible for culture.

The removal of the movable heritage items from

Bosnia and Herzegovina

is prohibited.

By way of exception to the provisions of paragraph 1 of this Clause, the temporary removal from

Bosnia and Herzegovina

of the movable heritage items from

Bosnia and Herzegovina

for the purposes of display or conservation shall be permitted if it is established that conservation works cannot be carried out in

Bosnia and Herzegovina

Permission for the temporary removal of the movable heritage items from

Bosnia and Herzegovina

under the conditions stipulated in the preceding paragraph shall be issued by the Commission, if it is determined beyond doubt that it will not jeopardize the National Monument in any way. In granting permission for the temporary removal of the items, the Commission shall stipulate all the conditions under which the removal may take place, the date by which the items shall be returned to Bosnia and Herzegovina, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of the Federation, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.

All executive and area development planning acts not in accordance with the provisions of this Decision are hereby revoked.

Everyone, and in particular the competent authorities of the Federation of Bosnia and Herzegovina, the Canton, and urban and municipal authorities, shall refrain from any action that might damage the National Monument or jeopardize the preservation and rehabilitation thereof.

The Government of the Federation, the Ministry responsible for regional planning, the Ministry responsible for culture, the heritage protection authority, and the Municipal Authorities in charge of urban planning and land registry affairs, shall be notified of this Decision in order to carry out the measures stipulated in Articles II to VI of this Decision, and the Authorized Municipal Court shall be notified for the purposes of registration in the Land Register.

The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.aneks8komisija.com.ba)

Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in

Bosnia and Herzegovina

, decisions of the Commission are final.

This Decision shall enter into force on the date of its adoption and shall be published in the Official Gazette of BiH.

This Decision has been adopted by the following members of the Commission: Zeynep Ahunbay, Amra Hadžimuhamedović, Dubravko Lovrenović, Ljiljana Ševo and Tina Wik.

Pursuant to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, a “National Monument” is an item of public property proclaimed by the Commission to Preserve National Monuments to be a National Monument pursuant to Articles V and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina and property entered on the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02) until the Commission reaches a final decision on its status, as to which there is no time limit and regardless of whether a petition for the property in question has been submitted or not.

At a session held on 14 June 2000 the Commission issued a Decision to add the Franciscan monastery in Kraljeva Sutjeska to the Provisional List of National Monuments of Bosnia and

Herzegovina

, numbered as 290.

Pursuant to the provisions of the law, the Commission proceeded to carry out the procedure for reaching a final decision to designate the Property as a National Monument, pursuant to Article V of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.

In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following documentation was inspected:

§ Data on the current condition and use of the property, including a description and photographs,

§ Details of war damage, data on restoration or other works on the property, etc.

§ Historical, architectural and other documentary material on the property, as set out in the bibliography forming part of this Decision.

The findings based on the review of the above documentation and the condition of the site are as follows:

The architectural ensemble of the Franciscan monastery in Kraljeva Sutjeska and the church of St John the Baptist is in the town of Kraljeva Sutjeska[1] , 12 km north-east of Kakanj. It is 45 km from Zenica, 25 km from Visoko, and 56 km from Sarajevo. A road branches off from the Sarajevo-Zenica road at Ćatić and leads to Kraljeva Sutjeska, which is at an altitude of about 500 m above sea level. Kraljeva Sutjeska is at the end of a funnel-shaped valley surrounded by the slopes of Teševsko hill on one side and of Ježevica on the other.

The architectural ensemble stands on a site comprising c.p. nos. 2, 8, 9, c.m. Kraljeva Sutjeska, municipality Kakanj, Federation of Bosnia and

Herzegovina

[2].

The monastery was built in the first half of the 14th century at the time the Province of Bosnia Argentina was founded[3]. The earliest reference to the monastery is in an inventory by the Italian Franciscan writer Fra Bartolo of Pisa dating from 1385, in the work De conformitate vitae B. Francisci[4]. In the 14th century Franciscan chronicles of Luka Wading there is reference to the monastery in Sutjeska by the name of Bani[5]. (Barišić, 1890, p. 28) According to Jelenić and Matić, the monastery in Sutjeska was demolished in the early 16th century (Jelenić, 1990, Vol. II, p 687č Matić, 1987, p. 13) [6]

The monastery was restored before 1530[7]. It was subsequently again demolished[8], but in 1596 the Franciscans of Sutjeska again built a monastery and church[9] . The monastery was erected on the same site, originally of wattle and daub, and somewhat later of the materials from the demolished monastery[10], and bore the same name: monastery of St John (the Baptist)[11]. The church was consecrated in 1607[12].

The famous Dubrovnik poet Ivan Gundulić referred to the monastery in Kraljeva Sutjeska in 1615 in a letter in which he refers to the death of knez Pavle Radinić[13]. On 7 September 1658[14] the monastery burned down, and all its valuables with it (the monastery building, the library with its archive and other valuables)[15]. The church did not burn down[16], being some 20 metres from the monastery[17]. A new monastery was built of ćerpić (unbaked, sun-dried bricks) in 1664.

During the Vienna war[18] at the end of the 17th century the Franciscans were compelled by high taxation to abandon the monastery and live in cottages in the nearby villages[19]. Another source relates that the Franciscans lived away from the monastery for a full 16 years (1683-1699)[20]. When political circumstances became more settled, they returned in 1704.

In the 18th century (1728) the church was completely renovated[21], with three of its walls built of stone (the previous building, dating form 1596, was of ćerpić). It then had a wooden barrel vault, completed only later (1784-1785). Before then (1738) they paved the church floor with stone slabs. In the chronicles of the Sutjeska monastery for 1672 details are given of the preparatory works for roofing the monastery and church[22].

Since all trace had been lost of the 1607 consecration, on 24 August 1780 the church was again consecrated by Bishop Dobretić. Between 1784[23] and 1785, the dilapidated parts of the woodwork were reconstructed, the remaining part of the wooden ceiling was vaulted and a new roof was laid, clad with pine slats[24].

In the 19th century[25] (1821-1832[26]), the monastery was considerably extended and renovated[27], and at the end of the century[28] (1889-1897) the present-day monastery was built, with a new church (1906-1908). At the end of the 20th century the monastery was renovated (1928-1988)[29].

By the beginning of the 19th century the church had again become dilapidated and ruinous, and in 1821 it was pulled down and a new one built on the same site. Less than 30 years later (in 1858) that church too was replaced by a new one, a few feet longer and decorated in the "Italian way" or baroque stile. We now know its actual dimensions: 34.7 m long by 19 m wide[30]. All the altars of the earlier church were moved to the new one, which survived into the 20th century.

In 1860 a tower was erected by the church, the first time that a tower had been built since 1463. There were three old bells in the tower, which ended up in the war-time iron foundries in 1917. The detail survives that the date 1524 was inscribed on one of the bells[31].

The church then had several altars with valuable paintings procured in Venice and dating from the late 16th to the 18th century. All but two disappeared when the church was demolished in 1905. During the 17th and 18th century the main and five side altars were procured, probaly made in the early baroque style. They no longer exist, but they did survive until the demolition of the church in 1905; in 1865 an organ was bought for the church, which has survived and is still in working order (recently restored)[32].

During the 19th century the monastery was rebuilt twice, for the second time in 1888-90 when the present-day monastery was built.

The construction of the large parish church in Bugojno in 1879 inaugurated a period of major building activities by the Bosnian Fransciscans during the Austro-Hungarian period. Several dozen churches were built, including those of Fojnica, Kraljeva Sutjeska, Plehan, Sarajevo, Podmilačje, Zenica, and Tuzla, alolng with a number of new monastery buildings: Petrićevac, Sarajevo, Kreševo, Kraljeva Sutjeska[33].

In the 18th and 19th century the monastery in Kraljeva Sutjeska was an important cultural centre, where well-known figures active in the world of culture lived and worked: Filip Laštrić, Bono Benić, Grga Ilić-Varešanin, Andrija Barukčić, Stjepan Marjanović, Blaž Josić, Martin Nedi and others. In 1851, the Franciscans opened philosophical and theological colleges in the monasteries in Fojnica and Sutjeska[34], and there was also a school by the Sutjeska monastery, open to anyone who wanted to acquire literacy skills[35].

Architecturally, the ensemble consists of the monastery building, which has two wings, the east wing 40 m long lying parallel to the river and the north wing 20 m long, to the north-west of which is the nuns' house and the church with twin towers which in effect form the west wing of the church. To the north-west of the complex, below the slope of Fratarski gaj hill, is a retaining wall which encloses the monastery complex. Between the retaining wall and the monastery and church a cloister was formed, an inner courtyard

The monastery building is an edifice with a high basement, ground floor and two upper floors. Structurally, it is a double-block building: the communications block or corridor wing of the monastery looks onto the inner courtyard or cloister, and the wider block comprises the various premises, facing north-east or south-east (onto the river Trstionica). Vertically, the floors of the monastery wings are joined by two staircases. The east wing consists of the brotherhood's residential premises and the north wing houses the archive, library, museum, kitchen and refectory, and auxiliary premises. There is a so-called “warm” connecting passage between the wings of the monastery and the church.

The church was built in 1906-1908 to blueprints by the architect Josip pl. Vancaš[36] (1859-1932), who was highly skilled both technically and artistically, and worked with the most prominent Austrian builders of his day. When this church was built he had already been responsible for a considerable number of buildings, including experience in designing religious buldings, among them the cathedral in Sarajevo.

The longitudinal axis of the church lies north-east/south-west. The present-day church is of the three-nave basilica type in neo-Renaissance form. The entrance area of the church, below the choir, is of the width of the central nave (approx. 9.40 m), except at the right-hand end, through which is the connecting passage with the monastery. Over these is the choir gallery and organ, reached via the staircase joining the church to the monastery. The main (east) entrance to the church from the exterior is in the entrance area (length approx. 3.70 m). There is also another (south) entrance, used occasionally when large congregations are expected.

This church is 39.40 m long, 18.10 m wide and 13.60 m high (“light” interior height measured from the floor level of the prayer space to the crown of the vault in the interior). It can be divided into the entrance area, central prayer space and sanctuary in the apse. The central prayer space consists of the central nave (approx. 9.15 m wide) and two lateral naves (approx. 2.45-2.50 m wide). The central nave is demarcated to right and left by a colonnade of square pillars approx. 90 x 90 cm, linked at a height of approx. +4,25 m by round arches; above these the wall continues on up, terminating in a tie beam with a barrel vault above. The barrel vault above the central nave is divided into sections by a structure of round arches. The vault is constructed of reinforced concrete, and is pierced by round-arched windows arranged basilica-style to allow light into the interior of the church.

The lateral naves are much narrow (approx. 2.45-2.50 m) and lower (height approx. 7.60 m to the crown of the vault) than the central nave (approx. 9.15 m wide and 13.60 m high to the crown of the vault), and the openings from the side to the central nave are high and wide, so that the whole thing forms to a great extent a single space. The side naves also have round-arched windows providing ample light. The transepts of the lateral naves are vaulted with cruciform vaults.

The apsidal sanctuary is of the same width as the central nave and is fairly deep (8 m). It terminates in a semicircle, and the vault is correspondingly rounded with a quarter calotte with two symmetrically positioned oculus windows.

The configuration of the steep terrain was exploited to the full, with the church built with an underground crypt outside the front part of the church (measured level with the entrance facade, it is set back some 18.30 m by comparison with the apsidal side). The interior dimensions of the crypt are 15.65 m long x 8.70 m wide x 5.35 m high. The crypt has all the features of the church in miniature, and was planned as a sepulchral crypt, but the only people entombed there are two bishops. The stone sarcophagus in the centre of the crypt was originally thought to contain the bones of the last-but-one king of

Bosnia

, Stjepan Tomaš, but following the archaeological excavations at Bobovac and an examination of the sarcophagus itself, this hypothesis proved to be unfounded.

The entrance facade of this church faces east. In the centre is a portal, with over it a large semicircular window and above that a gable with another, smaller round window. The central part of the frontispiece is framed by two matching, fairly slender square belltowers, 45 m in height, with copper-clad roofs. The lower storeys of the belltowers have one window each and the upper storey two windows on each side and are topped by a roof in the shape of a regular pyramid.

The construction was supervised by the experience Franjo Holz from Požega. Work began in 1906, and reached the base of the roof by 25 October 1907. Work was still going on in 1910, when the accounts of the Sutjeska monastery record that 205,000 crowns had so far been spent on the church, not including the cost of providing the workers with food and drink. This was a much larger sum than had been envisaged, and the monastery sold a large quantity of land (for example, in Borovica) to avoid having to pay considerable sums in interest on the mounting debt.

The original design for the main east entrance to the church (on the river side) was very awkward. It was reached along the east facade wall by a double-flight stairway, north and south, which led to the floor level of the church and the entrance. While the church was in use it became apparent that the stairway was not easy to ascend, as a result of which alterations were made to the access to the church. To this end, the architect Vinko Grabovac made a wide terrace with balustrade at the level of the church to the east and south, resting on tall pillars linked as an arcade. To the south, the architect designed wide, easily-climbed and quite magnificent steps leading to the terrace, with a fine stone balustrade, landings and lighting. The terrace thus became a place to admire the view and a pleasant place to pause and rest before entering the church. A spacious parking area was made under the terrace at the lower end.

The church was painted in 1908 by Marco Antonini[37], who painted the walls in light colours, the pillars and round arches white and ochre and the ceiling blue. He emphasized the structural logic of the barrel vault by painting the arches with fine foliate motifs, thereby dividing the vault into semicircular fields, in the angles of which he painted medallions with the figures of various saints. He also emphasized the arches of the cruciform vault of the side naves with foliate motifs. Since the church was dedicated to St John the Baptist, Antonini painted a scene of the Baptism in the river Jordan as the central feature of the church, in the conch of the apse.

During the 17th and 18th century, and indeed up to 1905, the church had not only its main altar but another five side altars. The church now has three altars. The main altar is in the apse of the church and is dedicated to St John the Baptist. It is made of wood and is of Tyrolean manufacture by the company Ferd. Stuflesser, St. Ulrich-Groden. In the lower part of the altar mensa is a relief carving of the Last Supper. A tabernacle with ciborium and monstrance is set in the centre of the altar predella. The main part of the altar retable is divided into three niches, the central one dedicated to St John the Baptist. The side niches show St Francis and St Clara of Assisi.

In the east side nave of the church is a wooden altar dedicated to St. Anthony. In the centre of the altar predella is a tabernacle terminating in the crucifixion. There is a statue of St Anthony with the baby Jesus in his arms in the altar niche.

By this altar is a bronze statue of

Bosnia

's Queen Katarina, the work of the sculptor Josip Marinović of Zagreb.

Here, too, is the oldest organ in

Bosnia and Herzegovina

, made in 1865 in Budapest in the workshop of Orszag Sandor and installed in the church on 8 September 1866. This organ remained in use until 1909 when the church was renovated and the new organ installed which is still in use today.

The organ is of the classic positive-organ type without pedals, and with the sound produced by organ pipes. It has four registers of pipes, two made of wood and pyramidal in shape, and two of metal, cylindrical in shape. The bellows are located in the lower part of the organ case, formerly worked by a flab with a handle, and now by a mechanical fan. The front of the case has three openings each with nine pipes. At the top of each of these openings and of the case itself is a gold-painted wooden ornament.

During the 1990s the organ was repaired by the Salesian brother Mijo Prskalo (www.kraljeva-sutjeska.com).

The third altar, dedicated to the Blessed Virgin Mary, the altar of the Madonna, is in the west side nave of the church, and is very similar to St Anthony's altar. Our Lady is shown in a red gown with her hands raised.

The wooden pulpit stands on the west side of the church. The figures on the lectern are carved in relief.

The walls of the church are decorated with paintings of the Way of the Cross (Matić, Gavran, 1987, 12-55, Karamatić, Nikić, 1990, 39-58).

Beneath the church building is a spacious crypt with the tombs of two bishops and a stone sarcophagus. This was originally thought to contain the bones of king of

Bosnia

, Stjepan Tomaš, but following the archaeological excavations at Bobovac and an expert examination of the remains of the body, this hypothesis proved to be unfounded. The crypt has now been turned into a lapidarium, and contains a copy of one of the most famous stećak tombstones of

Bosnia and Herzegovina

, the original of which is in the National Museum in Sarajevo. The stećak formerly stood in the necropolis of Donja Zgošća near Kraljeva Sutjeska.

Outside the church is a statue of Queen Katarina, the work of the sculptor Ana Kovač. On the retaining wall in the monastery cloister is a mosaic Way of the Cross by Vlatko Blažanović.

The start of the formation of the collection of art works in the Franciscan monastery in Kraljeva Sutjeska dates back to the arrival of the Franciscans in

Bosnia and Herzegovina

. Given this long history, the monastery has one of the oldest and most valuable collections. However, building up and preserving the collection was not easy, given the social and historical circumstances. The monastery was burned to the ground several times: in the 1658 fire all its valuables were also destroyed. It was also damaged during military campaigns. At the end of the 17th century, the Franciscans left the monastery for several months, living in village homes, because of the high taxes. Then too some of the valuables disappeared. REPHRASE, THEY LEFT THE MONASTERY EMPTY FOR MUCH LONGER, CROSS-REFER TO FOOTNOTE WHERE THIS IS DESCRIBED.

The art works came to the monastery by purchase, gift and legacy from deceased members. They were procured in Bosnia, in the coastal towns, and in Italy, Austria and Hungary while the friars were away for educational purposes or on their travels.

The most diverse items of cultural, historical and artistic significance were acquired and kept in the monastery, which has a valuable collection of late Renaissance and Baroque art; a collection of church plate; a valuable collection of old church vestments; old archive material including the oldest register of births marriages and deaths in Bosnia and Herzegovina, and numerous documents; a library with both old and recent publications, many valuable periodicals, and the largest collection of incunabula[38] in a single location in Bosnia; and a valuable collection of archaeological monuments.

Representative items from the monastery's holdings are on permanent display in the museum area of the monastery building.The permanent exhibits were set up by the architect Pavle Mašić in 2000.

1. WOODEN ALTAR FRONT PAINTED ON BOTH SIDE – GIFTS OF THE MAGI, CHRIST FALLING BENEATH THE CROSS

Note: The only surviving part of a former Gothic altar covering in

Bosnia and Herzegovina

Description: The painting of the gifts of the magi is in good condition. The wooden border has a simple moulding and is decorated with carved floral ornaments on a gold background; the top ends in a gilded carving terminating in a Gothic arch. The painting shows the Madonna and Christ child standing in her lap. Beside them are the three kings holding their gifts. The three kings personify the three ages of man: a youth, a man of mature years, and an old man. One king is kneeling before the mother and child, and two are standing. The Christ child has his hand in the ciborium brought by one of the kings. The largest, central part of the painting of Christ falling beneath the cross is badly damaged. The painting has a plain, red-painted frame decorated with black vine-like motifs. Christ is shown as having fallen beneath the weight of the cross and attempting to rise again, leaning against a stone. His face and much of the cross are too badly damaged to be distinguishable. The painting also shows an older man, probably Simon of Cyrene, helping Christ to rise to his feet by holding the cross. In the background are the Madonna and St John the Evangelist. Behind Christ is a man with a ladder, probably Joseph of Arimathea, who later took him down from the cross. In front of Christ is a soldier with a sword, his face badly damaged, wearing 16th century costume. Behind him is yet another man wearing an ecclesiastical doublet, looking on, which leads to the assumption that this is perhaps a self-portrait of the unidentified Alpine artist (Mazalić, 1956, 111-112, Rakić, 1998, 344-345).

Signature below centre: on a piece of paper, a note in Cyrillic: «n(a) 1621 na 10a(g)osta (ia Stie) pan Dragoilovi(ć učini ovi oltar) na slavu (i počtene blaženog zač)etia na novoj kapeli... baštinu u Borovicu».

Description: The entire painting is dominated by Christ on the cross, vertically dividing the picture. Horizontally, the painting is divided by clouds top and bottom. In the upper part, symbolizing heaven, Christ is shown with three angels collecting the blood from his wounds in chalices. In the lower part, symbolizing earthly existence, the Madonna, Mary Magdalen and St John the Evangelist are shown by the cross. Beside them are another two figures, one in the background, perhaps the artist's self-portrait, and one figure of a man in the foreground (Mazalić, 1956, 102-104).

Signature below right: inscription in Cyrillic: «n(a) 1621 na 10a(g)osta (ia Stie) pan Dragoilovi(ć učini ovi oltar) na slavu (i počtene blaženog zač)etia na novoj kapeli... baštinu u Borovicu».

Description: The Madonna is shown in the centre of the painting, full length, standing on a sickle moon. In the lower left corner of the painting is St Stephen with a halo, and in the right lower corner an unidentified man (Mazalić, 1956, 104-105).

4. TRIPTYCH – NATIVITY OF CHRIST, THE ANNUNCIATION, THE ENTRY INTO JERUSALEM

Description: The painting is divided into three by two painted pillars linked by arches. The central area of the painting shows the nativity of Christ. As well as the Virgin and St Joseph, the painting shows a woman with a child in her arms and a man kneeling beside the cradle. In the upper part of the painting is an angel hovering with outspread wings and arms, between which is a band with the words: Gloria in excelsis Deo.

The left-hand part of the triptych shows the Annunciation. The Virgin is shown kneeling before an angel. In the upper part of the painting is the Holy Spirit in the form of a dove.

The right-hand part of the triptych shows Christ entering Jerusalem, riding on a donkey. Four apostles are shown around him. Zacchaeus is shown standing in the branches of a tree in front of Christ. A town with a church tower can be seen in the background (Mazalić, 1956, 107-109).

Description: Christ is shown kneeling in the centre of the picture. Above him is St Johyn the Baptist, baptising him with water with his right hand. Four figures – two women, a man and a small child – are shown in the background.

Description: The painting is a portrait of a young woman, the saint, wearing 17th century costume and with a crown on her head.

Description: The painting shows a young woman seated on a cloud. She has a crown on her head and a chalice with the host in her right hand. In her left hand she is holding a palm frond and a cloak wrapped around her knees. A tower with two round windows can be seen in the background, recalling the tower in which her father Dioscorus imprisoned her.

Description: The painting shows the head of Christ with the crown of thorns and wounds. Christ is gazing towards the heavens.

Description: The Madonna is shown seated with Christ in her arms. The smiling Christ is with his left hand touching St Anthony of Padua's head, which is leaning on the Madonna's forearm. St Anthony is holding a lily spray in his right hand. The inscription referred to is on a pillar in the background.

Description: Compositionally, the painting is divided into upper and lower sections by a horizontal cloud. The upper part shows the Madonna in half-figure with Christ in her arms. Above them are two hovering angels. The lower part of the painting shows four saints, one of whom is a woman.

Description: A winged St Michael is shown in military garb, waving his right hand in which he is holding a sword, and with lowered left hand holding a pair of scales. He is astride a dragon, which has the body of a man down to the waist and a dragon below the waist.

Description: The Madonna is shown in full figure with her arms folded, wrapped in a blue cloak and standing on a rounded cloud. St Francis is kneeling to her right, partly covered by the Madonna's cloak. St Anthony is kneeling to the left of the Madonna, holding a lily spray in his right hand.

Description: St. John the Baptist is shown naked, seated, with a red cloak wrapped around his waist and legs. His right hand, in which he is holding a tall cross, is resting on a stone. He is pointing to the river with his left hand. A lamb is lying beside him. On both banks of the river is the figure of a man beneath a palm tree.

Description: St. Philip is shown leaning with his left hand on the cross and holding a book in his right hand, standing on an elevation and wrapped in a cloak. His hands and feet are large and rather roughly painted. There are some more figures in the background, and two branches to left and right of the picture.

Signature in the background: «Fratum francisca- norum Conventus S. Joanis Baptistae Sutinscae 1871».

Description: The king is shown as a middle-aged man, with dark hair and beard and a slightly bent nose. On his head is a crown consisting of a row of acanthus leaves topped by pearls. The king is wearing a brown cloak with ermine on the upper part. He is holding a gold orb in his left hand and a silver sceptre with gold decoration in his right. To the left of the sceptre is a painted coat of arms in the form of a cartouche, consisting of various other coats of arms. Beneath the coat of arms are two crossed keys topped by the crowned heads of black men (Mazalić, 1956, 118-119).

Signatura in the background: «Hanc speciosam imaginem Romae 1894, depingi curavit per celebrem pictorem D. Benedictum Giove, A. R. P. Stephanus Čičak, tempore Minister Proolis».

Description: The painting is a portrait of a young man, Christ, in profile, his head bowed on his right shoulder.

Note: The icon is a fine piece from 18th century Russian workshops, which also worked for the foreign market.

Description: In the centre, slightly recessed field of the painting are four separate figures of the Madonna. The upper left shows the Madonna with Christ in her arms, her left hand on his cheek. The upper right shows Our Lady Umiljenija. Below left shows Our Lady Odigitrija with a crown on her head, as Empress of the Heavens. Below right is Our Lady of the Seven Sorrows, a typical western motif. On the margins of the icon to left and right are four miniature figures of saints in rectangular fields: to the left are Our Lady Kazanska with Christ, St Nicholas with the gospel in his hands, Empress Helena and St Catherine the martyr, and to the left are Our Lady as Empress with Christ as Emperor, St Demetrius, St Anna and St Marina the martyr. The inscriptions on the icon relate to the names and initials of these saints. (Rakić, 1998, 313-314).

Inscription on the book: HOMILIAE ET CONCIONES R. F. GREGORI A VAR. EPISCP. RUSPEN. VICARII. APOST. III

BOSNIA

ARGENT. ANNOR. LXVII. A. D. MDCCCII

Description: The bishop is shown seated in an armchair with a baroque back. With his right hand he is giving a blessing, and in his left he holds a bishop's crook the top of which is a curved branch. There is a bishop's mitre on his head. He is shown as an older man with a moustache. To his right is a boy dressed as an altar boy with an open book in his hands. On the right-hand page of the book is a coat of arms, perhaps that of the Franciscan order, and on the left-hand page the inscription quoted above (Mazalić, 1956, 121-122).

20. RESURRECTION OF CHRIST, BISHOP AUGUSTINE, ST JOHN THE BAPTIST – PARTS OF AN ALTAR POLYPTYCH

The paintings are parts of a Renaissance polyptych that no longer exists. The painting of the Risen Christ formed the central section and was thus wider than the others. Christ is portrayed as hovering above his tome. His body is well proportioned and competently painted. He is giving a blessing with his right hand and holding a flag with a cross in his left. Christ's head is slightly raised heavenwards. The expression on his face is one of bliss and exaltation, without any signs of the suffering he had endured. His naked body is painted in natural; colours, with very soft shadows, and his cheeks are slightly reddened.

The board with the figure of the bishop has been cut off later at the side. St Augustine is portrayed with gloves on his hands. He is holding the Gospels in one hand and a bishop's staff in the other, and is facing the observer.

The board with the figure of St John the Baptist is particularly impressive in the colour harmony of his robes. His big, powerful body is bent in the same way as that of Christ. The subtlety of moulding of the saint's face, which has been conceived with great care, reveals the artistry of this unidentified Renaissance master (Rakić, 1998, 356).

In 1871 four Gothic paintings, several items of mass vestments and the parament of

Bosnia

's Queen Katherine were removed from the Franciscan monastery of Kraljeva Sutjeska and taken to Bishop Josip Juraj Strossmayer in Đakovo for safe keeping. The items were taken at the Bishop's request by the parish priest of Kotorište, father Ante Knežević, with the sculpture Donegani, who had permission to do so from the Bosnian Provincial Mijo Grujić, obtained on the basis of an agreement from the definitoria of the order and Strossmayer's undertaking in writing that «in this way these old things will be saved for the people and for Bosnia itself, for I promise myself and the Academy of Sciences and bind our government that in future, when God grants that Bosnia becomes independent, all these things belonging to Bosnia will be returned» (Karamatić, Nikić, 1990, 46). About twenty years later, in 1889, the Franciscans and Ćiro Truhelka, who was working in the National Museum in Sarajevo, called upon Strossmayer to return the items that had been removed, with the observation that «if circumstances in Bosnia are not yet such, if the day has not yet dawned when Bosnia may feel itself to be free, it never will be again.» (documentation of the Franciscan monastery of Kraljeva Sutjeska). Addressing the Bosnian Franciscans on 9 September 1891, Strossmayer said that his promise to return the items «gifted to him» to

Bosnia

when it was liberated was «simply the outpouring of my heart and love, and by no means a juridically binding obligation.

Bosnia

gifted those items to me to give to the Academy of Science and the Arts after, of course, spending large sums on their repair.» (documentation of the Franciscan monaster of Kraljeva Sutjeska).

The Franciscans of the Kraljeva Sutjeska monastery also wrote to the definitorium of the Bosnian Provincial with the request that the items be returned to them that were handed over against a receipt from Strossmayer «while he is still alive, because after his death we shall never get them back.» (letter from fr. Juro Dakić, fr. Domino Andrić and guardian Franjo Franjković dated 12 April 1892).

The following paintings from the Franciscan monastery in Kraljeva Sutjeska are still in the Strossmayer gallery in Zagreb:

Description: The painting is divided horizontally into two distinct sections. The upper part shows the figure of Christ crucified, against a gold background. Blood is flowing copiously from his wounds. The lower part shows the Madonna, fainting, held up by two women. Mary Magdalene is shown by the cross. Behind them is a group of women with scarves over their heads. To the right of the cross are the apostle John and the centurion Longinus. The entire composition is surrounded by upright spears, the instruments of Christ's passion and a banner. (Rakić, 1998, 343).

Description of the Pieta: Iconographically, the composition of the Pieta is not an illustration of events described in the Scriptures, but is of symbolic value. The painting shows the naked dead Christ in the Madonna's lap. Around the Madonna are three women saints and Mary Magdalene, holding and kissing Christ. Beside them is the apostle John, Joseph of Arimathea (shown in an open stone sarcophagus, representing Pilate's permission for him to bury Christ), Nicodemus and their two assistants. To the left of the scene is a tall cross with angels flying around it gesticulating to show their despair. (Rakić, 1998, 343-344).

Description of the Angel with flambeau: in the background of the picture just described is the figure of a kneeling angel with a flambeau in his hands, the symbol of Christ's passion. The beauty of the figure is enhanced by the dark background and distant horizon. (Rakić, 1998, 344).

Description: The scene of the Coronation is given a strongly triangular composition, emphasized by the slender Gothic architecture of the upward-soaring throne. The top is bordered by banners held by angels. The Madonna is seated on the throne, arms crossed, and God the Father is placing the crown on her head. Accompanying this central scene are angels, the one on the left holding a golden orb with a cross on top and the one on the right a sceptre. Behind them is a group of saints and angels blowing trumpets and carrying banners. At the bottom edge of the picture the foreground shows angels playing instruments, their backs to the onlooker, facing the scene of the Coronation and thereby completing the enclosed structure of the composition. (Rakić, 1998, 344).

Description: The painting shows the etiolated, pale body of Christ emerging from a dark background showing his wounds. There is a halo around his head with an inscribed cross with vine-like ornaments between the arms. At the base of the cross is the small figure of the donor, whose brocade cloak is adorned with cut-out decoration and large gold acanthus leaves, so that he breaks the monochrome of the painting. The donor is in profile, head raised towards the Saviour, his long-fingered hands folded in prayer. Tradition has it that this figure is the king of

Bosnia

, Stjepan Tomašević a contemporary of Dobričević. (Rakić, 1998, 346).

The first three paintings are exceptionally valuable works by an unidentified late Gothic artist of the Styrian school, dating from the turn of the 14th and 15th century. The upper sections of the paintings are gilded, and three sides are surrounded by a decorative band.

The painting of Christ with donors is regarded as the most valuable. There are two theories as to the artist. One is that propounded by Vinko Zlamalik, who agreed with Gamulin's view that it is by Jacopo Bellini and dates from the mid 15th century (Zlamalik, 1982, 44). The second is that put forward by Svetlana Rakić, who believes it to be the work of the Kotor artist Lovro Dobričević, also of the mid 15th century. Dobričević was one of the best and most influential Dalmatian artists of the period. He learned his craft in Venice with the famous Venetian master Michele Giambono, who along with Jacopo del Fiore, influenced his later work. (Rakić, 1998, 343-346).

Description of the item: Reliquary in the form of a crucifix. The ring at the top has survived as has the bolt at the base for opening it. The front of the cross bears the figure of Christ in relief, fully clad, with a veil over his head. There is a figure of the Madonna on the back of the reliquary.

Size: height with handle 28 cm, height without handle 14 cm, diameter of opening 26 cm.

Description of the item: The shape of the kettle is reminiscent of the base of a column. The sides of the handle are decorated with stylized dolphins, carrying in their mouths part of the support that forms a circle which in turn merges into the handle. The entire outer surface of the kettle is decorated with engravings in twelve decorative zones from the border to the basal rosette. The first is engraved with simple slanting lines. The second is recessed, and decorated with interlinked geometric elements forming an encircling chain. The third and seventh zones are identically decorated, embossed and decorated with rhombs. The fourth and sixth zones are also identically decorated, with irregularly spaced horizontal dotted lines forming a harmonious transition to the central area of the kettle. The fifth zone is the central frieze, 5 cm wide, with four battle scenes in a Renaissance border engraved on it. The scenes show a battle at sea, a battle close to the shore and on land, a cavalry battle and an infantry battle. In addition to these battle scenes, this zone is also decorated with a grotesque and a half-figure with vines to right and left. The eighth zone is recessed and decorated with irregularly engraved lines. The ninth zone is plain and unadorned, and forms the transition to the base of the kettle. The base, which consists of the tenth, eleventh and twelfth zones, is decorated with a circular band filled with engraved leaves resembling a simplified fishbone motif. The central area of the base of the kettle is taken up by a rosette decorated with an asymmetrical star within other stars. The rosette is surrounded by a narrow band decorated with irregular quadrifoliate motifs. The base of the kettle is cracked.

Note: The kettle was discovered during the Austro-Hungarian period during excavations in the mediaeval town of Bobovac, and is assumed to have belonged to the royal family. At the Sutjeska friars' request the Austrians left it in the monastery. It is one of the finest examples of artistic decoration on materials used of this type from Venetian schools of the 15th and 16th centuries, and was a good example for local craftsmen to follow when making similar items, so that copies are to be found around

Bosnia and Herzegovina

. (Karamehmedović, 1965, 281-294).

Description of the item: The bell is beehive-shaped and resembles the Romanesque type of bell. An inscription in Arabic is incised near the top. Until the 19th century the bell was used to call to prayer within the monastery building.

Description of the item: The base is hexagonal with a narrow moulded rim over which is the knop with six projecting square fields with the letters AVE MARIA in relief. In one field is a bas relief engraving of a circle with the hand of God the Father in which are two crossed bifoils with a pine cone in the centre. The rim of the bowl is angled.

Description of the item: The six-foliate base of the chalice is decorated with engraving. Three of the lobes are decorated with geometric designs and the other three with images of Veronica's head-cloth, a king with a crown, sceptre and model of a church, and the figure of St Catherine with the symbols of her martyrdom, a wheel and sword. The date 1416 is engraved in the field above Veronica's head-cloth. The knop is decorated with inlaid red enamel. The bowl of the chalice is decorated with polished green glass. The rim of the bowl is angled.

Description of the item: A polished stone is set between each of the lobes of the hexagonal base. Each field of the hexagon has an applied relief figure of a saint: the Madonna with Christ, St Catherine, an unidentified female saint, St Cecilia, St Nicholas and the Archangel Michael. Above each figure is a baldaquin. The foot bears the initials G.K. There is an inscription reading 1570 STITISCHE STI IOANIS BAPTIST engraved on the underside of the base. The knop is decorated with polished stones and cast flowers. The bowl, which is decorated with pearls, is fixed to the top of the knop. The cup is wide and angled.

Description of the item: The six-lobed filigree foot is edged with gilded twisted wire. A rock crystal is set into each lobe. Five of the lobes have a single cast letter each: F.F.F.F.T. The knop of the chalice is decorated with polished red stones. The semicircular bowl of the chalice is decorated with red stones and twisted wire. The slightly angled cup rises above it.

Description of the item: The hexagonal foot and bowl of the chalice are coated with enamel between filigree. The knop of the chalice is perforated, Gothic-style. Flowers with a red stone in the centre are applied to the angles of the knop. The bowl widens in a straight line towards the rim.

Description of the item: The knop, perforated in Gothic style, rises from the hexagonal gilded filigree base. The knop is decorated with applied bouquets of flowers. The bowl of the chalice has a twisted wire edge and is decorated with filigree and beading. The cup is flared slightly towards the rim.

Description of the item: The hexagonal base is made of filigree. Above it rises the flattened knop, decorated with applied flowers. The bowl of the chalice consists of six fields decorated with foliate motifs using filigree and beading techniques. The rim of the cup is slightly curved.

Description of the item: The hexagonal foot of the chalice is decorated with twisted wire, filigree and inlaid polished stones. On the foot the initials F.F.F.P.B. are engraved. The knop is decorated with six embossed circles in the centre of which a polished stone is set, alternately colourless and red. The bowl is flared towards the rim.

Size: height 23,6 cm, width of the rim of the cup 9,5 cm, diameter of the foot 13,5 cm.

Description of the item: Ears of wheat and vine leaf designs are engraved on the hexagonal base. The same motifs appear on the knop with the addition of three applied cherubim. The cup is flared towards the rim.

Description of the item: The circular foot of the chalice is decorated with applied cherubim heads and fruit. The same motifs appear on the knop and bowl. The cup is gilded within.

Size: height 21 cm, width of the rim of the cup 8,2 cm, diameter of the foot 10,5 cm.

Description of the item: The foot, knop and bowl of the chalice are decorated with foliate and geometric designs. The bowl also has three engraved crosses in medallions. The cup is flared towards the rim.

Size: height 21 cm, width of the rim of the cup 8,2 cm, diameter of the foot 10,5 cm.

Size: height 20,9 cm, width of the rim of the cup 7,7 cm, diameter of the foot 9,8 cm.

Description of the item: The foot of the chalice is divided by embossing into four ornamental zones. The foot is richly moulded and the knop is in the form of an acorn with engraved arcades. The cup is gilded and slightly flared towards the rim.

Size: height 19,9 cm, width of the rim of the cup 8,7 cm, diameter of the foot 9,8 cm.

Description of the item: The foot of the chalice is decorated with a frieze with above it three oval fields with applied figures of St Joseph, St Anthony and St Francis. Above them are cherubs' heads. Three cherubs' heads are applied to the knop and four to the bowl of the chalice. The cup is gilded and slightly flared towards the rim.

Size: height 20,4 cm, width of the rim of the cup 8,7 cm, diameter of the foot 10,4 cm.

Description of the item: The base of the chalice is gilded and resembles items made in the late Renaissance. The bowl was probably taken from another piece, since traces of old engraving of foliate motifs can be seen on it. The gilded cup is toothed-edged.

Size: height 20 cm, width of the rim of the cup 7,9 cm, diameter of the foot 10,5 cm.

Description of the item: The foot of the chalice can be dated to the 18th century and the bowl and cup to the 19th century. The foot is chased and consists of two oval cartouches, in one of which is an applied relief figure of St Francis and in the other the coat of arms of the Franciscan order. The space between the cartouches is decorated with applied bouquets of vine leaves and sheaves of wheat. The bowl is of rather coarse filigree. The gilded silver cup is stamped twice with the same stamp from Venice.

Size: height 23, 9 cm, width of the rim of the cup 8,4 cm, diameter of the foot 12,4 cm.

Description of the item: The foot of the chalice is divided by embossed work into four concentric zones, three decorated with geometric motifs and the fourth with foliate motifs. The stem of the chalice is richly moulded. The cup is cast, and on the base are several cuts ending in semicircles. The cup is flared towards the rim.

Description of the item: The cast foot is decorated with embossed work forming four zones with foliate motifs. The bowl for the cup is perforated.

Description of the item: The rim of the foot and knop of the chalice are decorated with engraving in the early baroque style. The gilded silver cup is flared towards the rim. It is hard to be sure whether the chalice dates from the 16th or 17th century or is a skilful 19th century copy.

Size: height 19,6 cm, width of the rim of the cup 8,4 cm, diameter of the foot 10 cm.

Description of the item: The foot and knop of the chalice are lightly moulded. The silver cup, gilded within, is slightly flared towards the rim.

Description of the item: Four figures of cherubim are applied to the foot of the chalice. The bowl of the chalice was cast and then perforated with four angels between flowers and leaves.

Size: height 18,2 cm, width of the rim of the cup 7,6 cm, diameter of the foot 9,7 cm.

Description of the item: The base and knop of the chalice are the work of a local craftsman, made according to older examples from the late Renaissance. The cup is a fine piece from the Venetian region.

Size: height 20,5 cm, width of the rim of the cup 8 cm, diameter of the foot 9,8 cm.

Description of the item: the foot of the chalice is almost horizontal. It is decorated around the edge with engraved acanthus leaves. The knop is decorated with the same motifs but facing in the opposite direction. The cup of the chalice is relatively wide and slightly flared towards the edge.

Description of the item: Three figures of angels are applied to the base of the chalice. The knop, bowl and cup of the chalice bear symbols of the Passion in relief. The chalice is stamped with hallmarks with a tiara and the keys of St Peter.

Description of the item: The round knop with six lobes rises from the hexagonal foot. The semicircular bowl terminates in a row of pointed-arch arcades. The cup is markedly flared towards the rim.

Size: height 23,5 cm, width of the rim of the cup 8,9 cm, diameter of the foot 14,2 cm.

Signature on the foot of the chalice: A.S.U.Dr P. Romani Tominec O.F.M. d.d. Sr. Z. ADAM CREPULJA DAROVAO ZA RATANJ 1973.

Description of the item: six polished rock crystals and one black stone are set into the foot of the chalice. The cup is supported by two knops joined by six pillars. The cup has an almost flat rim.

Size: height 23 cm, width of the rim of the cup 8,9 cm, diameter of the foot 14,3 cm.

Signature on the foot of the chalice: ANĐA ANTUNOVIĆ R. TOPALOVIĆ – NA SPOMEN GOSPE LURDSKE 1958.

Description of the item: The knop, in the form of a ball, rises from a moulded foot. The rim of the cup is flat.

Size: height 23 cm, width of the rim of the cup 8 cm, diameter of the foot 9,7 cm.

Signature on the foot of the chalice: LOCUM UBI CRUCIFIXERUNT EUM EXIVIT IN EUM QUI DICITUR CALVARIE.

Signature at the top of the bowl: SANGUIS CHRISTI CUSTODIAT ME IN VITAM AETERNAM.

Description of the item: The foot is in the form of a cone, and is divided into four surfaces with relief figures of Melchizedek, Abraham, Abel and Jesus. Rows of red stones are set into it. The foot continues as a cone to which an onyx knop is attached. Another, inverted cone rises from the top of the knop. Both the lower and upper cones are decorated with green stones. The cup of the chalice is attached to it.

Note: The chalice was made for the golden mass of fr. Anđeo Anđelović in 1958.

Size: height 20,3 cm, width of the rim of the cup 9,3 cm, diameter of the foot 11,3 cm.

Description of the item: The slender stem of the chalice rises from the slightly inclined foot, and has an onyx knop. Eight lobes are cast on the foot around the stem. The cup is slightly flared towards the top.

Description of the item: The base of the ciborium is in the form of a disc, on which is set a cup and cover.

Signature in the centre of the ciborium: IESUS NAZARENUS BK LAVDETUR SANVISSIMUM SAGRAMENZUM AD 1729.

Description of the item: The base is in the form of a hemisphere, and is decorated with pseudofiligree leaves and circles. The knop is fixed to the top of the base and to it, in turn, is attached a spherical cup and cover. Where the cup and cover meet the inscription quoted above is engraved.

Description of the item: The slightly flared base is engraved with eight medallions with foliate motifs. The cup and cover of the ciborium form a sphere to the top of which a cross is attached.

Description of the item: The slightly flared base is engraved near the top with a band with a row of interlinked flowers. The cup and cover of the ciborium are spherical in form and engraved with medallions with arabesque motifs. A cross is attached to the top of the sphere.

Description of the item: The hemispherical base is decorated with a frieze with foliate motifs and a cross in relief. The cup and cover form a sphere, with the cover stepped in form. A cross is attached to the top of the cover.

Description of the item: The hemispherical base, knop and cover of the cup are of cast and gilded copper. The cup is cast silver, gilded within. A cross is attached to the cover of the cup.

Description of the item: The foot of the ciborium is decorated with a frieze of foliate motifs between which is cast beading. The knop rises from the foot of the ciborium and merges into the bowl, in which a high cup and cover are fitted with a cross fixed to the top.

Description of the item: The foot of the ciborium is hexagonal, with a slight concave rise towards the flattened knop, from which the bowl with its wide cup rise. The foot has bas-relief foliate motifs forming a frieze, and fish with a basket of bread. The knop is also decorated with foliate motifs. The most striking feature of the ciborium is the bas-relief on the bowl. Long-haired cherubim are shown in four circles.

Description of the item: The knop is attached to a pyramidal base richly decorated in relief. Three facets are attached to the knop, framing the ostensory. The largest of these is in the form of a ray, the central is in the form of a cross made of porcelain painted red on a white ground, and in front of this is the smallest, worked in filigree, to which is attached a small frame for the host. A cross is attached to the top of the monstrance, made of rock crystal in a gilded frame.

Description of the item: The vessel for the host is decorated in bas-relief from which rise alternating rays of the sun. There is a cross on the top.

Description of the item: A tripartite knop rises from the base of the monstrance, with attached to it the glass vessel for the host, with alternating rays extending from it. A sphere is attached to the topmost ray, with a cross set on it.

Description of the item: The base of the monstrance is worked in the Gothic style. A knop with six squares is attached to it. The knop holds an ostensory with a lacy border, at the top of which, under a baldaquin, is a silver figure of the Madonna with Christ. To her left and right are figures of St Peter and St Paul. Below these two saints are pendants with images of Christ on one side and Mary on the other.

Description of the item: Three concentric circles of rays are attached to the base of the monstrance. The largest, gilded circle of rays has a trefoil cross attached to the top. The central circle is silver with a scene of the Holy Trinity at the top, and two angels flying in from the sides. The smallest circle of rays is gilded and has a circular aperture in the centre for the host.

Description of the item: The foot of the monstrance is hexagonal, and decorated with a neo-Gothic engraved design. Above it is the flattened knop, to which the ostensory is attached. This consists of two faces. The rear bronze face consists of rays and the front one, which is made of silver, is of oak leaves curling outwards and lilies turned inwards. A cross is attached to the top of the ostensory.

Description of the item: The foot and knop of the reliquary are decorated with engraving in the oriental style. A silver plate is attached to the knop, with engraving around the edges. Here four pieces of polished red glass are inlaid. A cross is attached to the top of the plate. The stem of the reliquary is attached to the centre of the plate, with the small relics protected by glass.

Description of the item: The foot of the chalice is divided by embossed work into four ornamental zones. The stem of the chalice is richly moulded and the knop is in the form of an acorn with engraved arcades. The cup is gilded and slightly flared towards the rim.

Description of the item: A piece of silver that had previously been engraved was used to make this reliquary, and the old foliate motifs can still be made out. The foot of the reliquary rises gently towards the stem of the knop. The oval ostensory is framed by a plate engraved with rays with a cross on top. The four turquoise-coloured stones, three red and one colourless stone holding up the reliquary are attached to the plate. The reliquary itself is in the form of a cross made of polished glass. The seal of a bishop is affixed as confirmation of its authenticity.

Description of the item: The foot of the reliquary is chased, with the surface divided into four zones. A support rises from the foot, with a richly moulded knop of late Renaissance form. The knop is decorated with geometric motifs. A cross is attached to the top of the circular ostensory, between two rays. Branchlets with four leaves and a rose are inset between the rays. Three small glazed oval boxes are set in the centre of the ostensory. Each one contains a relic, one of St Gregory the Great, one of St Philip of Neri, and one of the Holy Cross.

Description of the item: The foot of the reliquary is chased, with the surface divided into four zones. A support rises from the foot, with a richly moulded knop of late Renaissance form. The knop is decorated with geometric motifs. A cross is attached to the top of the circular ostensory, between two rays. Branchlets with four leaves and a rose are inset between the rays. Three small glazed oval boxes are set in the centre of the ostensory. Each one contains a small relic, one of St Peter, one of St Francis, and one of St Philip.

Description of the item: The foot of the reliquary is chased, with the surface divided into four zones. A support rises from the foot, with a richly moulded knop of late Renaissance form. The knop is decorated with geometric motifs. A cross is attached to the top of the circular ostensory, between two rays. Branchlets with four leaves and a rose are inset between the rays. A small glazed oval box is set in the centre of the ostensory, containing a small relic of St Charles Borromea.

Description of the item: an oval knop arises from the reliquary's simple moulded foot. The ostensory is oval and decorated with engraving and a silver plate with engraved rays. A ball with a cross is fixed to the top.

Description of the item: The base of the reliquary is decorated with relief ornamentation in the classicist mode. The disc of the ostensory is oval and has a glazed reliquary in the centre. Rays extend all around the disc, with flowers among them. A cross is attached to the top.

Description of the item: the base of the candlestick is tripodal, each terminating in claws. The stem of the candlestick rises from the base, terminating in a candleholder with the sculpted heads of three angels beneath.

Description of the item: the base of the candlestick is tripodal, each terminating in cartouches. The richly moulded stem of the candlestick rises from the base, terminating in a candleholder with a spike in the centre to hold the candle, and the sculpted heads of three angels beneath.

Description of the item: The base of the candlestick is tripodal, each terminating in claws and cartouches. The stem of the candlestick rises from the base, with a wide knop, terminating in a candleholder.

Description of the item: The tripodal base terminating in animal claws holds up a baroque base with cartouches in which the above inscriptions are engraved. From the base there arises a stem with a knop widening towards the top. The knop has six oval hollows. Above it are some turned mouldings topped by a candleholder.

Description of the item: The tripodal base terminating in animal claws holds up a baroque base with cartouches. From the base there arises a stem with a knop widening towards the top. The knop has six oval hollows. Above it are some turned mouldings topped by a candleholder.

Description of the item: The tripodal base terminating in animal claws holds up a baroque base with cartouches in which the above inscription is engraved. From the base there arises a stem with a knop widening towards the top. The knop has six oval hollows. Above it are some turned mouldings topped by a candleholder.

Description of the item: The tripodal base terminating in animal claws holds up a baroque base with cartouches in which the above inscriptions are engraved. One cartouche has no inscription. From the base there arises a stem with a knop widening towards the top. The knop has six oval hollows. Above it are some turned mouldings topped by a candleholder.

Description of the item: The tripodal base terminating in animal claws holds up a baroque base with cartouches. From the base there arises a stem with a knop in the form of an inverted pear. Above it are some turned mouldings topped by a candleholder. The holder has two protuberances, the lower one barely noticeable and the upper very prominent.

Description of the item: The tripodal base terminating in animal claws holds up a baroque base with elongated heart-shaped cartouches. From the base there arises a stem with a knop made on a lathe and with additional relief motifs of acanthus. Three heads of angels facing to the side are applied to the prominent part of the knop. The candlestick terminates in a candleholder.

Description of the item: Description of the item: The tripodal base terminating in animal claws holds up a baroque base with elongated heart-shaped cartouches. From the base there arises a stem with a knop made on a lathe and with additional relief motifs of acanthus. Three heads of angels facing to the side are applied to the prominent part of the knop. The candlestick terminates in a candleholder. The chasing is of poor workmanship.

Description of the item: The tripod of the candlestick is in the form of claws. The main part of the candlestick rests on it, narrowing in undulating form towards the centre, with four bulging trochiluses, with a narrow neck above it up to the candleholder. The lower half of the candlestick is decorated with floral motifs and the stem with acanthus leaves.

Description of the item: The claw-shaped tripod supports the main stem of the candlestick, which has four bulges and narrows towards the elongated neck of the bowl of acanthus leaves.

Description of the item: The candlestick has a tripodal base, terminating in claws and the head of an angel, with inserted between them a shield bearing the above inscription. From the base rises the stem of the candlestick with a knop developing into the three-sided element that emulates, in baroque candlesticks, the pillars of a balustrade. It terminates in a candleholder.

Size: height 75,5 cm, span of arms 37 cm, width of arms 7,3 cm, thickness 4,5 cm.

Description of the item: The cross is wooden with wrought iron arms. A ring is attached to the top of the upright so that it can be hung. A rectangular horn plaque is attached to the upper part, with the inscription INRI 1426. Another, quadrifoliate in shape, is attached below this. On the lower part of the upright of the cross are five intersecting circles, also made of horn. A smaller, simple metal cross is attached to the wooden cross; this one has trefoil ends, and openings for attaching the figure of Christ.

Description of the item: The cross is fixed to a stand with a quadrifoliate foot from which rises a square stem with a spherical knop. The cross has trifoliate ends and is engraved on both sides. The figure of Christ attached to it is of cast metal with the form of the body poorly indicated.

Description of the item: The foot of the altar cross is six-lobed, and has applied to it a horizontal glass oval set in a silver frame. A six-sided pyramid rises from the foot, on which is a ball with twelve fields, in each of which a single polished stone is inlaid. A socket with a trifoliate cross is attached to the ball. The edges of the cross are surrounded by silver braid. Four polished stones are inlaid in each trefoil. The figure of Christ has been removed.

Description of the item: The cross is trifoliate, with rosettes attached at the ends. The figure of Christ is of fine foreign workmanship and is attached to the cross by a large-headed rivet. The gilded titulus above the figure of Christ is of poor workmanship.

Description of the item: The pedestal and knop of the cross are of cast gilded silver, decorated with small gilded rosettes and inlaid stones. The cross is gilded filigree decorated with polished glass. The figure of Christ is attached to it, with above him a titulus with the year 1619, the numbers worked in filigree. A chain with gold pendants is attached to the knobs at the ends of the arms of the cross.

Description of the item: Several rosettes are attached to the silver foot of the cross, from which rises the octagonal stem of the knop with a flattened ball. The cross is trifoliate, and its surface is covered with filigree with inlaid polished stones on the arms. The trefoils terminate in a pendant in the form of a knob. A smaller cross of sheet silver with an engraved surface is attached to this one, bearing a thinly cast figure of Christ beneath which is a skull and crossbones. The titulus is illegible.

Description of the item: Polished stones are inlaid in four filigree medallions on the foot of the cross, from which there rises a square stem with a gilded filigree ball, also decorated with stones. From the ball rises a trifoliate filigree cross decorated with polished stones of various colours. A filigree knob is attached to the ends of the trefoils. The ends of the cross are linked by a chain attached to these knobs. A poorly cast figure of Christ is attached to the cross. Above it is the titulus INRI.

Description of the item: The eight-lobed foot of the cross is decorated with applied rosettes and stones. From it rises the septagonal stem of the knop. The cross is trifoliate, and made of sheet silver with the surface decorated with beading, rosettes and inlaid stones. The figure of Christ is of poor workmanship. Above it, in the form of a scroll, is the titulus INRI, and below it a skull and crossbones.

Description of the item: the socket of the cross is made of copper. Above the socket is a gilded copper ball and a square ring with engraved rhombs. The cross is of gilded copper platelets and is surrounded by beading. The trifoliate ends have inlaid multi-coloured polished glass and gilded beads. The figure of Christ is of primitive workmanship with a poorly formed body. On the reverse of the cross, where the figure is attached to the front, there is polished glass inlay.

Description of the item: the socket of the cross is made of copper. Above the socket is a gilded copper ball and a square ring with engraved rhombs. The cross is of gilded copper platelets with engraved circles. The edges of the cross are surrounded by beading. A gilded ball is attached to each of the trifoliate ends of the cross, and in the centre there is a trefoil of polished red glass. The figure of Christ is made of cast and gilded metal alloy. Where the Corpus is attached, the reverse of the cross is inlaid with colourless polished stones.

Description of the item: A silver ball with eight applied rosettes is attached to the socket of the cross. From it rises a trifoliate cross with filigree infil and gilt applique in the form of eight-pointed stars. Each star is decorated with inlaid polished rock crystal. The gilded figure of Christ is primitive. Above it a gilded titulus is attached.

Description of the item: A gilded ball is set on the socket of the cross, decorated with filigree. Above it is the trifoliate cross with filigree infill, and a filigree knob attached to the end of each trefoil. Figures of Mary and St John the Baptist are attached beside the figure of Christ.

Description of the item: The base of the socket of the cross is engraved and thickened. There is a ball above it, covered with gilded filigree and inlaid with polished stones. The support of the cross is above the ball, rectangular in shape with four rows of beading in relief. The cross is trifoliate, covered with filigree and beading. Gilded rosettes are set in the centre of the trefoils with inlaid polished stones at the centre. The trefoils terminate in a gilded filigree knob. The figure of Christ is of poor workmanship. Above it is the inscription INRI. The reverse of the cross is decorated with beading and rosettes.

Description of the item: The base of the socket of the cross is engraved and thickened. Above it is a ball covered with gilded filigree and inlaid with polished stones. The support of the cross is above the ball, rectangular in shape with several rows of relief beading, four rows of which also feature on the sides of the cross. The trifoliate cross is covered with filigree and beading. In the centre of the trefoils are gilded rosettes with inlaid polished stones at the centre. The trefoils terminate in a gilded filigree knob. The figure of Christ is of poor workmanship. The reverse of the cross is decorated with beading and rosettes.

Description of the item: The base of the socket of the cross is separated from the ball by a twisted wire. The initials F.F.T. are engraved on the ball, which is covered with gilded filigree. The support of the cross above the ball is rectangular in shape with several rows of relief beading, three rows of which also feature on the sides of the cross. The trifoliate cross is covered with filigree and beading. Gilded rosettes with inlaid white stone centres are set in the centre of the trefoils. The figure of Christ is of poor workmanship. On the reverse of the cross is a narrow band of beading.

Description of the item: The base of the socket of the cross is separated from the ball by a twisted wire. The ball is covered with gilded filigree. The support of the cross above the ball is rectangular in shape with several rows of relief beading between the twisted bands forming a herringbone motif, which also features along the entire length of the sides of the cross. The cross is trifoliate, and covered with filigree and beading. Gilded rosettes with inlaid white stone centres are set at the centre of the trefoils. The trefoils terminate in a pseudofiligree knob. The figure of Christ is gilded and of poor workmanship. On the reverse of the cross is a narrow band of beading.

Description of the item: The base of the socket of the cross is separated from the ball by a twisted wire. The ball is covered with gilded filigree. The support of the cross above the ball is rectangular in shape with three rows of relief beading between the twisted bands forming a herringbone motif, which also features along the entire length of the sides of the cross. The cross is trifoliate, and covered with filigree and beading. Gilded rosettes with inlaid silver beaded centres are set at the centre of the trefoils. The trefoils terminate in a silver knob and flower. The figure of Christ is gilded cast silver. On the reverse of the cross is a narrow band of beading. The reverse is also decorated with several rosettes identical to those on the face of the cross.

Description of the item: Above the socket of the cross is a simple ball with the trifoliate cross above it. An engraved plaque is attached to each trefoil. The figure of Christ is of poor workmanship. Above it is the titulus INRI.

Description of the item: The socket and the ball above it are of gilded copper. The arms of the cross have six concave incisions. There is a glazed reliquary on each arm set in an oval hollow. The gilded figure of Christ is of poor workmanship. It is nailed to the cross with three wooden nails, partly silver-overlaid. The cross is decorated with six-pointed stars and multi-coloured polished glass. The reverse of the cross is fitted with sheet silver and decorated with ten six-pointed stars.

Description of the item: The socket of the cross is made of wood, and has a gilded silver ball attached to it. Since the cross is wooden, the front edges are overlaid with sheet silver. The arms of the cross terminate in four concave hollows, with a filigree knob attached to each of the edges of the hollows. The Corpus Christi is of late Gothic type. Below the feet of the crucified Christ a reliquary of the Holy Cross is attached, glazed with hemispherical glass. The cross is decorated with rosettes and multicoloured stones and glass.

Description of the item: The cross terminates in trefoils. The figure of Christ is of simple workmanship. Above it is attached a titulus in the shape of an elongated rhomb. The cross is fitted into a turned wooden support from which it is separated by a bronze ball.

Description of the item: The cross, made of flat wrought iron with the ends in the form of three lilies, stands in a round, hollow support. The ends of the arms of the cross have applied rosettes. The bronze figure of Christ is of primitive workmanship. Above it a titulus is attached.

Description of the item: the arms of the cross are slightly angled. At the intersection of the arms a circular plaque is applied. There are four holes on the cross, suggesting that it was previously attached to something, perhaps the top of the ridge of the entrance to the old church.

Description of the item: three-armed cross, with a poorly worked figure of Christ.

Size: height 54,5 cm, span of arms 26,9 cm; height 24 cm, span of arms 12, 7 cm.

Description of the item: A small cross is attached to a larger one; on the smaller cross is the figure of Christ, with beneath it a gilded skull and crossbones.

Description of the item: The cross is set on a pyramidal base and decorated with mother-of-pearl detail. A smaller cross with a gilded bronze figure of Christ and titulus is attached to it.

Description of the item: The base of the pacifical is decorated with a frieze of engraved acanthus leaves. From it rises the cross, of which the ends of the arms are worked in Gothic style. Above the figure of Christ is the inscription IN/RI written as two lines.

Description of the item: The cross is made of wood and overlaid on the front and sides with mother-of-pearl, but not on the back. The fully sculpted figure of Christ is of mother-of-pearl; beneath his feet is an engraved skull and crossbones. Near the top of the cross is an engraved chalice, to the left of the Corpus the coat of arms of the Franciscan order, and to the right the cross of the Holy Land. The back of the cross is decorated with 14 inlaid mother-of-pearl circles with the symbols of the Stations of the Cross, and with a glazed reliquary at the centre of the cross.

Description of the item: The cross is of simple modern workmanship. A figure of Christ and titulus from the early 19th century are attached to it.

Description of the item: simple wooden cross, to which is attached a figure of Christ of primitive workmanship, with exaggeratedly large hands, over-elongated body and legs that are too small.

Description of the item: The ends of the cross are rounded. The front bears an inscription in Cyrillic, and the back a transcription of the inscription in Latin script dating from 1882.

Description of the item: The cross is of hand-worked wood. The arms of the cross are overlaid with iron, and a patibulum is hung on both sides. To this cross is attached a smaller metal one, with the ends of the arms scalloped. To this is attached the figure of Christ and the titulus, set at an angel. A small crucifix is riveted to the back of the wooden cross.

Description of the item: The cross is made of hand-worked wood. There are round hollows for inlaid metal plaques and three nails. A smaller metal cross is attached to this one, with an extension for a socket to enable it to be carried in procession.

Description of the item: Made of wood overlaid in places with bronze. The lower part of the upright is elongated and much thicker than the other arms. There are five rectangular hollows with wax reliquaries, similar to the Agnus Dei. Three of the reliquaries have wooden lids and two metal, on which the letters MM are engraved. The ends of the arms of the cross are engraved.

Description of the item: a cast bronze figure of Christ is riveted to a simple cross.

Description of the item: The cross is made of hand-worked wood. The surface is decorated with several engravings on bronze. The figure of Christ is made of bronze. Above it is the inscription INRI, and below, four engraved square. A small bell is attached to the cross.

A paper survives with the inscription: «Village of Gora, altar cross of the cemetery chapel.»

Description of the item: Made of hand-worked wood. The surface of the cross is covered by shallow round depressions where metal applique was inlaid. A smaller metal cross is attached to it, with the figure of Christ and a titulus in an oval frame.

Description of the item: The cross is made of hand-worked wood. A finely worked figure of Christ is attached to the cross.

Description of the item: Made of hand-worked wood. The front surface of the cross is decorated with 13 recessed glazed circles with relics from the Holy Land. The metal titulus is attached to the top section of the upright, and bone spheres to the left and right arms. The lower section of the upright of the cross has a spike for attaching it to the base.

Description of the item: Made of hand-worked wood, decorated with mother-of-pearl inlay. Some of the mother-of-pearl is missing. The bronze figure of Christ has been gilded.

Description of the item: Made of hand-worked wood. The sides are overlaid with sheet bronze using large-headed rivets. It is decorated with mother-of-pearl intarsia, now quite badly damaged. The figure of Christ is of bronze, and the plaque with the titulus is richly decorated in relief.

Description of the item: Made of hand-worked wood. The three ends of the arms of the cross are overlaid with bronze. Where the arms intersect is a bronze «rays of light». The figure of Christ is bronze, with an applied skull and crossbones below.

Description of the item: The base of the cross consists of a pyramid on which a metal cylinder is set, then a ball, on which the cross is set. The arms of the cross have trifoliate ends. The figure of Christ is of cast bronze.

Description of the item: The arms of the cross have trifoliate ends inlaid with an eight-petalled flower. There is an identical flower at the centre of the cross. The back of the cross is badly worn. In 1814 a plaque was added, decorated with an engraved border and the above signature.

Description of the item: The cross is made of mother-of-pearl, and set in filigree. The crucifixion is engraved on the face of the cross, and an unidentified saint with arms folded on the reverse. The arms of the cross are decorated with two filigree flowers. A ring is attached to the top of the pectoral to take a chain.

Description of the item: The ends of the arms of the pectoral are rounded, and decorated with filigree rosettes and semi-rosettes. The figure of Christ is gilded. A ring for a chain is attached to the top.

Description of the item: the ends of the arms of the pectoral are rounded, and decorated with filigree rosettes and semi-rosettes. The sides are decorated with rows of rhombs. The titulus above the finely worked figure of Christ is illegible.

Description of the item: Flowers with inlaid red stones are attached to the surround of the cross. There is a ring for a chain at the top.

Description of the item: The simple surface of the cross terminates in widened arms with three incisions. The gilded figure of Christ with the crown of thorns on his head is of primitive workmanship.

Description of the item: The cross is trifoliate. A finely modelled figure of Christ is attached to the centre of the cross. Above it, along the entire patibulum, the titulus INRI is engraved.

Description of the item: Cross with perforated and foliate decoration at the ends of the arms and the angles of the intersection. Two angels are attached to the base of the cross. The christogram IHS is engraved on the reverse of the cross, with a cross over the middle letter and three spears below the inscription.

Description of the item: Toothed ornamental motifs are engraved around the edges of the cross. The arms terminate in the form of acanthus leaves. The inside of the cross is divided into small relic-holders. A ring for a chain is attached to the top of the cross.

Description of the item: Rectangular vessel with relief and engraved baroque decoration on the lid. Some of the decoration is of oriental origin. The date 1790 is engraved on the base of the vessel.

Description of the item: The navicula is decorated with acanthus leaves in relief. The edges are slightly moulded.

Description of the item: Decorated with embossed acanthus leaves. The base is machine-made and roughly welded with tin alloy.

Description of the item: The foot of the base of the navicula formerly belonged to a pyx.

Description of the item: The foot of the navicula is richly moulded. The surface of the vessel is of unequal volumes.

Description of the item: A typical baroque moulded vessel. At the widest point, four cherubim are applied to hold the chains. The rest of the lamp is decorated with foliate motifs. The cap and chains of the original lamp survive; the cover has not, and has been replaced by a Gothic-style crown to which a Gothic steeple is attached.

Description of the item: The lamp is badly damaged and has been patched up in several places. A new foot has been added. The holders for the chains are in the form of cherubim.

Description of the item: The lower part of the vessel is wider than the central section, to which are applied three cherubim serving to hold the chain. The area between the base of the lamp, the central section and the neck is decorated with foliate motif. Another torus decorated with nine flowers is attached to the neck of the lamp.

Description of the item: The chains are attached to the central, widest section of the lamp. The crown for the oil reservoir has been added later and is not made of silver.

Description of the item: the hanging lamp consists of four bulging zones and a ball at the base. Three heads serving to hold the chains are attached to the central zone. The cap for the chains is in good condition. The surface of the lamp is decorated with embossed foliate and floral ornaments. The socket for the oil reservoir is missing.

Description of the item: The vessel of the lamp consists of three zones. The lower is decorated with fluting. Three heads are attached to the central zone to act as chain holders. The upper zone is decorated with foliate motifs and cartouches in relief. The cap for the chains is decorated with a foliate frieze and dome.

Description of the item: The vessel of the lamp consists of three zones. The lower zone is decorated with hemispherical incisions. Three heads are applied to the central zone to act as chain holders. The upper zone is decorated with branchlets.

Description of the item: The base of the lamp is pointed, and three balls of unequal size hang from it. The vessel widens to the point at which the heads of three angels are applied, acting as chain holders. A single rosette is applied between each. The glass narrows towards the top. The cap at the top of the chain is hat-shaped and undecorated.

Description of the item: The crown was made in the style of the Kotromanić crown with three acorns at the centre and a half-acorn at either side. It is made of thick sheet silver, and the surface is covered with gilded filigree and beading. Balls resembling pearls are attached to the acorns, and several polished stones are fixed to the surface of the crown.

Description of the item: The crown belonged to the halo fixed around the head of a Madonna painted on board. The outer edge of the crown terminates in a series of arcades of twisted wire. A silver semi-rosette is applied to the ends of the crown. The surface is decorated with polished stones.

Description of the item: The crown is reminiscent of the Kotromanić crown. Three crosses with inlaid polished stones are moulded between the acorns.

Description of the item: The crown is of poor workmanship. The surface is decorated in relief and with three crosses on top, one of which is centrally offset. An attempt was made to represent the face of an angel, also in relief, on the surface of the crown to the sides. The letters B MA are worked in relief at the base of the crown.

Description of the item: The crown forms a complete circle and is fastened by a buckle. The edges of the crown are decorated with twisted wire. The crown is decorated with silver balls and polished red stones set in the form of a cross. The prominent areas are gilded.

Description of the item: Semicircular in shape. The central part consists of foliate motifs surrounded by circles. Three crosses are worked in relief on the crown, in the centres of each of which is a polished red stone.

Description of the item: The crown was intended for a statue of a child. It is semicircular in shape. The central part consists of foliate motifs surrounded by circles. Three crosses are worked in relief on the crown, in the centres of each of which is a polished red stone. The central cross is gilded.

Description of the item: The crown is in the form of a diadem with inlaid polished red stones on the diadem itself and the tips. A cross is attached to the top of the diadem, engraved with the letter GG and the date 1840. The crown is perforated and decorated with vine leaves and flowers.

Description of the item: The crown has a slightly curved lower section, and is of poor workmanship.

POKLON CRK. STT. IVE KRS. U KRALJEVOJ SUTJESCI. OD IVE I JELKE KALAMUT G.G. 1926.

Description of the item: A simple semicircular crown. The inscription is engraved around the edge of the upper curved section.

Description of the item: A simple oval pyx with hinged cover. Undecorated apart from a small hollow in the base.

Description of the item: Circular in shape. The surface of the cover is decorated with four concentric circles. The monogram IHS is engraved in the centre, with a cross over the middle letter and the date 1823 below. Two zones are decorated with geometric motifs forming a rosette, and the above inscription is engraved in the outer zone.

Description of the item: Circular in shape. Decorated with three concentric circles. The monogram IHS is engraved in the centre, with a cross over the middle letter. The next circle is decorated with vine motifs, and the outer circle by broken toothed lines.

Description of the item: Circular in shape. Decorated with two concentric circles. The monogram IHS is engraved in the centre, with a cross over the middle letter. The next circle is decorated with a frieze of flowers. A six-pointed geometrically constructed rosette is engraved on the base of the pyx.

Description of the item: Cylindrical in form. The christogram IHS is engraved on the cover, with a cross over the middle letter. The above inscription is also engraved on the cover.

Description of the item: The surface of the cover is worked in rich foliate relief. There is a christogram with a cross over the middle letter in the centre of the cover. The above inscription is engraved on the side.

Description of the item: Of simple form. The hinge for the cover has been replaced by a new one made of gilded copper.

Description of the item: Cylindrical in shape. Made by turning. There is a christogram with a cross over the middle letter in the centre of the cover. Around it is a simple engraved ornament. The above inscription is engraved on the side.

Description of the item: Cylindrical in shape. Made by turning. There is a christogram with a cross over the middle letter in the centre of the cover. The side is decorated with an arcade with flowers and the letter V.

Description of the item: The vessel resembles a ciborium. The oval vessel with elongated ends is set on a low foot. The cover is semicircular in shape and decorated with a garland of branches in relief, and has a holder (handle?) on top. The above inscription is engraved around the edge of the cover.

Description of the item: The vessels, which were made by turning, are in a purpose-made container.

Description of the item: A solar halo is engraved in the centre of the cover with the christogram IHS and a cross above the middle letter. The rest of the surface of the cover is decorated with foliate motifs.

Description of the item: Tripartite container. Decorated with engraving over the entire surface. The christogram IHS is engraved in the centre of the cover with a cross over the middle letter. Initials O C I separated by branchlets.

Description of the item: In the shape of a small oval drum. On the face of the bull is a cross surrounded by flowers. The signature RODIO 1746 is engraved on the lower half. The reverse is engraved with the christogram IHS framed by petals, and below it in relief is the inscription F I B AV 1790. A ring for a chain is attached to the top of the seal.

Description of the item: The bull is in the form of a small drum, oval in shape, with a hinged cover and fixture for a ring. The face of the bull has a quadripartite frame of twisted wire and beading surrounding a christogram in relief, with three branches beneath. The same features on the reverse. The seal of bishop lića is stamped on the bull.

Description of the item: The drum is oval in shape and surrounded by twisted wire. The christogram is cast in reverse and surrounded by a frieze of rays. The reverse is identical to the face. A ring is fixed to the top of the seal to enable it to be hung.

Description of the item: The drum is oval in shaped and fixed so it cannot be opened. The christogram is cast in reverse on the face of the bull and surrounded with three bands. On the reverse is the figure of St Michael with sword and scales, killing the dragon. A ring is fixed to the top of the seal to enable it to be hung.

Description of the item: The drum is round in shape. On the face is the figure of Our Lady with the seven sorrows. The christogram on the reverse of the bull is barely noticeable. A ring is fixed to the top of the seal to enable it to be hung.

Description of the item: The drum is oval in shape. A christogram in a rosette is engraved on the face, and the reverse is decorated with a geometric six-petalled rosette. A ring is fixed to the top of the seal to enable it to be hung.

Description of the item: The drum is heartshaped. A christogram surrounded by a floral garland is engraved on the face and reverse.

Description of the item: the drum is oval in shape. A series of triangles are engraved on the face. Cross worked with perforations, with figure of Christ in relief. On the reverse, an engraved geometrical rosette. A ring is fixed to the top of the seal to enable it to be hung.

Description of the item: Round in shape. Decorated with a frieze of intertwined lines, a cross and a barely distinguishable figure of Christ. A ring is fixed to the top of the seal to enable it to be hung.

Description of the item: The hallmark ANDERS is stamped on the underside of the paten, with a five-leaved motif beside it.

Description of the item: A hallmark with the figure of the Venetian lion is stamped twice on the underside.

Description of the item: Two hallmarks are stamped on the underside, one a circle with the figure of a lion, and the other with the letters ZIG.

Note: This bell is presumed to originate from the church of St Mary in Zvornik, whence it was transferred to Tuzla to the tower of St Peter's church, later the clock tower, where it remained until 5 September 1857 when the tower was struck by lightning and caught fire. The bell was badly damaged, and was transferred in that condition to Kraljeva Sutjeska.

Description of the item: The crown is covered with gilded filigree and decorated with medallions with the figures of the evangelists in relief. Cherubim are applied below these. The lower rim of the crown consists of a row of filigree arcades.

Note: Fr. Arkanđeo Grgić bought the crown in Belgrade from a Russian immigrant.

Description of the item: The surface of the cross is entirely covered with engraving, with a figure of God the Father in clouds, the Holy Spirit below Him represented as a dove, and below that againn Christ on the cross. On the arms of the cross are two angels and cherubim.

Description of the item: A poorly cast pacifical, showing Christ with a halo. Two angels are offering him a headcloth, and above them is a barely distinguishable God the Father. Some indistinguishable figures are engraved on the reverse.

Description of the item: The candlestick is set on a circular base to which is attached a cylindrical candleholder on a tripod. The handle is elongated.

Description of the item: Circular in form, with the handle made of wire attached by angels' heads. The hallmarks are of foreign origin.

On the inner side of a mother-of-pearl shell is an engraving of a Pieta below a cross, sun and moon, and eight angels bearing the symbols of the Passion.

On the inner side of a mother-of-pearl shell is an engraving of Mother Church with SS Peter and Paul and four church fathers: St Gregory, St Jerome, St Ambrose and St Augustine.

Description of the item: On the inside of the tongs, where the dough is placed, two circles are engraved with the inscription IHS and a cross over the middle letter. In the centre below the circles is a mould for a small host[41]. (Basler, 1988).

Materials used: wool moire, brocade, embroidery on the dorsal cross, 15th century German embroidery, lining for embroidery 15th century Italian

Description of the item: The motif of Christ crucified is worked on the cross. At the base of the cross are the figures of Mary and St John.

Description of the item: A dark red lining with closely intertwined tendrils. Evenly spaced gold embroidered entwined stylized flowers.

Description of the item: The sides of the chasuble are of light brown damask with a design of close-set stylized apple-branches. The central section has a motif of a large apple branch with curls radiating out from it.

Description of the item: The entire surface of the chasuble is covered with regularly spaced floral and foliate ovals embroidered in gold and silver thread, with embroidered flowers within the ovals.

Description of the item: The damask is green, brown and pink. The chasuble is decorated with a floral pattern over its entire surface.

Description of the item: Gold-embroidered asymmetrically arranged motifs of trees on small hillocks with two pink rosebushes and green trellis on a golden-brown ground.

Description of the item: The entire chasuble is covered with vertical floral tendrils in pastel colours. There is a coat of arms with the monogram BDM at the bottom of the centre of the back.

Description of the item: vertical tendrils of leaves and large stylized flowers in pink, violet and yellow on an ivory ground.

Present condition: the outer satin layer is almost completely worn away, surviving only below the cowl.

Description of the item: Large, symmetrically arranged circular motifs alternately linking and broken in half then rejoining.

Description of the item: symmetrical applique of evenly entwined tendrils with acanthus leaf motifs on dark red velvet

Description of the item: The entire dalmatica is decorated with floral designs (Ivoš, 1988, 97-106).

1.DEED OF GIFT OF KING MATTHIAS CORVINUS of 1481, relating to

Bosnia

and Dalmatia

The deed of gift relates to Bosnia and Dalmatia, and proclaims to «...the bans and vice-bans of Dalmatia and Croatia and the kapetans of Skradin that two monasteries are given to the Franciscans expelled from the island of Krk by the Venetians.....» and orders them to protect and care for the Franciscans (Kovačević, 1988, 110).

2.REGISTER OF CHRISTENINGS OF THE PARISH OF KRALJEVA SUTJESKA from 1641 to 1727. The oldest such register in Bosnia and Herzegovina.

11.THE PLANT AND MINERAL KINGDOMS AND THE CULTIVATION OF PLANTS – codex with illustrations

By Ruling of the National Institute for the Protection of Cultural Monuments and Natural Sites of NRBiH in Sarajevo no. 159/54 dated 8 February 1954, the monastery church in Sutjeska was placed under state protection and entered in the Register of immovable cultural monuments.

The Regional Plan for

Bosnia and Herzegovina

to 2002 listed the Franciscan monastery as a Category I monument.

The architectural ensemble of the Franciscan monaastery and church of St John the Baptist with Museum and movable property is on the Provisional List of National Monuments of the Commission under serial number 290 as the Franciscan monastery in Kraljeva Sutjeska.

In 1964 the presence of visible cracks in the structural elements of the church led to glass plates being set into the cracks to monitor their movement and consequent distortion.

In 1977 fixed wedges were put in place (the tops of the wedges formed the crown of triangular control points, with these «triangles» set on the surface and used to monitor the movement of the cracks) with two sides of the triangle spanning the crack. In 1977 6 control points were installed where there were cracks in the vertical structures and 3 control points in the vault structure. Checks were made at regular intervals of time by measuring the distance of the crown of the triangular control points using a sliding caliper, with records kept, so as to monitor the movement of the cracks.

With effect from 2002 these measurements were made using equipment specially made for this type of measuring.

Applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument (Official Gazette of BiH nos. 33/02 and 15/03), the Commission has enacted the Decision cited above.

During the procedure to designate the architectural ensemble of the Franciscan monastery and church of St John the Baptist in Kraljeva Sutjeska together with the Museum and movable property as a national monument of Bosnia and Herzegovina the following works were consulted:

1890 Barišić, R, Franjevački samostan i crkva u Sutjeskoj (The Franciscan monastery and church in Sutjeska) Journal of the National Museum of BiH,1890, knjiga I, II, II i IV, str. 28-40

1956. Mazalić, Đoko, Nekoliko primjera slikarske umjetnosti Bosne i Hercegovine od XVI-XIX vjeka. (Some examples of the art of BiH, 16th to 19th c) Naše starine III, Sarajevo, 1956, 101-127,

1965. Karamehmedović, Muhamed, Bronzeni kotlić iz Kraljeve Sutjeske. (The bronze kettle from Kraljeva Sutjeska) Journal of the National Museum of BiH (Arheologija), n.s. XX, Sarajevo, 1965, 281-194.

1967. Mazalić, Đoko, Leksikon umjetnika; slikara, vajara, graditelja, zlatara, kaligrafa i drugih koji su radili u Bosni i Hercegovini. (Lexicon of artists: painters, sculptures, architecturs, goldsmiths, caligraphers and others working in BiH) Sarajevo, 1967, 21-22.

1970. Vego, Marko, Ričica, Zbornik srednjovijekovnih natpisa Bosne i Hercegovine, (Collection of mediaeval inscriptions of BiH) Vol. IV, National Museum of BiH, Sarajevo, 1970, 52-53.

1973 Anđelić, Pavao, Bobovac i Kraljeva Sutjeska : stolna mjesta bosanskih vladara u XIV i XV stoljeću, (Bobovac and Kraljeva Sutjeska: royal residence of the Bosnian rulers in the 14th and 15th c) Sarajevo : “Veselin Masleša”, 1973

1979 Benić, fra Bono, Ljetopis Sutješkog samostana (Chronicle of the Sutjeska monastery), Cultural Heritage series, Sarajevo, 1979. godine

1980. Institute for architecture, town planning and regional planning of the Faculty of Architecture in Sarajevo, Stage «B» - valorization of natural, cultural and historical sites, Regional Plan of Bosnia and

Herzegovina

, Sarajevo, 1980.

1980. Orgulje. (Organ) General Encyclopaedia of the Yugoslav Lexicographical Institute 6, 211-212, Zagreb, 1980.

1982. Zlamalik, Vinko, Strossmayerova galerija starih mastera Jugoslovenske akademije znanosti i umjetnosti, (Strossmayer gallery of old masters of the Yugoslav Academy of Science and the Arts) Zagreb, 1982.

1984. Catalogue, various authors, Stari franjevački samostani BiH (Old Franciscan monasteries of BiH) Sarajevo 1984.

1984. Tihić, Smail, Gavran, Ivan, Basler, Đuro, Karamatić Marko, Nikić Andrija, Oršolić, catalogue for the exhibition Stari franjevački samostani Bosne i Hercegovine. (Old Franciscan monasteries of BiH) Sarajevo

1987 Matić, Bernardin, Kraljeva Sutjeska, Bobovac i okolica : spomenici srednjovjekovne bosanske države (Kraljeva Sutjeska, Bobovac and environs: monuments of the mediaeval Bosnian state), 2nd ed., Zagreb, 1987

1987 Krzović, Ibrahim, Arhitektura Bosne i Hercegovine 1878-1918, (Architecture of BiH 1878-1918) Art Gallery of BiH, 1987

1988. Rakić, Svetlana, Slikarstvo i skulptura. (Painting and sculpture) catalogue of the exhibition Treasures of the Franciscan monasteries of

Bosnia and Herzegovina

. Sarajevo, 1988, 12-66.

1988. Basler, Đuro, Metal. catalogue of the exhibition Treasures of the Franciscan monasteries of

Bosnia and Herzegovina

. Sarajevo, 1988, 68-94.

1988. Ivoš, Jelena, Tekstil (Textiles) catalogue of the exhibition Treasures of the Franciscan monasteries of

Bosnia and Herzegovina

, 1988, 97-106.

1988. Kovačević, Matko, Arhivska građa (Archive material) catalogue of the exhibition Treasures of the Franciscan monasteries of

Bosnia and Herzegovina

. Sarajevo, 1988, 109-122.

1988. Basler, Đuro, Kameni spomenici. (Monuments in stone) catalogue of the exhibition Treasures of the Franciscan monasteries of

Bosnia and Herzegovina

. Sarajevo, 1988,139-147.

1988. Basler, Đuro, unpublished list of all the metalwork items in the museum of the Franciscan monastery in Kraljeva Sutjeska, 1988.

1989. Basler, Đuro, Ivoš, Jelena, Rakić, Svetlana et al, Franjevci na raskršću kultura i civilizacija, (Franciscans at the crossroads of cultures and civilizations) exhibition catalogue, Zagreb, 1989.

1990. Karamatić, dr. Marko – Nikić, dr. Andrija, Blago franjevačkih samostana Bosne i Hercegovine, (Treasures of the Franciscan monasteries of

Bosnia and Herzegovina

) Business news – Tourist information, Zagreb, 1990.

1990. Jelenić, Julijan, Kultura i bosanski franjevci I i II, (Culture and the Bosnian Franciscans) photoprint of the1912 edition, Svjetlost, Sarajevo, 1990.

1991 Lovrenović, Ivan, Sedam stoljeća bosanskih franjevaca 1291-1991 (Seven centuries of the Bosnian Franciscans 1291-1991) Sarajevo, 1991

1996 Gavran, dr. fra Ignacije, Povijesne crtice, Kraljeva Sutjeska, Kraljeva Sutjeska i Vareš, (Sketches from history, Kraljeva Sutjeska and Vareš) Sketches from history, Split, 1996

1998. Rakić, Svetlana, Ikone Bosne i Hercegovine od XVI do XIX vjeka. (Icons of BiH from 16th to 19th c) Belgrade, 1998.

2000 Gavran, fra Ignacije, "Ljepotica u zabiti", published in Svjetlo riječi, Catholic religious, social and cultural periodical, Sarajevo, March 2000

2002 Čorak, Željka, Križni put iz Kraljeve Sutjeske: stilska vježba. (Way of the Cross from Kraljeva Sutjeska – stylistic exercise) Papers of the Institute for the History of Art, Zagreb, Zagreb, 2002.

[1] “It acquired its double-barrelled name only in recent times. Formerly it was known simply as Sutiska, from the narrow valley in which it lies. It received the addition of Kraljeva because in the 14^th and 15^th century the king held court there at one time. In mediaeval times it was often called ‘Curia Bani’ (Court of the Ban), because the Bosnian bans or rulers of the Kotromanić family resided there for a long time, and mediaeval documents also refer to it at times as Trstivnica, from the name of the river and župa of this region. Even today the name Sutjeska denotes primarily the town itself, and only secondarily the entire region with its surrounding villages.” (Gavran, dr. fra Ignacije, Povijesne crtice, Kraljeva Sutjeska, Kraljeva Sutjeska and Vareš, Historical Sketches, Split, 1996, p.5)

“Austria-Hungary gave the place the name Kraljeva Sutjeska.” (Matić, Bernandin: 1987, p.10)

[2] From copy of cadastral plan submitted, c.m. Kraljeva Sutjeska, Kakanj Municipal geodetic authority, no. of plan 6G17-28, scale 1:2500, issued on 09.01.2003 by the office for cadastral and property law affairs of Kakanj Municipality

[3] “…It was built by the faithful of Christ and over the years extended by Toma Krištić, the penultimate Bosnian king. (Benić, fra Bono, Chronicle of the Sutjeska monastery, Cultural Heritage series, Sarajevo, 1979, p.95)

[4] The census relates to the state of the Vicariate some 15 years previously. It reveals that the Bosnian vicariate had 7 custodians and 35 monasteries. The present-day Franciscan monasteries in Bosnia listed in the census are those of Sutjeska and Visoko, and the one in Olovo (now only a site of pilgrimage). The monasteries in Fojnica and Kreševo are not listed as they were not built until later, probably at the end of the 14^th century. (Jelenić, Julijan, Kultura i bosanski franjevci, photoprint of the 1912 edition, Svjetlost, Sarajevo, 1990, pp.37-38)

[5] Barišić: 1890, p.28

[6]The monasteries in Fojnica, Konjic, Kreševo, Sutjeska and Visoko were destroyed. A little later in the century the monasteries in Jajce (1528), Zvornik (1533), Modriča (1579)and Donja Tuzla (1580) were also set on fire and destroyed. (Jelenić: 1990, Vol II, p. 687)

The Italian historian Franco Gonzaga wrote in his work “On the origins of the Seraphic order”: “When the flourishing Bosnian kingdom fell into the hands of the Turks they razed [this monastery] to the ground in 1524, leaving no stone standing. After this the poor Franciscans were so persecuted that many were killed, some were wounded, and others fled to save their lives” (Matić, Bernandin: 1987, p.13)

[7] (Gavran, Dr. fra Ignacije, Povijesne crtice, Kraljeva Sutjeska, Kraljeva Sutjeska i Vareš, Povijesne crtice, Split, 1996, p.7)

[8] ibid

[9] Since the Turkish authorities banned the use of durable materials (stone, baked brick), a newly built monastery would rapidly become dilapidated, and was also easily to set on fire. It was hard to obtain permission to carry out repairs, and if they were done without permission, the Franciscans would be fined and imprisoned. As a result, new buildings in such cases were coated with soot, to make them less noticeable. (Karamatić, Dr. Marko – Nikić, Dr. Andrija, Blago franjevačkih samostana Bosne i Hercegovine, Business News – Tourist information, Zagreb, 1990, p. 39)

[10] “That same year, 1596, it was built on the same foundations and with the same name using stone below and brick above…” (Barišić: 1890, p.29)

[11] Benić, fra Bono:1979, p.96

[12] Catalogue, various authors, Stari franjevački samostani BiH, Sarajevo 1984, p.7

[13] Matić, Bernandin: 1987, p.13

[14] at the time when the Provincial Chapter was being held in Gradovrh (a former settlement and monastery near Tuzla, according to Jukić’s Geography between Gornja and Donja Tuzla) (Benić, fra Bono:1979, p.96)

[15] Matić, Bernandin: 1987, p.13

[16] When they paid 900 gold crown ducats to the Turkish authorities to obtain permission to rebilot. Gold crowns here mean Austrian gold coins. There were also silvr crowns (Kronentaler). They were know as crowns because of the crown stamped on them (Benić, fra Bono, Ljetopis Sutješkog samostana, Cultural Heritage series, Sarajevo, 1979, p..96 )

[17] Gavran, fra Ignacije, "Ljepotica u zabiti", published in Svjetlo riječi, Catholic religious, social and cultural magazine, Sarajevo, March 2000, p.62

[18] The Vienna war – between Austria and Turkey. Many Catholics left Bosnia for regions liberated from Turkish rule (Slavonia, Dalmatia). The Franciscans were also forcibly evicted from many monasteries, which were then demolished and burned down: Modriča 1685, Rama, Srebrenica and Olovo 1687, Gradovrh and Visoko 1688, Donja Tuzla 1690. The number of Catholics fell to less than 20,000, with whom about thirty Franciscans remained. Some estimates are that more than 100,000 Catholics left Bosnia and Herzegovina. A further cause was the campaign by Eugene of Savoy against Sarajevo in 1697. The 1699 Treaty of Karlowitz stipulated that the border between Bosnia and Austria would follow the river Sava, and between Bosnia and Dalmatia the Dinaric mountains would be the border. The Franciscan province of Bosnia Argentina then lay in part in three different states. (Jelenić: 1990, Vol II, p. 687)

[19] During the Vienna war the friars left the monastery because of constant attacks on them, and spent 17 months hiding around the woods and villages wearing peasant clothing. (Gavran, Dr. fra Ignacije: 1996, p.7)

[20] “But of all these misfortunes in the worst attacks at the beginning of the Vienna war, when they were so indebted by the heavy Turkish fines and levies, that they would not only pledge their church vestments and vessels to the merchant Brnaković in Sarajevo, but were even forced to pawn or sell at the lowest of prices all their household goods, even the locks off the doors. As a result, unable any longer to endure the attacks and the fines, with the permission of the vizier of the day the local Franciscans were forced to leave the monastery, surrounding it with a new, high fence and appointing a watchman within the empty walls to guard it lest some evil hand should set it on fire by night. For a full 16 years (1683-1699), while the war lasted, the Franciscans were dispersed hither and yon, living in caves and secular houses and wearing secular clothing, known as “ujak” or Uncle (as the people still call the Franciscans of Bosnia to this day), but the majority of them lived together in the monastery house, which was then located above the Sutjeska caves in Zateševje, covertly moving around from place to place, providing the flock entrusted to them with spiritual sustenance, now in the bushes near Bjelaviće, now in Tonji lug near the present-day Catholic village of Grmači, serving holy mass. But even then they would often be badly beaten up in front of the very altar.” (Barišić: 1890, p.30)

[21] “While Juro Bilavić was acting as guarding for the third year, Ahmed-paša Skopljak came to Bosnia on 7 April 1728 as governor or paša of Bosnia, after his return from Persia. As soon as the said paša came to Bosnia, the guardian paid him a visit and, after presenting him with gifts and paying the džulus (the tax payable each year by the Franciscans, and when a new paša came to Bosnia), received him as reward written consent or bujruntija, confirmed by a new firman, for the renovation of the walls of the church and roofing it with boards. No sooner had he received it than he began the work that had been devised, first of all replacing three sides of the church. He had them made of stone, because before the church had been made of unbaked brick. When he had finished and roofed the church beautifully with pine boards, he carefully ensured that it was faced within with wooden boards in the form of a vault; previously – may God forgive me – it had been like a cattleshed..” (Benić, fra Bono: 1979, p.114)

[22] “…Third, it should be noted, that 12 years previously work had begun on [preparing] the boards and beams to roof the monastery and church of the monastery of St John the Baptist. The sum of 1765 groschen was given for 15,464 juniper boards and 124 oak beams. The same year, 328 groschen and 90 asper were given for nails and other ironmongery, sundry laths and rafters which the people call žioke, and for the wages paid to the builders and various others whom we sent to Tuzla and elsewhere to collect up carpenters. And for daily wages, that is for 1760 day-wages, 293 groschen and 80 asper. The total costs up to the time the carpenters were dismissed once the entire building had been roofed thus came to 1644 groschen and 170 asper….” (Benić, fra Bono: 1979, p.205)

[23] “In the autumn of 1784, the Borovičani, that is the Ćuretovi and some from Mijat Trmešić, cut us 1200 šašovac (local term for boards for facing or panelling walls or ceilings), 180 juniper žioka (a žioka is a long thin fir or spruce board sawn on both sides to a width of 3-4 cm and usually used for building, but also used previously as cross-beams over the roof rafters, after which wooden shingles were then laid in rows over the žiokas), 30 curved beams and 27 deal floorboards…. All these preparations were to make the church with a vault of šiše, which is now seen to be done. Before, where the women kneel (in the Sutjeska church it was for a long time the custom for the men to kneel in front, near the altar, and the women behind the mind. In other churches women would usually be on the left and men on the right) it was dark and had a flat ceiling of šiše on beams, like the one in Fojnica.. . Seven oak beams used to span the church from wall to wall, and with much fear and trembling we lifted them, when the old šiše collapsed, we knocked in 13 new oak panti (cross-rafters linking the main roof rafters) below the older ones… In short, wherever the structure collapsed, we reinforced it as far as possible, and the little barrel vault and over the altar we made a holy cross where there had been none before. All the church, as can be seen, has been painted by lay brother Fr. Pavao Tokmačić (Benić, fra Bono: 1979, pp.300-301)

[24] Catalogue, various authors, Stari franjevački samostani BiH, Sarajevo, 1984, p.7

[25] The monastery building had a dilapidated roof and the walls were out of true, especially the one by the river. Given the number of people in the monastery it was also very cramped (measuring 16.55 x 8 m), and in 1821 guardian Fr Petar Babajć obtained permission from the Travnik vizier Gjelajli-paša (Dželaledin) to extend the monastery to the west and north, and to repair most of the building and the church with oak timbers. (Barišić: 1890, p.31)

[26]In 1831, Fr. Stjepan Marijanović, with the help of the Austrian Emperor Franz I and the Hungarian priesthood, extracted permission from the vizier Mahmut-Himdija (known as Kara Mahmut, paša or Bosnian governor from 183 to 1833) to build on another wing to the monastery measuring 26.46 x 9.61 metres. Both these monastery buildings/wings were repaired on several occasions. (Barišić: 1890, pp.32-33)

[27] 1881, when Fr. Frano Komadanović was guardian, the corridors and large rooms were made smaller and several small rooms built on (Barišić: 1890, p.33)

[28] In August 1888 it was unanimously resolved to build a new monastery on the foundations of the old one, which was demolished, but before demolition photographs were taken which show its appearance.

[29] Gavran, Dr. fra Ignacije: 1996, p.7

[30] Catalogue, various authors, Stari franjevački samostani BiH, Sarajevo 1984, p.7

[31] Catalogue, various authors, Stari franjevački samostani BiH, Sarajevo 1984, p.7

[32] Gavran, fra Ignacije: March 2000, p.62

[33] (Jelenić: 1990, Voll II, p. 689)

[34] (Jelenić: 1990, Vol II, p. 688)

[35] Matić, Bernandin: 1987, p.14

[36] Josip pl. Vancaš, architect (born 22 March 1859 in Šopron, Hungary, died 15 December 1932 in Zagreb, Croatia). Graduated from technical college, department of architecture in Vienna in 1881, and from 1882 to 1884 studied architecture with Prof. Schmidt at the Academy of Fine Arts in Vienna. Initially worked in the Fellmer and Schmidt studio. Came to Sarajevo for the first time in 1893, and settled there in 1894. From 1890 on he worked as a civil architect. He was very active in Sarajevo, building in historicist-historical styles and later in secessionist style. From 1908 he began his quest for the Bosnian style. During his long career as an architect he designed 70 churches and town halls, ten institutes and schools, six cafés and hotels, ten banks, 102 rental and private houses, six factories and seven altars and interiors, ten extensions and conversions, and a total of some 240 blueprints, most of which were carried out. His works were shown at exhibitions in Paris, Vienna and Budapest, for which he received honours. He lived in Sarajevo until 1922. Perceiving the value of the country’s architecture as a whole, and backed by a number of architects and civil engineers, in 1911 he put to the Bosnian Assembly a Resolution on the protection, recording, surveying and preservation of cultural monuments and concessions for building in the Bosnian style (Krzović, Ibrahim, Arhitektura Bosne i Hercegovine 1878-1918, Art Gallery of BiH, 1987, p.253)

[37] Born in Gemona, Italy, in 1849. Came to Croatia at the invitation of Count Nugent. Did some of the decorations in the Croatian National Theatre in Zagreb. In Bosnia and Herzegovina, painted the churches of the Franciscan monasteries in Livno, Jajce, Vareš, Kraljeva Sutjeska, Banja Luka, and is presumed to have painted the scene of the Coronation of Mary in the Roman Cathholic church in Čardak near Modriča. Died in Zagreb in 1937. (Mazalić, 1967, 21-22).

[38]The collection of incunabula of the monastery of Kraljeva Sutjeska was designated as a National Monument at the 6th session of the Commission to Preserve National Monuments of Bosnia and Herzegovina, held on 21 January 2003 by Decision no. 05-6-88/03.

[39] An incense-holder

[40] vessel to hold the host

[41] All dating, attributions and stylistic determinants of metalwork items are taken from Basler's unpublished list of metalwork items from the museum in the Franciscan monastery in Kraljeva Sutjeska, drawn up in 1988.