Published in the “Official Gazette of BiH” no. 75/08.
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 30 August to 5 September 2004 the Commission adopted a
D E C I S I O N
I
The movable property of the Museum Collection and Library holdings of the Franciscan monastery of the Holy Ghost in Fojnica, Federation of Bosnia and Herzegovina is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument consists of 160 pictures, 104 items of metalwork, 7 sculptures, 9 textile items, archive material consisting of a transcript of the Ahdnama of Sultan Mehmed II el Fatih and the Fojnica Roll of Arms, 13 incunabula, and a collection of old printed books.
The provisions relating to protection 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, 27/02 and 6/04) shall apply to the National Monument.
II
The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for providing the legal, scientific, technical, administrative and financial measures necessary for the protection, conservation and presentation of the National Monument.
III
To ensure the on-going protection of the National Monument, the Government of the Federation of Bosnia and Herzegovina shall ensure that the appropriate physical technical conditions are provided in which to safeguard the National Monument, and in particular:
- shall ensure that suitable conditions are provided to safeguard the library holdings to prevent their further deterioration, and shall ensure that the conditions and resources are provided for conservation and restoration works on the books published up to the 19th century,
- shall ensure that suitable museum conditions are provided for the safeguarding of the textile items and metalwork items to prevent any further deterioration, in the form of showcases in which to house and display them,
- shall install air conditioning to ensure optimal humidity levels (50% to 60%) and ambient temperatures (16o to 22o C) in the museum, library and archive of the monastery, and shall install video surveillance and a fire protection system.
The display and other forms of presentation of the National Monument in Bosnia and Herzegovina shall be carried out on the basis of conditions to be stipulated by the federal ministry responsible for culture.
Supervision of the implementation of the measures to protect the National Monument shall be carried out by the federal ministry responsible for culture.
IV
The Commission to Preserve National Monuments (hereinafter: the Commission) shall take the necessary steps steps to ensure the return to Bosnia and Herzegovina of the following works of art belonging to the National Monument and currently located in the Strossmayer Gallery in Zagreb:
- a cross,
- two silver chalices,
- two chasubles.
V
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 protection thereof.
VI
The removal of the National Monument 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 National Monument 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 its temporary removal 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 National Monument from Bosnia and Herzegovina, the Commission shall stipulate all the conditions under which the removal may take place, the date by which the National Monument shall be returned to the country, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of the Federation of Bosnia and Herzegovina, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.
VII
The Franciscan monastery in Fjonica, the Government of the Federation, the Federal Ministry responsible for regional planning, the Federation 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.
VIII
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)
IX
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.
X
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.
No. 04-02-14/04-3
31 August 2004
Sarajevo
Chair of the Commission
Dubravko Lovrenović
E l u c i d a t i o n
I – INTRODUCTION
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.
On 15 January 2004 the Franciscan monastery of the Holy Ghost in Fojnica submitted a proposal to designate the museum and library collections of the Franciscan monastery of the Holy Ghost in Fojnica as a national monument of Bosnia and Herzegovina.
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.
II – PROCEDURE PRIOR TO DECISION
In the procedure preceding the adoption of a final decision to proclaim the property a national monument, the following were inspected:
- Museum collection and library of the Franciscan monastery in Fojnica;
- Description of the Fojnica monastery’s museum collection in separate monographs.
The findings based on the review of the above documentation and the condition of the site are as follows:
1. Details of the property
Location
Fojnica is in central Bosnia, about 50 km west of Sarajevo taking the road via Kiseljak. It lies between Mt Motorac and Mt Zahor, on an alluvial plain by the right bank of the Dragača. The Franciscan monastery of the Holy Ghost in Fojnica stands on a hillock known as Križ in Fojnica. The museum collection protected under the terms of the Decision is located within the monastery.
Historical information
Fr. Mijo Batinić is of the view that the original foundation of the Franciscan monastery and church in Fojnica is associated with the arrival of people from Dubrovnik and of Saxons as lessors of the mineworkings of Fojnica, and of their workmen as miners. Since these newcomers were Catholics, they probably brought their own priests with them, mainly Germans and Italians. Later, the ratio of foreign to local priests altered in favour of the local priesthood. Fr. Batinić attributes the date of the monastery's foundation to the mid 14th century, but somewhat later, in the Chronicle of the Franciscan Monastery in Fojnica issued in 1913, this was corrected to the mid 15th century. It is certain that there were Franciscans living in Fojnica at that time, because in 1463, following the occupation of this part of Bosnia by the Ottomans, Fr. Anđeo Zvizdović set off for the village of Milodraž to meet Sultan Mehmed II el Fatih with a request to permit the Franciscans to remain in Bosnia and to allow those who had fled to return, as well as to grant them their basic rights to life. To this end, Fr. Anđeo Zvizdović received an ahdnama (Covenant) which the Franciscans used throughout the Ottoman period when seeking a reduction in taxes or permission to build or renovate demolished or damaged churches (J. Jelinić, 1990, 115-116).
The monastery was originally erected in Pazarnice(1) above the present-day Muslim burial ground. In the early 16th century the monastery was transferred to its present location.(2) Evidence of this lies in the fact that in 1502 the Franciscans sought permission to pave the church floor, which is understandable if they had only just built it on that site (M. Batinić, 1913, 25). However, a document dating from 1527, subsequent to the demolition of the church, suggests that the Franciscans had not abandoned Pazarnice.(3) The confusion over the date when the Franciscans moved from Pazarnice to Križ arose when reading the application of the guardian of the monastery, Fr. Franjo Češki, dated 1515, when he submitted a request to the authorities to allow the erection of a musafirhana next to the monastery, where “Muslims coming on business to Fojnica wouuld have free board and lodging, so that they would not have to be allowed into the monastery, as has been the case until now.” (M. Batinić, 1913, 25).
The monastery was certainly in existence on the new site in about 1594, when the then guardian, Fr. Anto Jurišić built the church with the lower level of stone and unbaked brick above, and erected a fence around it, pursuant to a firman from the Sultan giving permission for the existing church to be re-roofed and renovated. A plaque with the inscription NETO REDIFI + O.D 1598 dates from this time. At the same time, the monastery building was rebuilt alongside the church (M. Batinić, 1913, 31). About a hundred years later the monastery was again rebuilt (M. Batinić, 1913, 53).
On Maundy Thursday 1664, a great fire broke out in the monastery. Numerous old letters, the library, and other valuables went up in flames along with the building itself.(4) However, some official records from that time have survived, which suggests that there were separate premises alongside the monastery and church where they were kept. (M. Batinić, 1913, 34. 54). After the fire, the Franciscans found accommodation in Lučna village near Jajce, until 1666 when they received a firman and a bujrultija (order, decree) from the vizier granting them permission to rebuild the church and monastery. The church was rebuilt two years later, and again between 1703 and 1708.
In the spring of 1864 work began on the construction of a new church(5), on which a bell was mounted when the works were completed, in 1866. However, the bell was not used until 1873.
In 1871 certain items were taken from the Franciscan monasteries in Fojnica and Kraljeva Sutjeska to Đakovo, to Bishop Josip Juraj Strossmayer, for safe keeping. These were taken at Strossmayer’s request by the parish priest from Kotorište, Father Ante Knežević, with the sculptor Donegani, who had permission from the Bosnian Provincial of the Order Mijo Grujić, obtained on the basis of assent from the definitorium of the Order and Strossmayer’s written undertaking 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).
Following the annexation of Bosnia and Herzegovina, the Dalmatian Franjo Mojse was hired in 1884 to build a new church. During construction the walls collapsed, as a result of which Josip Vancaš was hired. He built the church in 1889. Between 1893 and 1895, Josip Oisner painted the church.
During 2001, the construction of a new monastery building was completed in which the monastery's museum collection and library holdings were to be housed.
The monastery's museum and library holdings have been built up since the foundation of the monastery. The museum holdings can be divided into a number of groups, composed of the art collection, collection of metalwork artefacts, sculpture collection, collection of textile items, archive material and library.
2. Legal status to date
The monastery's museum collection and library in the monastery in Fojnica have not previously enjoyed legal protection.
3. Description of the property
Art collection
The collection of pictures constitutes the largest group of items in the museum holdings. It may in turn be subdivided into two sizeable collections, one of which consists of works by earlier artists. This collection consists of works dating from the 17th to the 19th century. The works in this group originate mainly from Italy(6) and the coastal towns of Croatia(7). Later, during the 18th and particularly the 19th century, at a time when the Franciscans were acquiring their education in Austria, items were also brought from there. The second group consists of 20th century works associated with the name of the academic painter Gabriel Jurkić(8). His collection too may be subdivided into two sections based on the techniques used. One consists of works in oils on various materials (mainly canvas or board). The other consists of his ink drawing on papers, among which a separate group consists of illustrations for magazines.
1. Still life
Artist: unidentified.
Date of origin: 1328(9)
Technique: tempera on wood panel(10).
Size:.
Signature: below centre MCCCXXVIII
Description: The slightly concave painted surface bears a still life, with a chalice-like vessel holding a bouquet of flowers each of which has eight petals or a tripartite calyx. The flowers are differently treated in both shape and colour. The background is dark-toned, the stems of the flowers and the numbers of the date at the base of the painting are extremely dark-toned, and the flowers are dark brown. The chalice is white. There is a hole at the top of the wood panel for hanging the painting.
It is very likely that the painting was used as a book stand used during holy worship. (S. Tihić, 1956, 77-78)
2. SS Anne and Mary
Artist: unidentified Italian master(11).
Date of origin: 17th century.
Technique: oil on canvas.
Size: 145x95 cm.
Description: The figures of Anne and Mary are shown seated on a canvas terminating in a semicircle. The scene shows Anne with a book in her lap, teaching the young Mary. Anne's head is shown in full profile, while her bust is full frontal. Above Anne's head is a faint halo in the shape of a white circle; her head is covered with a violet veil and a silvery-white scarf. She is wearing a dark green blouse and yellow robe. Mary is the size of a child, but in physiognomy more closely resembles a young woman. She is wearing a light red dress with a blue cloak over her back and left shoulder, from which point it is draped down over her bust, then loops up to her back again under her right arm. She is holding a book, but gazing outwards over it. Her yellow-brown hair is tied with a narrow blue band, with a red tie behind her ear. The white ribbon hanging from the top of her head to her shoulders is a colouristic addition. Above these figures is a flying angel with a garland of red and white roses in his right hand and a palm branch in his left. Beside him are two winged children's heads. (S. Tihić, 1956, 78-79)
3. Madonna with Christ
Artist: unidentified.
Date of origin: 18th or 19th century.
Technique: oil on canvas.
Size:108x82 cm.
Description: The painting is of the traditional motif of the Madonna with the infant Christ on her right arm. Christ is wearing a green robe. His torso is facing his mother, and his head is facing forwards. The Virgin Mary is steadying the child with her left hand, and leaning her face against that of Christ. She is wearing a dress with a square cut bodice, and is wrapped in a red cloak. Both are wearing crowns on their heads. (S. Tihić, 1956, 79)
4. St George
Artist: unidentified artist(12).
Date of origin: late 18th or early 19th century.
Technique: oil on canvas.
Size: 170x140 cm.
Description: The centre is occupied by the figure of the saint on a rearing black horse. In his right hand the saint is holding a long wooden spear, with which he is killing the dragon beneath his horse. He is wearing a yellowish-brown garment with a red cloak over it, and has a helmet on his head. In the background is a female figure in a red dress, probably a princess, with a man standing beside her. In the upper part of the painting is the figure of a saint in a chariot drawn by two white horses, and opposite him a flying angel. (S. Tihić, 1956, 80)
5. The Immaculate Conception
Artist: Sebastian Devito(13).
Date of origin: 1784(14).
Technique: oil on canvas.
Size: 155x122 cm.
Signature: below right Ba chie Ge Vite.... Pengo.... 1784.
Description: The painting is divided into two horizontal sections. The upper central part of the painting shows the Virgin Mary seated on clouds, with her feet resting on the moon, and stars around her head. To her left is St Sebastian, wearing a loincloth, his back deeply pierced by arrows. He is facing the Virgin Mary. To her right is St Rocco, shown as a middle-aged man dressed in a yellowish robe and red cloak. His right hand is on his chest, and he is holding a spear in his left. To his right is a scene of an angel banishing a woman bare to the waist, who symbolizes the plague. The woman is dressed from the waist down in a dark-toned cloak. Above this scene is an angel holding a white ribbon bearing the words “Votum vovit dno 1783.”
The lower part of the painting shows two groups of people. Among the group of men, the figure of a Franciscan wearing his habit stands out. His face is turned heavenwards, and his hands are held as if in prayer. Above him are the figures of four men and one boy, also shown praying. To the left of this group is a group of women praying. Above these two groups of figures is a landscape with the outlines of a distant city.(15) (S. Tihić, 1956, 80-82)
6. St Antony the Hermit
Artist: Fr. Mijo Čuić(16).
Date of origin: 1800.
Technique: oil on canvas.
Size: 100x84 cm.
Signature: on the reverse: F. MICH. CUICH. P 1800.
Description: The monastery church is dedicated to the Holy Spirit, but St Antony the Hermit was also adopted to protect it from the plague(17).
The central part of the painting shows St Antony in a semi-kneeling pose, wearing a white robe with a red girdle, and a dark brown cloak over the robe. The saint is showsn as an elderly man with a long grey beard. He has a halo over his head. He is holding his left arm against his body, and his right hand on his chest, as if taking an oath. In the left-hand corner of the painting, visually opposite the saint, are pigs, and on the same side, somewhat further away, a tree with a serpent wound around its trunk. To the right of the saint is a slight elevation on which the saint has left his staff with a rush basket with a rosary hanging out of it. This side also shows a cross with Christ crucified. At the base of the cross are an open book and a skull. A landscape with hills is visible in the background.
The pigment was applied direct to the brown canvas, which is visible here and there through the layers of paint, creating an unappealing impression. (S. Tihić, 1956, 82-83)
7. The Virgin Mary
Artist: unidentified artist.
Date of origin: 1885.
Technique: oil on canvas.
Size: 48x38 cm.
Signature: on the reverse: F.... Za. Oen pinx: 1855.
Description: The bust of the Virgin Mary in a dark blue cloak lined with green and edged with a double ribbon is shown against a dark-toned background. The head of the Virgin Mary is turned slightly to the right, with lowered gaze. (S. Tihić, 1956, 83)
8. Christ with the Crown of Thorns
Artist: unidentified artist.
Date of origin: 1885.
Technique: oil on canvas.
Size: 48x38 cm.
Description: The painting is the counterpart to the painting of the Virgin Mary just described. It shows the bust of Christ dressed in a dark-toned cloak, with a crown of thorns on his head and an expression of great pain on his face. (S. Tihić, 1956, 83-84)
9. Portrait of Grga Varešanin
Artist: unidentified artist(18).
Date of origin: 1885.
Technique: oil on canvas.
Size: 95x75 cm.
Description: Portrait of Fr. Grga Varešanin, Bosnian bishop and apostolic vicar, the counterpart to portraits of the same person in Kreševo and Sutjeska. The bishop is shown seated in an armchair with a baroque seatback. He is giving a blessing with his right hand and holding his bishop's crozier, with its curved top, in his left. He has a bishop's mitre on his head. The portrait shows him as a elderly man with a moustache. To his right is a boy dressed as a ministrant, holding an open book with the armorials of the Franciscan order on the right-hand page and an inscription on the left: HOMILIAE ET CONCIONES R. F. GREGORI A VAR. EPISCP. RUSPEN. VICARII. APOST. III BOSNIA ARGENT. ANNOR. LXVII. A. D. MDCCCII (S. Tihić, 1956, 84)
10. St. Francis of Assisi
Artist: Mijo Čuić(19).
Date of origin: 19th century.
Technique: oil on canvas.
Size: 120x98 cm.
Description: The central position is occupied by the figure of St Francis of Assisi wearing a habit, giving a blessing with his right hand to two men kneeling before him; one is a Franciscan, the other a lay person with a fez on his head. The Franciscan is shown in a position of prayer, while the hands of the other are lowered, but the impression is that he is asking the saint for help.
11. St. Bono
Artist: Mijo Čuić(20).
Date of origin: 19th century.
Technique: oil on canvas.
Size: 86.5x46 cm.
Description: The saint is represented at a desk in a library, wearing a dark robe with a red girdle about his waist. He has a red cap on his head and a halo above it. He is holding a pen in his hand. The signature of the artist, Chuich, is on the upper left hand corner (as the saint sees it) of the book in front of the saint.
12. St. Andrew
Artist: unidentified baroque master.
Date of origin: 18th century.
Technique: oil on canvas.
Size: 39x32 cm.
Description: The saint is shown in the central part of the painting, wearing a dark-toned robe and a red cloak. He has a halo over his head. He is holding a book in his right hand and a large wooden cross under his left arm. The background of the painting is dark-toned.
13. Crucifixion
Artist: unidentified baroque master.
Date of origin: 18th century.
Technique: oil on canvas.
Size: 85x53.5 cm.
Description: The central part of the painting shows the figure of Christ crucified on a tall wooden cross. His head is inclined to the right. He has a loincloth about his waist. The top upright arm of the cross has a tablet attached to it bearing the initials INRI.
14. St. Francis of Assisi
Artist: unidentified artist.
Date of origin: 19th century.
Technique: oil on canvas.
Size: 60.5x50.5 cm.
Description: The saint is shown wearing a habit, in a stooping pose, leaning on a table on which is an open book, a rosary and a skull. In his left hand is a large cross, on which he is leaning. The stigmata are visible on his hands. His head is turned heavenwards, and his face wears an expression of martyrdom.
15. The Virgin Mary with Christ, Elizabeth and St John the Baptist
Artist: unidentified baroque master.
Date of origin: 18th century.
Technique: oil on canvas.
Size: 123x95.5 cm.
Description: The composition of the picture is in the shape of a triangle. The upper side of the triangle shows the Virgin Mary and Elizabeth with their children, Christ and John. Both women are seated, gazing with an expression of great tenderness at the infant Christ standing on the Virgin Mary's lap. Christ is shown with no clothes other than a loose loincloth. His right hand is resting on the Virgin Mary's shoulder, while with his left he is taking the long, thin cross that the infant John is offering him. Christ's head is surrounded by the rays of a halo. Elizabeth is holding John around the waist. He is holding a piece of paper in his left hand and offering the cross to Christ with his right. In the foreground is a recumbent sheep looking at the scene. There are a number of angels on clouds in the upper part of the painting. The top of the triangular composition is occupied by God the Father, arms outstretched, as if to protect the figures below Him. Below him is the Holy Spirit in the form of a dove, with rays around it like those around the head of Christ.
16. Pieta
Artist: unidentified master.
Date of origin: 19th century.
Technique: oil on canvas.
Size: 90x66 cm.
Description: The rather clumsy naked figure of Christ with a white loincloth is shown in the Virgin Mary's lap. Above them is a large wooden cross and several figures of winged angels.
17. Portrait of Anzelm Alaupović
Artist: Mijo Filipović.
Date of origin: 1915.
Technique: oil on canvas.
Size: 57x46 cm.
Signature: below left in red; M. Filipović Zagreb 28/12 1915
Description: The portrait shows the half-figure of a middle-aged Franciscan with a moustache, wearing a habit. A silver chain (perhaps a watch chain) is visible beneath his cowl.
18. Portrait of the mother of Fr. Anzelm Alaupović
Artist: Mijo Filipović.
Date of origin: 1915.
Technique: oil on canvas.
Size: 57x46 cm.
Signature: below left in red; M. Filipović Zagreb 28/12 1915
Description: The portrait is of the half figure of a woman in her fifties, dressed in Bosnian semi rural semi urban costume of the early 19th century. She is wearing a red headscarf with a tasselled fringe, and a dark blue jacket edged in brown leather, beneath which a brown waistcoat and white blouse (dress) are visible.
19. Portrait of Bishop Fr. Augustin Miletić
Artist: Saitz(21).
Date of origin: unknown.
Technique: oil on canvas.
Size: 71x55 cm.
Signature: d; FR. AUGUSTINUS MILETICH A FOJNICZA IN PATAVINO LYCEO SACRAR THEOL. LECTOR A SS D PP. VH IN EPPUM DAULIENSEM ET SUCCESSOREM VICARE APOST. BOSNEVSIS ELECTUS HIC PATAVB – IN ECCLESCIA A TRIBUS KITIS CONSCRATUS MDXCIL.
Description: The portrait shows Bishop Miletić in half-figure against a dark background. The bishop is wearing a habit, with a black cap on his head and a gold cross around his neck, which he is holding in his right hand. He is holding a book in his left hand.
20. St. Cecilia(22)
Artist: Gabrijel Jurkić.
Date of origin: 1923.
Technique: oil on canvas.
Size: 50x17 cm.
Signature: below right G. Jurkić
Description: The painting is divided into three sections. The largest, central section shows the figure of St Cecilia lying dead on a stone. The right hand section has the figure of a man playing a musical instrument (a harp?). The third second shows yet another figure in a church.
21. Forest path
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: oil on card.
Size: 24x33 cm.
Signature: below right G. Jurkić 1936.
Description: The painting shows a forest landscape and path.
22. Immaculata
Artist: Gabrijel Jurkić.
Date of origin: 1939.
Technique: oil on canvas.
Size: 70x54.5 cm.
Signature: below left; G.J. 1939.
Description: The Virgin Mary is shown standing, with her arms slightly outstretched, palms facing outwards, standing on a globe on which is a serpent. Her left foot, slightly advanced, is resting on the crescent moon. She has a crown on her head and twelve stars around her head, shedding light on the rest of the picture. The Virgin Mary is wearing a white robe with a reddish ribbon around the waist, and a blue cloak.
23. Thaw
Artist: Gabrijel Jurkić.
Date of origin: 1940.
Technique: oil on card.
Size: 29x39.5 cm.
Signature: below right; G.J. 1940.
Description: The painting is of a winter landscape under snow, a plain with mountains in the distance, and clumps of trees. In the centre of the composition is a trodden path through the snow. The sky is grey and cloudy.
24. Autumn
Artist: Gabrijel Jurkić.
Date of origin: 1940.
Technique: oil on card.
Size: 33x43 cm.
Signature: below left; G.J. 1940.
Description: A landscape of a forest-clad hillside in autumn, with a hill in the distance.
25. Winter
Artist: Gabrijel Jurkić.
Date of origin: 1944.
Technique: oil on canvas.
Size: 32x68 cm.
Signature: below right G.J. 1944.
Description: The painting is of a winter landscape with a house and haystacks. A woman in folk costume is walking along a trodden path through the snow. There is a fence and tree in the right-hand corner of the painting.
26. Crucifixion - crucifix
Artist: Gabrijel Jurkić.
Date of origin: 1946.
Technique: oil on canvas.
Size: 51x73 cm.
Signature: below left; G.J. 1940.
Description: the painting shows a cross with Christ crucified. The blood of Christ is running down his arms and legs where they are nailed to the cross, and his loincloth is bloody. His bowed head is wearing a crown of thorns, and surrounded by the rays of a halo.
27. Flock of sheep below Troglav
Artist: Gabrijel Jurkić.
Date of origin: 1946.
Technique: oil on canvas.
Size: 34x94 cm.
Signature: below left; G.J. 1940.
Description: The painting shows a clearing where a shepherd is guarding a flock of sheep, and Troglav in the background.
28. Portrait of Fr. Vitomir Jeličić
Artist: Gabrijel Jurkić.
Date of origin: 1947.
Technique: oil on canvas.
Size: 34x94 cm.
Signature: below right; G.J. 1947.
Description: The portrait is the half figure of a middle-aged Franciscan. In the background, like a picture within a picture, is a scene of Christ crucified in a rich frame.
29. Our Lady – Immaculata
Artist: Gabrijel Jurkić.
Date of origin: 1948.
Technique: oil on card.
Size: 21x26 cm.
Signature: below left; G.Jurkić 1948.
Description: A half figure of a middle aged woman, her body frontal and head in profile. Her right hand is on her breast. She is wearing a white cloak and has a halo around her head. In the distance is a hill with three crosses.
30. Satan tempting the Saviour
Artist: Gabrijel Jurkić.
Date of origin: 1948.
Technique: oil on card.
Size: 19x14 cm.
Signature: below right; G.J. 1948.
Description: The painting shows Christ in a white robe. Beside him, at the height of his waist, stands Satan with his left hand outstretched as if pointing to a vast expanse.
31. Winter
Artist: Gabrijel Jurkić.
Date of origin: 1948.
Technique: oil on card.
Size: 12x14 cm.
Signature: no signature.
Description: A winter landscape with a path trodden through the snow. In the distance are two haystacks and a number of trees.
32. In autumn
Artist: Gabrijel Jurkić.
Date of origin: 1950.
Technique: oil on card.
Size: 33x49 cm.
Signature: below right; G. Jurkić 1950.
Description: An autumn landscape of a clearing with a shepherd and his flock of sheep. In the distance, a forest-clad hill.
33. Autumn, sheep, hayricks
Artist: Gabrijel Jurkić.
Date of origin: 1950.
Technique: oil on card.
Size: 11x7 cm.
Signature: below left; G. J.1950.
Description: An autumn landscape of a clearing, a number of haystacks, a flock of sheep and a shepherd.
34. Glints of early spring
Artist: Gabrijel Jurkić.
Date of origin: 1951.
Technique: oil on card.
Size: 30x40 cm.
Signature: below left; G. J.1951.
Description: A landscape with mountains in the distance and a small house in front. A road leads from the house towards the viewer, with a person walking along it. There is a clump of trees in the left-hand corner.
35. In summer
Artist: Gabrijel Jurkić.
Date of origin: 1952.
Technique: oil on card.
Size: 33x43 cm.
Signature: below left G.J. 1952.
Description: The left and right hand side of the scene are enclosed by forest. Between is an area surrounded by a wooden fence behind which is a slightly hilly meadow.
36. Fr. Anđeo Zvizdović
Artist: Gabrijel Jurkić.
Date of origin: 1958.
Technique: oil on lessonite.
Size: 79x69 cm.
Signature: below left G.J. 1958.
Description: Fr. Anđeo Zvizdović is shown in half figure in a church or monastery, wearing a habit, with a halo around his head, holding the Ahdnama of Sultan Mehmed Fatih. His entire body is facing a crucifixion fixed to the wall. On the wall at right angles to the wall with the crucifixion is a painting of the Madonna with Christ in her arms. In the lower right-hand corner is a chair with a blue cloak spangled with yellow stars thrown over it.
37. In spring
Artist: Gabrijel Jurkić.
Date of origin: 1960.
Technique: oil on card.
Size: 29x36 cm.
Signature: below right G.J. 1960.
Description: The picture shows a scene of a field being ploughed by two peasants and their oxen. In the distance is a house and a hill.
38. Autumn fog
Artist: Gabrijel Jurkić.
Date of origin: 1960.
Technique: oil on lessonite.
Size: 30x36 cm.
Signature: no signature.
Description: the landscape is a scene of a clump of oak trees with their leaves turning yellow. The background is blurred and grey, as if foggy.
39. Early evening
Artist: Gabrijel Jurkić.
Date of origin: 1960.
Technique: oil on card.
Size: 27x24 cm.
Signature: below right G.J. 1960.
Description: The scene is of a winter landscape. At the foot of a hill are two houses and a haystack. A trodden path leads through the snow from the house towards the viewer.
40. Portrait of Fr. Bono Šapina
Artist: Gabrijel Jurkić.
Date of origin: 1961.
Technique: oil on card.
Size: 30x36 cm.
Signature: below right G.J. 1961.
Description: Frontal portrait of a grey-haired Franciscan wearing a habit.
41. Before the storm
Artist: Gabrijel Jurkić.
Date of origin: 1963.
Technique: oil on canvas, laid on board.
Size: 20x17 cm.
Signature: below left G.J. 1963.
Description: A scene of a high plateau with a storm threatening, large dark clouds extending from the upper half of the right hand side of the painting. The plateau is also dark, with the only light area of the painting at the centre of the composition – a patch of sky that the looming clouds have not yet covered.
42. Monk playing a violin
Artist: unidentified artist.
Date of origin: unknown.
Technique: oil on card.
Size: 60x45 cm.
Signature: no signature.
Description: The picture shows a barefoot, slightly stooped Franciscan playing the violin before a tall cross. The cross and the monk are in a wood-panelled room. Through the windows, three winged angels look on.
43. Monk playing the organ
Artist: unidentified artist.
Date of origin: unknown.
Technique: oil on card.
Size: 61x45 cm.
Signature: no signature.
Description: A Franciscan with a cap on his head is shown inside a large church, seated at the organ and playing while reading the sheet music in front of him.
44. Portrait of Fr. Tomislav Ostojić
Artist: Ćosić.
Date of origin: 1955.
Technique: oil on canvas.
Size: 48x38 cm.
Signature: above right Ćosić 1955.
Description: Frontal portrait of a grey-haired Franciscan wearing a habit.
45. Our Lady
Artist: Ćosić.
Date of origin: 1955.
Technique: oil on canvas laid on card.
Size: 34.5x28.5 cm.
Signature: no signature.
Description: The portrait is of a young woman with a thoughtful expression. A white cloth is thrown lightly over her head and shoulders. She is holding the cloth in her right hand.
46. Panorama of Fojnica
Artist: Enver Krupić(23).
Date of origin: 1982.
Technique: oil on canvas.
Size: 92x73 cm.
Signature: below left Enver Krupić 91 Fojnica.
Description: The panorama was painted from the hill opposite the monastery, with the town laid out below the hill on which the monastery stands.
47. St. Joseph
Artist: unidentified.
Date of origin: 1940.
Technique: oil on ply.
Size: 56x25 cm.
Signature: no signature.
Description: St. Joseph is shown as a young man in a brown cloak, with a halo around his head. On his right arm is the infant Christ, blessing the viewer with his right hand. Christ has a halo around his head. There is a town in the background.
48. St. Antony
Artist: unidentified.
Date of origin: 19th century.
Technique: oil on canvas.
Size: 66x57.5 cm.
Signature: no signature.
Description: The frontal half figure of a saint, wearing a habit. The saint is giving a blessing with his right hand, and holding a book with red covers and a spray of lilies in his left.
49. Lighthouse
Artist: Badrov.
Date of origin: unknown.
Technique: oil on canvas.
Size: 57x41 cm.
Signature: below left Badrov.
Description: The painting shows the scene of a storm at sea. In the central part of the painting is a lighthouse with the waves beating against it up to mid height.
Collection of ink drawing on papers by Gabrijel Jurkić
1. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 21x20 cm.
Signature: below right G.J. 1927.
Description: the composition of the ink drawing on paper is set in a circle. The ink drawing on paper portrays a number of figures: a senior church dignitary seated on a throne, and a barefoot Franciscan standing in front of him, with a halo around his head. A further three figures in the background are looking on.
2. Fr. Anđeo Zvizdović before Sultan Mehmed II el Fatih
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 24.5x18.5 cm.
Signature: below right G.J. 1927.
Description: three barefoot Franciscans standing before Sultan Mehmed II el Fatih, who is seated. The scene is packed with the figures of the Sultan's retinue.
3. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 26.5x13.5 cm.
Signature: below right G.J. 1927.
Description: the ink drawing on paper portrays six Franciscans out of doors, all with their backs turned to the observer. One of them is standing, arms outstretched, and has a halo around his head. The Franciscans are looking at the sunset.
4. Portrait
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 15.5x14 cm.
Signature: below centre G.J. 1927.
Description: the ink drawing on paper is a portrait of an unidentified Franciscan, set in a circle in which the background is dark-toned. The man is elderly and has a long beard.
5. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 16x13.5 cm.
Signature: below centre G.J. 1927.
Description: the portrait of an unidentified Franciscan in profile, in a circle.
6. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 28.5x37 cm.
Signature: below right G.J. 1927.
Description: the ink drawing on paper appears to be of a number of page-headings, and consists of interlinked foliar and geometric motifs. A Franciscan in profile, hands clasped in prayer, is portrayed in a circle in the centre of the ink drawing on paper.
7. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 15x13.5 cm.
Signature: below centre G.J. 1927.
Description: an unidentified nun is portrayed in profile in a circle with a black border.
8. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 15x14.5 cm.
Signature: below left G.J. 1927.
Description: portrait of a man in profile with a laurel wreath around his head.
9. Fr. Augustin Miletić – bishop
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 15x14 cm.
Signature: below centre G.J. 1927.
Description: portrait of the Bishop as a young man wearing a cap.
10. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 15x14 cm.
Signature: below right G.J. 1927.
Description: bust of an unidentified priest set in a circle, head turned towards the observer and body turned slightly to the right.
11. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 15x14 cm.
Signature: below right G.J. 1927.
Description: bust of an unidentified priest set in a circle, turned slightly to the left.
12. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 15x15 cm.
Signature: below right G.J. 1927.
Description: portrait of an unidentified man in 19th century dress and wearing a fez, set in a circle.
13. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 15.5x14.5 cm.
Signature: below right G.J. 1927.
Description: portrait of an unidentified man in 19th century dress and wearing a fez, set in a circle.
14. Two birds
Artist: Gabrijel Jurkić.
Date of origin: 1927.
Technique: ink ink drawing on paper on paper.
Size: 26x12 cm.
Signature: below left G.J. 1927.
Description: a semicircle containing two birds facing each other, standing on two intersecting branches with a cross drawn where the branches meet.
15. At the entrance to the tower of the Jajce fortress
Artist: Gabrijel Jurkić.
Date of origin: 1928.
Technique: ink ink drawing on paper on paper.
Size: 25x32.5 cm.
Signature: below centre AT THE ENTRANCE TO THE TOWER OF THE JAJCE FORTRESS; below right G.J. 1927.
Description: the entrance stairway to the fortress, with a guard standing to the right of the entrance, holding a long spear resting against the steps.
16. Bos. guard at the first incursion by the Ottomans
Artist: Gabrijel Jurkić.
Date of origin: 1928.
Technique: ink ink drawing on paper on paper.
Size: 25x33 cm.
Signature: below right BOS. GUARD AT THE FIRST INCURSION BY THE OTTOMANS; below left G.J. 1928.
Descriptin: two horses, one dark and the other light in colour, under a tree. A cavalryman with a spear is seated on the dark horse; the other cavalryman is standing beside a man with arms outstretched.
17. On the stairway of the court of the Bosnian kings
Artist: Gabrijel Jurkić.
Date of origin: 1928.
Technique: ink ink drawing on paper on paper.
Size: 25x33 cm.
Signature: below centre ON THE STAIRWAY OF THE COURT OF THE BOSNIAN KINGS; below left G.J. 1928.
Description: palace interior with guards.
18. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1929.
Technique: ink ink drawing on paper on paper.
Size: 25x33 cm.
Signature: below right G.J. 1929.
Description: a Franciscan at his desk, holding a sheet of paper in his right hand.
19. Hrvoje Vukčić – before the battle with the Hungarians
Artist: Gabrijel Jurkić.
Date of origin: 1929.
Technique: ink ink drawing on paper on paper.
Size: 34.5x24 cm.
Signature: below left HRVOJE VUKČIĆ – BEFORE THE BATTLE WITH THE HUNGARIANS; below left G.J. 1929.
Description: Hrvoje Vukčić is portrayed as a cavalryman in uniform on a horse in battle gear. A soldier holding a spear in his right hand is standing beside them. His army can be seen in the background.
20. Queen
Artist: Gabrijel Jurkić.
Date of origin: 1929.
Technique: ink ink drawing on paper on paper.
Size: 23x34 cm.
Signature: below left G.J. 1929.
Description: the figure of a woman in 15th century dress, holding a sceptre and wearing a crown.
21. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1930.
Technique: ink ink drawing on paper on paper.
Size: 23x31 cm.
Signature: below right G.J. 1930.
Description: depiction of a funeral, the hearse bearing the deceased drawn by two oxen beside which a peasant is standing. The hearse is surrounded by several Franciscans. The entrance to a church can be seen in the background.
22. Herald of St Antony
Artist: Gabrijel Jurkić.
Date of origin: 1931.
Technique: ink ink drawing on paper on paper.
Size: 27x19 cm.
Signature: below centre: HERALD OF ST ANTONY, below right G.J.; below left 1930.
Description: the head of St Antony,facing a child, is portrayed in a semicircle surrounded by a garland of flowers. The title is under the picture.
23. Bishop Miletić the reformer
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink ink drawing on paper on paper.
Size: 38.5x29 cm.
Signature: below right BISHOP MILETIĆ THE REFORMER; below left G.J.1932.
Description: depiction of a sermon outside a church. The bishop is standing at the entrance to the church, holding a large cross aloft in his right hand. To his right and left are priests, and in front of them, backs turned to the observer, is the kneeling congregation.
24. Franciscan guest-house in Jajce
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink ink drawing on paper on paper.
Size: 40x31 cm.
Signature: below centre FRANCISCAN GUEST-HOUSE IN JAJCE; below right G.J.1932.
Description: depiction of a room full of people, divided into a number of groups. In front of them are tables with glasses on them. The figures are portrayed as if engaged in lively conversation.
25. Herald of St. Antony on his 700th anniversary
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink drawing on paper in tempera on paper.
Size: 40x26 cm.
Signature: s. HERALD OF ST ANTONY ON HIS 700th ANNIVERSARY; below left G.J.1932.
Description: a mountain village, above which are four angels on clouds surrounding St Antony.
26. Bringing Ban Petar Berislavić from the battlefield of Bišće in 1520.
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink ink drawing on paper on paper.
Size: 36x32 cm.
Signature: below right G.J. BRINGING BAN PETAR BERISLAVIĆ FROM THE BATTLEFIELD OF BIŠĆE IN 1520; below left G.J. 1932.
Description: Ban Petar Berislavić is portrayed on a stretcher, with a crowd of people around him, several soldiers, two Franciscans and a woman. The scene is set at the entrance to a castle.
27. Mountain river
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink ink drawing on paper on paper.
Size: 36x23 cm.
Signature: G.J. MOUNTAIN RIVER, ILLUSTRATION FOR DO NOT WORRY... BY S:J: below left G.J.; below left1932.
Description: a valley full of seated people, all turned towards the central figure of Christ preaching, his head and right hand raised heavenwards.
28. St Antony receiving a white robe
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink ink drawing on paper on paper.
Size: 25x30 cm.
Signature: below right G.J. ST ANTONY RECEIVING A WHITE ROBE; below left G:J: 1932.
Description: depiction of a church interior, with the bishop in a prominent position. St Antony is standing before him, wearing a white robe, with his old clothes beside him.
29. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink ink drawing on paper on paper.
Size: 23x14 cm.
Signature:below left D.J. 1932.
Description: portrayal of St Antony with a child in his lap. A man and woman are kneeling before him, with children standing beside them, offering the saint a piece of bread. The saint is taking the gifts with one hand, and passing them on with the other to the poor man seated to his right.
30. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink ink drawing on paper on paper.
Size: 22x13 cm.
Signature:below left G.J. 1932.
Description: portrayal of St Antony preaching to Bosnian peasants (a group of people in folk costume).
31. The Franciscan monastery in Plehan
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink ink drawing on paper on paper.
Size: 25.5x19 cm.
Signature: below right BEFORE KING TVRTKO; below centre G.J. APRIL 1932; below left FRANCISCANS DEFENDING THEMSELVES AGAINST THE HERETICS; above centre PLEHAN.
Description: the central section of the triptych depicts the Plehan monastery. The right-hand section portrays a king on a throne, and the left-hand section a number of Franciscans preching to a group of people.
32. The plague in Bosnia
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink drawing on paper.
Size: 24.5x18.5 cm.
Signature: below centre THE PLAGUE IN BOSNIA; below right G.J. 1932.
Description: two Franciscans leaving a village, leading a horse. The plague precedes them, depicted as smoke leaving a trail of smoke behind it.
32. Saint of all the world
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink drawing on paper.
Size: 18.5x25 cm.
Signature: below centre G.J. SAINT OF ALL THE WORLD; below left G.J. 1932.
Description: depiction of the interior of a church with an altar dedicated to St Antony. In front of the altar are a number of people and Franciscans in prayer, backs turned to the observer.
33. Celebration in Modrani village
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink drawing on paper.
Size: 14.5x15 cm.
Signature: below right G.J. ILLUSTRATION FOR CELEBRATION IN MODRANI VILLAGE: HRVOJA BORA-; below left G:J: 1932.
Description: the entrance to a monastery, with a Franciscan at the door, welcoming guests in folk costume.
34. Fear of attack
Artist: Gabrijel Jurkić.
Date of origin: 1932.
Technique: ink drawing on paper.
Size: 23.5x29 cm.
Signature: below right G.J. FEAR OF ATTACK – ILLUSTRATION FOR NOVEL ON THE LIFE OF ST ANTONY; below right G.J. 1932.
Description: St Antony is portrayed as a young man, as if fearful of attack – an unusual figure emerging from the darkness of a room.
35. View of the Catholic world
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 24.5x18.5 cm.
Signature: below right G.J. VIEW OF THE CATHOLIC WORLD 1933.
Description: a map of the world, with Christ crucified in the centre of the drawing, rays extending from the cross to every continent.
36. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 18.5x21 cm.
Signature: below right G.J. 1932.
Description: a large building, perhaps a church, under construction. Around it are a great many tents, with people walking around them.
37. View of the Catholic world
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 24.5x18.5 cm.
Signature: below right G.J. VIEW OF THE CATHOLIC WORLD 1933.
Description: the drawing consists of two circles within which the outlines of the continents can be made out. Between the circles is the dome of a church, with a cross in the background.
38. Roses
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 18x20.5 cm.
Signature: below left G.J. 1933.
Description: four sprays of roses.
39. Lebanon
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 25x15 cm.
Signature: below right LEBANON; below left G.J. 1933.
Description: a wooded landscape, with a man on horseback outside the forest.
40. Fig branch
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 17x20.5 cm.
Signature: below right G.J. 1933.
Description: the branch of a fig tree with fruits.
41. Herald of St. Antony
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 21.5x33 cm.
Signature: below right HERALD OF ST ANTONY; below right G.J. 1933.
Description: St Antony holding a child in his arms, with two angels kneeling before them. A church tower can be seen in the background.
42. When the statue of St. Kata began to change in appearance and menace with its hands
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 24x34.5 cm.
Signature: below right WHEN THE STATUE OF ST. KATA BEGAN TO CHANGE IN APPEARANCE AND MENACE WITH ITS HANDS; below left G.J. 1933.
Description: a group of terrified people wearing Ottoman garb, with food and drink beside them. The statue of St Kata, in angry pose, is in the background.
43. First Christmas cribs of St Francis
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 25x17 cm.
Signature: below centre G.J. FIRST CHRISTMAS CRIBS OF ST FRANCIS; below left G.J. 1933.
Description: a Nativity scene, surrounded by numerous onlookers.
44. They crucified him on a cross
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 24x34 cm.
Signature: s.d. THEY CRUCIFIED HIM ON THE CROSS; below right D.J. 1933.
Description: a man running, calling out to others “They crucified him on a cross.”
45. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 32.5x22.5 cm.
Signature: below right G.J. 1933.
Description: a village yard, with two men – one elderly, one younger – on benches under a tree, and an older woman and a girl standing beside them. All are wearing folk costume.
46. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 21.5x15.5 cm.
Signature: below right G.J. 1933.
Description: two intertwined branches of cherry in blossom.
47. 8th April 1203.
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 24.5x35.5 cm.
Signature: below centre 8th APRIL 1203.
Description: a group of people in a glade, with a bishop in the middle, ordaining two people kneeling in front of him.
48. Mother and children
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 29x20 cm.
Signature: below right G.J. 1933.
Description: a mother seated in an armchair, with her three children around her.
49. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 15x22 cm.
Signature: below right G.J. 1933.
Description: a man seated in a room, with a Franciscan standing beside him.
50. In the desert
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 15x22 cm.
Signature: below left G.J. 1933.
Description: a desert oasis.
51. Raising his sandals one by one and putting them to his lips
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 15.5x20 cm.
Signature: below centre RAISING HIS SANDALS ONE BY ONE AND PUTTING THEM TO HIS LIPS
Description: a young man kneeling at a front door, kissing a sandal.
52. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1933.
Technique: ink drawing on paper.
Size: 22.5x25 cm.
Signature: below right G.J. 1933.
Description: a peasant man and woman by a door, as if in expectation. Another room with a bed on which someone is lying can be seen through the doorway.
53. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 15.5x20 cm.
Signature: below right G.J. 1934.
Description: a peasant at prayer, holding a candle.
54. Seminary and convent school in Visoko
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 22.5x17.5 cm.
Signature: right. HIGH SCHOOL ST LOUIS CENTRE; below right G.J. 1934.
Description: the seminary building in Visoko. Above it, in the clouds, is St Antony with a child, clasping a cross.
55. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 18x25 cm.
Signature: below left G.J. 1934.
Description: the funeral of a dignitary, who is being borne outside the city walls, his body escorted by a group of people.
56. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 22.5x17 cm.
Signature: below centre G.J. 1934.
Description: portrayal of a nun.
57. Antun Maslović: Mother
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 20.5x18.5 cm.
Signature: below right G.J. 1934.
Description: a woman in folk costume, hands to her head to protect herself from the two snakes attacking her.
58. Valtazar Violić: Back to the good teacher
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 24.5x18.5 cm.
Signature: below right G.J. 1934.
Description: portrayal of a man in early 20th century urban costume, one hand on the back of a chair and the other covering his eyes, as if he is weeping.
59. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 20.5x14.5 cm.
Signature:below right G.J. 1934.
Description: a dejected youth sitting on a park bench.
60. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 18x23.5 cm.
Signature: below right G.J. 1934.
Description: a bellringer ringing the bell, with two Franciscans standing behind him.
61. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1934.
Technique: ink drawing on paper.
Size: 22.5x34.5 cm.
Signature: below right G.J. 1934.
Description: a large, well-fortified town with a castle. A man, perhaps the lord of the manor, is standing on the steps, with a Franciscan, conversing with him.
62. The monastery in Fojnica
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 16.5x16.5 cm.
Signature: no signature.
Description: the church and monastery in Fojnica.
63. Gučogorski vicar
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 25.5x18 cm.
Signature: below right G.J. 1935.
Description: the vicar of the church in Guča Gora greeting two peasants arriving in ox-drawn carts.
64. St. Thomas More
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 15.5x20 cm.
Signature: below centre ST. THOMAS MORE; below right G.J. 1935.
Description: the saint is portrayed in 16th century costume.
65. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 23.5x16.5 cm.
Signature: below right G.J. 1935.
Description: a seashore, where two youths are standing talking.
66. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 26x17 cm.
Signature: below left G.J. 1935.
Description: a group of people, with one man seated and four women standing, one of them reading a letter.
67. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 22x14.5 cm.
Signature: below right G.J. 1935.
Description: a young man, sitting with his head on his knees.
68. History of a Catholic girl servant of Mara
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 25.5x18 cm.
Signature: below left History of a Catholic girl servant of Mara; below right G.J. 1935.
Description: the drawing is of three people: two youths about to fight, and a frightened girl.
69. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 22.5x15.5 cm.
Signature: below left G.J. 1935.
Description: portrayal of a young woman in a dress of the kind worn in the early 20th century, seated at a window, her hands in her lap.
70. Death of old Blaž
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 25.5x18 cm.
Signature: below right Death of old Blaž; below left G.J. 1935.
Description: depiction of the sudden death of an elderly man stretched out in a chair, with two young men weeping beside him, one of them kneeling by the corpse.
71. “Francis!” - Smerdel: his daydream
Artist: Gabrijel Jurkić.
Date of origin: 1935.
Technique: ink drawing on paper.
Size: 25.5x18.5 cm.
Signature: below right “Francis!”; below centre Smerdel: his daydream; below left G.J. 1935.
Description: depiction of the death of a man lying in bed, with a nurse beside the bed.
72. Illustration for the novella Vesela čobanica (The merry shepherdess)
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: ink drawing on paper.
Size: 24x18 cm.
Signature: below right Illustration for the novella Vesela čobanica; below left G.J. 1936.
Description: the illustration is of a shepherdess with her sheep behind her, watching angels dancing. An unidentified saint is standing beside her.
73. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: pencil drawing on paper.
Size: 24x17.5 cm.
Signature: below right G.J. 1936.
Description: a Franciscan seated on a bench in a garden, welcoming a dove.
74. For a novella – untitled – I AM HUNGRY
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: ink drawing on paper.
Size: 18x24 cm.
Signature: below left For a novella – untitled – I AM HUNGRY below right G.J. 1936.
Description: well-dressed pedestrians walking along a street. A barefoot boy is standing by a woman.
75. She rises
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: ink drawing on paper.
Size: 18x24 cm.
Signature: below right For a novella – She rises; below left G.J. 1936.
Description: a park bench on which a youth is seated, watching a girl leaving.
76. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: pencil drawing on paper.
Size: 24x16.5 cm.
Signature: below left G.J. 1936.
Description: a woman slumped over a table, with the figure of a man in the background.
77. For a novella: His first wound
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: ink drawing on paper.
Size: 25x18 cm.
Signature: above right For a novella: His first wound; below centre G.J. 1936.
Description: two boys playing, one holding half a broken bottle.
78. Deer
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: ink drawing on paper.
Size: 18x24 cm.
Signature:below right Deer; below right G.J. 1936.
Description: a deer with magnificent antlers at the edge of a forest, with a village in the distance.
79. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: ink drawing on paper.
Size: 26x22 cm.
Signature: below left G.J. 1936.
Description: a seated boy seemingly entranced by dancing butterflies.
80. Illustration for the novella Prijatelji (Friends)
Artist: Gabrijel Jurkić.
Date of origin: 1936.
Technique: pencil drawing on paper.
Size: 25.5x18 cm.
Signature: above left For the novella Prijatelji Illustration no.-): “These are his best friends;” below right G.J. 1936.
Description: two men holding garlands, with a woman behind them.
81. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1937.
Technique: ink drawing on paper.
Size: 30x21.5 cm.
Signature: below right G.J. 1937.
Description: a peasant asleep, back against a tree-trunk.
82. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1937.
Technique: ink drawing on paper.
Size: 32x22 cm.
Signature: below right G.J. 1937.
Description: a Franciscan artist kneeling before an easel with the figure of the Virgin emerging as if come to life.
83. Plough, my good oxen
Artist: Gabrijel Jurkić.
Date of origin: 1937.
Technique: ink drawing on paper.
Size: 30x19 cm.
Signature: below centre Plough, my good oxen; below left G.J. 1937.
Description: two peasants, each behind a plough drawn by a pair of oxen.
84. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1937.
Technique: ink drawing on paper.
Size: 32x22 cm.
Signature: below left G.J. 1937.
Description: a man straightening the bow on his shirt, with a woman in the background.
85. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1937.
Technique: ink drawing on paper.
Size: 28x21.5 cm.
Signature: below right G.J. 1937.
Description: a woman at the threshold, back turned to the observer.
86. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1937.
Technique: ink drawing on paper.
Size: 25.5x36.5 cm.
Signature: below left G.J. 1937.
Description: an elderly woman, seated, with a girl standing beside her, both wearing folk costume.
87. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1937.
Technique: ink drawing on paper.
Size: 36x20 cm.
Signature: below left G.J. 1937.
Description: two women and two children, all appearing afraid.
88. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1938.
Technique: ink drawing on paper.
Size: 20x35 cm.
Signature: below right G.J. 1938.
Description: a Franciscan following an angel with large wings.
89. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1938.
Technique: ink drawing on paper.
Size: 36x20.5 cm.
Signature: below left G.J. 1938.
Description: a depiction of a town on fire, with a man running out of the smoke holding a child in his arms, and other figures looking at him fearfully.
90. Queen Katarina
Artist: Gabrijel Jurkić.
Date of origin: 1938.
Technique: ink drawing on paper.
Size: 24x34.5 cm.
Signature: below centre GABRIEL JURKIĆ – QUEEN KATARINA – below left G.J. 1938.
Description: the queen is portrayed seated holding a sceptre and wearing a crown.
91. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1938.
Technique: ink drawing on paper.
Size: 19.5x16.5 cm.
Signature: below left G.J. 1938.
Description: a fence and a shrub.
92. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1939.
Technique: ink drawing on paper.
Size: 26x20 cm.
Signature: below right G.J. 1939.
Description: a man standing with a woman seated behind him.
93. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1939.
Technique: ink drawing on paper.
Size: 20x34 cm.
Signature: below centre G.J. 1939.
Description: a man climbing a ladder, with a woman walking in the background.
94. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1939.
Technique: ink drawing on paper.
Size: 21x33.5 cm.
Signature: below right G.J. 1939.
Description: two men in the forest, with a girl standing in front of them, as if she were an apparition, gleaming with light.
95. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1939.
Technique: ink drawing on paper.
Size: 29x20 cm.
Signature: below right G.J. 1939.
Description: a man working in a field of corn.
96. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1939.
Technique: ink drawing on paper.
Size: 25x17.5 cm.
Signature: below left G.J. 1939.
Description: a house and yard, with a storm looming.
97. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1939.
Technique: ink drawing on paper.
Size: 19.5x23.5 cm.
Signature: below right G.J. 1939.
Description: portrait of a girl in profile, with several strings of flowers at chin height.
98. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1940.
Technique: ink drawing on paper.
Size: 29x20 cm.
Signature: below centre G.J. 1939.
Description: a soldier standing with his hand on the shoulder of a Franciscan seated at a table, looking at the soldier.
99. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1940.
Technique: ink drawing on paper.
Size: 31x20 cm.
Signature: below right G.J. 1940.
Description: the end of a wolf hunt, with a man standing by the dead wolf, as if saying something. Beside him is a squatting boy looking at another two figures, probably father and son, the father with his arm round his son.
100. Untitled
Artist: Gabrijel Jurkić.
Date of origin: 1940.
Technique: ink drawing on paper.
Size: 24x35 cm.
Signature: no signature.
Description: St Antony with a child in his arms, holding a slice of bread in his right hand.
101. Voice of the young St. Antony
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 35x22 cm.
Signature: above centre Voice of the young St Antony.
Description: a road along which a young man in folk costume is walking. At the end of the road is the rising sun, with a cross above it.
102. With lilies before the altar
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 27x10 cm.
Signature: no signature.
Description: the figure of a woman with her back turned to the observer, as if taking a bouquet of flowers to the altar.
103. Untitled
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 21.5x18 cm.
Signature: no signature.
Description: eight small drawings on a sheet of paper: a church in the middle, with various landscapes around it.
104. Untitled
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 25x16 cm.
Signature: no signature.
Description: the drawing appears to depict all the duties and obligations of a Franciscans: it portrays Franciscans performing various actions such as holding mass in church, preaching, ploughing, writing, painting and so on.
105. Untitled
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 38.5x29 cm.
Signature: no signature.
Description: scene of a rocky gorge, in which a long column of people can be made out. One man is climbing a rock and trying to hand a Franciscan a bag of food. The Franciscan has his back to the observer, and is bending down, holding on to a branch with one hand so as not to fall, and reaching for the bag with the other.
106. Fr. Anđeo Zvizdović
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 14x15 cm.
Signature: below centre Fr. Anđeo Zvizdović; below left G.J.
Description: Fr. Anđeo Zvizdović is portrayed in profile, in a circle.
107. Untitled
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 14.5x14.5 cm.
Signature: below centre G.J.
Description: portrait of a chubby friar in profile.
108. Untitled
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 15x15 cm.
Signature: below centre G.J.
Description: portrait of an unidentified friar in profile.
109. Untitled
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 15.5x14.5 cm.
Signature: below left G.J.
Description: portrait of an unidentified Franciscan.
110. Untitled
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 14.5x15 cm.
Signature: below left G.J.
Description: portrait of an unidentified Franciscan.
111. Clabrio Victor
Artist: Gabrijel Jurkić.
Date of origin: unknown.
Technique: ink drawing on paper.
Size: 21x11.5 cm.
Signature: below left G.J.
Description: portrait of an unidentified Franciscan.
Strossmayer Gallery in Zagreb
The following items belonging to the Franciscan monastery in Fojnica are now in the Strossmayer Gallery in Zagreb:
- “Cross, one, rather large, part silver, part copper, gilded all over; to one side at the centre the Crucifixion, at the top God the Father, and on the shoulders and at the foot three Evangelists. On the other side at the centre Jesus after the Resurrection, at the top an eagle, and on the shoulders and at the foot the three Marys
- Chalice, silver-gilt, artistically decorated with native silver and stones.
- Chalice, silver-gilt, at the waist three stones and three figures.
- Chasuble, yellow, woven with silver, with various images at the centre.
- Chasuble, red, embroidered images at the centre, woven at the ends with marigold petals.” (B. Gavranović, 1964, 230)
Collection of items of metalwork
From ancient times Fojnica was one of the main centres in Bosnia and Herzegovina where, in addition to the extraction of ores (Ćuk, 2002, 120), there was also a tradition of arts and crafts, producing articles from various metals, particularly silver. During the time of the mediaeval Bosnian state the mint where the Bosnian rulers minted their coinage was believed to have been in Fojnica. However, few artefacts have survived from that time, either because they were destroyed, or because they were melted down to make new ones. One such item is a 15th century dish, described as item 10 below. Following the conquest of Bosnia by the Ottomans, metalworking did not cease, but became more strongly influenced by the orient in metalworking techniques and decorations. At this time, new gold- and silversmiths' centres emerged, the most important of which were in Sarajevo, Travnik and Foča, with Banja Luka, Mostar, Jajce, Mrkonjić Grad, and Čajniče not far behind. In Fojnica the tradition of extracting and processing ores also continued, but it is of interest that here the older style of workmanship and decoration persisted for longer than elsewhere (Ćirković, 2002, 88; Vladić-Krstić, 1995, 74). The Fojnica collection of metalwork items is almost exclusively of articles that were in daily use or of religious value. The majority of the items were designed for use during religious worship. A small number of them come from abroad, with the majority originating in Fojnica itself or other silversmiths' centres in Bosnia and Herzegovina(24), whence they reached the monastery as gifts, legacies or thanks to wealthier parishes.
1. Chalice
Maker: unidentified.
Date of origin: late 15th or early 16th century
Place of origin: Fojnica goldsmith’s workshop.
Technique: casting, filigree.
Material: silver gilt.
Size: height 23.5 cm, width 10.5 cm, diameter of foot 14 cm.
Signature: SSSANES (=Sanctae Annae)
Description: A plaque with the head of a bull with an apple on its forehead has been applied to a six-lobed filigree foot. The foot bears the Latin inscription given above. The knop has six lobes decorated with beading, and Gothic rosettes with crosses between the lobes. The shell is composed of circular filigree medallions with the top rim of luxuriant flowers. The bowl of the chalice is set into the shell. (Đ. Basler, 1988, 86)
2. Chalice
Maker: unidentified
Date of origin: late 15th or early 16th century.
Place of origin: Fojnica goldsmith’s workshop.
Technique: casting, inlay, filigree.
Material: silver gilt, multicoloured polished glass.
Size: height 30.7 cm, width 11 cm, diameter of foot 15 cm.
Description: The surface of the six-lobed foot is decorated with filigree. A piece of polished glass is set into the centre of each lobe. The stem and knop of the chalice are decorated with filigree. The knop is decorated with six circles set with pieces of glass in the centre. The filigree shell, decorated with six circles at the centre of which are pieces of polished glass emerges from the knop. The top is decorated with a stylized floral garland. The bowl of the chalice is set into the shell. (Đ. Basler, 1988, 86-87)
3. Chalice
Maker: unidentified.
Date of origin: late 15th or early 16th century.
Place of origin: unknown goldsmith’s workshop.
Technique: casting, filigree, inlay.
Material: silver gilt, multicoloured polished glass.
Size: height 26 cm width, 10.7 cm, diameter of foot 14,8 cm.
Description: The high six-lobed foot is decorated on the upper side with filigree. A silver rosette is mounted at the centre of each lobe. The knop is decorated with six filigree circles at the centre of which multicoloured pieces of glass are set. The shell is decorated in the same way and terminates in a rich floral rim. The bowl of the chalice is set into the shell.
4. Chalice
Maker: unidentified.
Date of origin: late 15th or early 16th century.
Place of origin: unknown goldsmith’s workshop.
Technique: casting, filigree, inlay.
Material: silver gilt, multicoloured polished glass.
Size: height 26.5 cm, width 10.7 cm, diameter of foot 10,8 cm.
Description: The high six-lobed foot is decorated on the upper surface with filigree. A silver rosette is mounted at the centre of each lobe. The knop is decorated with six filigree circles at the centre of which multicoloured pieces of glass are set. The shell is decorated with rosettes like those on the foot of the chalice, and terminates in a rich floral rim. The bowl of the chalice is set into the shell.
5. Chalice
Maker: unidentified.
Date of origin: the foot dates from 1630, but the bowl is probably of later date.
Place of origin: unknown goldsmith’s workshop.
Technique: casting, embossing.
Material: silver gilt.
Size: height 16.5 cm, diameter of foot 11.5 cm.
Signature: on the foot: IHS 1630.
Description: The six-lobed foot is decorated with embossed work, with the date given above embossed on one of the lobes. The stem of the foot is hexagonal. On it has been set the bowl of another chalice of much more rustic workmanship. The stem of this chalice and the bowl are undecorated.
6. Chalice
Maker: Mijo and Frano Ostojić.
Date of origin: 1893.
Place of origin: unknown goldsmith’s workshop.
Technique: casting, filigree, inlay.
Material: silver gilt, polished glass.
Size: height 24 cm, width 8.5 cm, diameter of foot 13.3 cm.
Signature: inner side of foot: Made by Mijo and Frano Ostojić at the expense of Fra Rafo Ostojić in 1893.
Description: The six-lobed foot is decorated with filigree. There is a rosette in the centre of each lobe, at the top of which a piece of polished glass has been inlaid. The hexagonal pyramid between the lobes of the foot and the knop is also decorated with filigree and rosettes, but without polished glass. Above this is the circular filigree knop. The bowl of the chalice is set in a shallow filigree shell.
7. Chalice
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown workshop.
Technique: casting, applique.
Material: silver gilt.
Size: height 28.5 cm, width 9,8 cm, diameter of foot 14.2 cm.
Description: The circular foot of the chalice is decorated with applied baroque-style tendrils and angels' heads. The stem joins the foot to the bowl of the chalice. Its lower part is decorated with applied baroque-style tendrils and angels' heads.
8. Chalice
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown workshop.
Technique: casting.
Material: silver gilt.
Size: height 26.4 cm, width 10.2 cm, diameter of foot 11.7 cm.
Description: The rim of the circular foot is decorated with a garland of leaves. The surface of the foot is decorated with relief figures. The stem of the chalice, with a rather elongated knop, is attached to the foot. The knop is decorated with relief heads. The shell is decorated with scenes from the Way of the Cross in relief. The bowl is set into the shell.
9. Chalice
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown workshop.
Technique: casting, embossing.
Material: silver gilt.
Size: height 24.2 cm, width 9 cm, diameter of foot 12.3 cm.
Description: The circular foot is decorated with embossed floral/foliar motifs. The stem is set on the foot, and has a circular knop onto which have been applied cast angels' heads of rather poor workmanship. The shell of the chalice is of rather crude workmanship, and decorated with cast floral motifs. The bowl is set into it.
10. Bowl
Maker: unidentified.
Date of origin: 15th century.
Place of origin: unknown workshop.
Technique: casting, chasing.
Material: silver.
Size: height 2.7 cm, width 9 cm, diameter 12 cm.
Description: Circular in shape. The base of the bowl is embossed and decorated with animal motifs. Two zones can be observed in the decoration, a central zone at the base of the bowl and the outer rim, separated from the central zone by a narrow undecorated band. The central zone is decorated with a motif of a running deer set in a circle. The area around the deer is decorated with floral/foliar motifs and lines. The rim is divided into ten sections separated by trees with two round fruits. There is one animal in each section, all facing right, thus forming a «round dance».
11. Ciborium
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown workshop.
Technique: casting, embossing.
Material: silver.
Size: height with cover 37 cm, height without cover 24 cm, width 12 cm, diameter of foot 17.2 cm.
Description: The six-lobed foot of the ciborium is decorated with embossed floral motifs. The knop bearing the vessel of the ciborium is attached to the foot. The exterior is decorated with embossed motifs of grapes and vine leaves. The edge of the cover is decorated with floral motifs, and the surface has four applied cartouches. A cross with trefoil ends is attached to the top of the cover.
12. Ciborium
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown workshop.
Technique: casting, embossing, gilding.
Material: silver.
Size: height with cover 14.5 cm, diameter of the globe 7.7 cm, diameter of foot 6.7 cm.
Description: The foot of the ciborium is round, forming a dome shape from rim to centre, to which the stem is attached. The round vessel is set on the stem. The vessel opens at the centre, with a mechanism for opening it to one side. The outer surface of the vessel is decorated with embossed gilded lilies and rhomboid ornaments filled on the inside with floral/foliar motifs. On top is an eight-lobed rosette.
13. Crucifix
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown local workshop.
Technique: carving, pseudofiligree, inlay.
Material: wood, silver, polished glass.
Size: height 13.5 cm, width 8.4 cm.
Description: The crucifix is made of wood, with its surface decorated with carving. To one side the central area is occupied by a scene of the Nativity, and on the other side is Christ’s crucifixion, with people in the background. The arms of the cross have half-figures of various saints. The crucifix is set in a silver frame, with pieces of glass set into the corners.
14. Pectoral cross
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown local workshop.
Technique: casting, inlay, gilding.
Material: metal alloy, polished glass.
Size: height 9.2 cm, width 7 cm.
Description: The cast plaque has a disproportionate applied relief figure of Christ crucified. The rest of the surface is covered with cast metal spheres. The three upper arms of the cross terminate in trefoils, with a piece of glass set in each. The fourth arm of the cross is straight, but set with three pieces of glass. A metal hook and ring are attached to the upper arm.
15. Pectoral cross
Maker: unidentified.
Date of origin: before 1809, when it was used by J. Ivich.
Place of origin: local workshop, perhaps from Duvno.
Technique: casting, gilding.
Material: metal alloy.
Size: height 12 cm, width 6.2 cm.
Inscription: on back of cross: 1809. NA SLUXBU. O.P.F. JOZE IVICHA IZ DUVNA.
Description: The cross is made of a single piece of metal. A circle decorated with rays is attached to the back of the cross. The surface of the cross is decorated with stem-like motifs. Christ crucified is attached to the centre, with the inscription INRI above his head. There is a ring at the top of the cross.
16. Pectoral cross
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown local workshop.
Technique: casting, inlay, gilding.
Material: metal alloy, polished glass.
Size: height 11.5 cm, width 8 cm, chain 35 cm.
Description: A cross with the arms terminating in trefoils. A piece of polished glass is inlaid at the centre of each trefoil. The surface of the arms is filled with gilt filigree. The figure of Christ crucified is attached to the centre. Above his head is a plaque with the inscription INRI. There is a ring at the top with a silver chain through it.
17. Pacifical
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown local workshop.
Technique: carving, casting, embossing.
Material: wood, silver, metal alloy.
Size: height 17,8 cm, width 7.5 cm, width of foot 7.5 cm.
Description: The circular foot is decorated with embossed floral motifs. The stem attached to the foot is composed of five spheres of which the central one is the largest. The metal-framed wooden cross is attached to the stem. One side bears a carved scene of the crucifixion; the scene on the other is not clear. A rosette is set at the end of the frame on the upper three arms of the cross.
18. Pacifical
Maker: unidentified.
Date of origin: before 1896, when it was donated by Frano and Mara Kalamut.
Place of origin: unknown local workshop.
Technique: casting, filigree, inlay, casting, applique, engraving.
Material: sheet silver, silver gilt, polished glass.
Size: height 22.5 cm, width 11.5 cm, width of foot 9.7 cm.
Signature: on rim of foot: N.P.B. i B.D.M. NA DAR ČINI – FRANO I MARA KALAMUT, U.S.F.G. 1896.
Description: The foot is of sheet silver and circular in shape. The surface is decorated with filigree, into which six pieces of polished glass are set. The stem that rises from the foot is composed of five filigree spheres of which the central one is the largest. The stem holds a crucifix made of a silver plaque onto which is applied the relief figure of Christ crucified. The angles of the crucifix are decorated with polished glass. The outer edges of the crucifix are decorated with gilt filigree into which a number of pieces of polished glass have been set.
19. Pacifical
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown local workshop.
Technique: casting, embossing, filigree.
Material: sheet silver, silver gilt, metal alloy.
Size: height 31 cm, width 14.5 cm, width of foot 10.6 cm.
Signature: on rim of foot 1815.
Description: The foot is circular in shape and decorated with embossed floral motifs. The central section is domed in shape, rising to the stem on which an undecorated silver sphere is set. The crucifix, made of sheet silver, is set on the sphere. The surface of the crucifix is covered with gilt filigree. The cross terminates in trefoils. A chain is attached to the ends of the cross, set with coins, ten of which are pierced with holes and twelve set with rings.
20. Pacifical
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown local workshop.
Technique: casting, embossing, applique.
Material: metal alloy, gilding.
Size: height 34 cm, width 12 cm, width of foot 8,8 cm.
Description: The circular foot is decorated with embossed stylized floral/foliar motifs. The crucifix, of metal alloy, is attached to the stem that rises from the foot. The cross bears a gilt relief scene of Christ crucified. The attributes of the four Evangelists, in gilt relief, are attached to the arms of the cross, which are trifoliate. A chain with 20 Turkish coins is attached to the ends of the arms of the cross.
21. Pacifical
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown local workshop.
Technique: casting, embossing, applique.
Material: silver gilt, metal alloy.
Size: height 33 cm, width 14.5 cm, width of foot 11 cm.
Description: The foot of the pacifical is circular in shape and decorated with embossed stylized floral ornaments with six rosettes among them. The stem of the pacifical has an undecorated sphere to which the crucifix is attached. The crucifix is made of a compact sheet metal plaque decorated on the surface with filigree. The relief figure of Christ crucified is attached to the front; above his head is the inscription INRI. Three arms of the cross terminate in trefoils, of which the central «leaf» is crown-shaped. A chain with 12 coins runs from the top of the cross to the two cross arms.
22. Pacifical
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown local workshop.
Technique: casting, applique.
Material: metal alloy.
Size: height 22 cm, width 9 cm, foot 5x4.3 cm.
Description: The crucifix, which terminates in trefoils, is set on a high, square, moulded pedestal. At the base of the crucifix, above the pedestal, is an applied skull with crossbones in the background. The relief figure of Christ crucified is attached above this applique. A plaque with the initials INRI is attached above his head. There is a chain with coins dating from the Ottoman period around the arms of the cross.
23. Pacifical
Maker: unidentified.
Date of origin: 20th century.
Place of origin: unknown.
Technique: casting, applique, carving.
Material: metal alloy, wood, porcelain.
Size: height 58 cm, width 20.5 cm, pedestal 10x21.5 cm.
Description: The high, square wooden pedestal is decorating with carvings (leaf motifs at the corners, a cross and chalice on the faces). The crucifix attached to the pedestal has a porcelain relief figure of Christ crucified. A plaque is attached to the upper arm of the cross with the inscription INRI. To the left and right of the cross are two porcelain figures standing on the pedestal – the Virgin Mary and Mary Magdalen. Between them, at the base of the cross, is the small figure of an animal (a wolf?). A flat metal decorative resembling rays is attached to the back of the cross.
24. Pacifical
Maker: unidentified.
Date of origin: 20th century.
Place of origin: unknown.
Technique: casting, applique, carving.
Material: metal alloy, wood, porcelain.
Size: height 57 cm, width 18.5 cm, pedestal 10x21.5 cm.
Description: The high, square wooden pedestal is decorating with carvings (leaf motifs at the corners, anthropomorphic figures on the faces). The crucifix attached to the pedestal has a porcelain relief figure of Christ crucified. A plaque is attached to the upper arm of the cross with the inscription INRI. There is a small figure of an animal (a lamb?) at the base of the cross. A flat metal decorative resembling rays is attached to the back of the cross.
25. Pacifical
Maker: unidentified.
Date of origin: 20th century.
Place of origin: unknown.
Technique: carving, applique.
Material: wood, mother of pearl.
Size: height 28 cm, width 13 cm, pedestal 7.5x4 cm.
Description: The pacifical is made of a single piece of wood. Three arms of the cross terminate in trefoils. The front of the crucifix is faced with mother-of-pearl plaques. The figure of the Virgin Mary is drawn on the mother-of-pearl on the lower arm of the cross. The body of Christ crucified is also of mother-of-pearl. Only a single trefoil end remains on the upper arm of the cross.
Note: the following symbols are visible on the pacifical: I, II, III, IV, VII, VIII, XIV, probably denoting Stations of the Cross.
26. Pacifical
Maker: unidentified.
Date of origin: 19th or 20th century.
Place of origin: unknown.
Technique: carving, applique.
Material: wood, mother-of-pearl.
Size: height 47 cm, width 21 cm, pedestal 11.5x6.5 cm.
Description: The high pyramidal pedestal has a central oval concavity into which a medallion was set. The cross with the body of Christ crucified is mounted on the pedestal. Above his head is the inscription INRI. The pacifical is decorated with mother-of-pearl inlay.
27. Pacifical
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: applique.
Material: wood, mother-of-pearl.
Size: height 80 cm, width 35.5 cm, pedestal 14.4x20.5 cm.
Description: The high pyramidal pedestal is covered with mother-of-pearl plaques. The cross, the upper three arms of which terminate in trefoils, is mounted on the pedestal. The surface of the cross is faced with mother-of-pearl plaques. The relief figure of Christ crucified is very small by comparison with the overall heighth of the pacifical.
Note: a number of the mother-of-pearl plaques with which the pacifical is faced are missing.
28. Pacifical
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unidentified workshop
Technique: casting.
Material: metal alloy.
Size: height 22 cm, width 11 cm, pedestal 10 cm.
Description: The pacifical has been cast from a single piece of metal alloy. The pedestal is circular and attached directly to a cruciform piece of metal on the front of which is a relief figure of Christ crucified. Rays extend outwards from the body of Christ on the metal to which it is attached.
29. Reliquary
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unidentified local workshop.
Technique: filigree, casting, gilding.
Material: silver, polished glass.
Size: height 12.7 cm, width 9 cm.
Description: The reliquary is cruciform. The rim is formed of silver rope-twist, and the inside is filled with filigree. The long arm of the cross is decorated with two pieces of polished glass, and the other three with one each. The central area is framed by a circle of rosettes. The centre of the circle is glazed, and under the glass is a cross with trefoil ends. A ring is attached to the upper arm of the cross. The back is of a cast piece of silver of which the surface is decorated with pseudofiligree and polished glass.
30. Navicula
Maker: unidentified.
Date of origin: late 15th or early 16th century.
Place of origin: unknown.
Technique: casting, engraving.
Material: silver.
Size: height 14 cm.
Description: The incense-holder is mounted on the flat foot of the octagonal pedestal. A scene of the Annunciation is engraved on the upper surface, and an angel with a book on the lower, the symbol of the Evangelist Matthew. On the other side is a scene of the Virgin Mary with Christ, with engraved quivering rays around them. The quadrifoils at the ends of the arms have relief figures of God the Father (top) and the symbols of St Mark (left), St Luke (right) and St Vlach (base) (Đ. Basler, 1988, 87).
31. Navicula(25)
Maker: unidentified.
Date of origin: late 15th or early 16th century.
Place of origin: unknown.
Technique: casting, engraving.
Material: silver.
Size: height 14 cm.
Description: The incense-holder is mounted on the flat foot of the octagonal pedestal. A scene of the Annunciation is engraved on the upper surface, and an angel with a book on the lower, the symbol of the Evangelist Matthew. On the other side is a scene of the Virgin Mary with Christ, with engraved quivering rays around them. The quadrifoils at the ends of the arms have relief figures of God the Father (top) and the symbols of St Mark (left), St Luke (right) and St Vlach (base) (Đ. Basler, 1988, 87).
32. Hanging lamp
Maker: unidentified.
Date of origin: 17th century.
Place of origin: unknown.
Technique: casting, chasing, perforation.
Material: silver.
Size: height of vessel 28 cm, overall height 66 cm.
Description: The flat six-lobed foot has a pyramidal pedestal mounted on it for the sphere on which the incense-holder is mounted. The upper, perforated section is of cast silver taken from a late Gothic censer of rather crude workmanship. Above are four chains with rosettes midway. (Đ. Basler, 1988, 87)
33. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: filigree.
Material: silver.
Size: height of vessel 29 cm, overall height 74 cm.
Description: Imitating the usual late Gothic shape, the craftsman set a sphere on a nine-lobed base; the censer is mounted on the sphere. The high cover is in the form of a flattened dome. Above are five chains with rosettes midway. (Đ. Basler, 1988, 88)
34. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: filigree.
Material: silver.
Size: height of vessel 15 cm, length of chains (3) 37 cm.
Description: The lamp consists of three bellied sections and a sphere at the base. A ring is attached to the topmost section, with the chains through it. The chains have rosettes midway and are capped at the ends.
35. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: filigree.
Material: silver.
Size: height of vessel 55 cm, length of chains (6) 62 cm.
Description: The lamp consists of four bellied sections and a sphere at the base. The sections are divided into a number of rectangular fields. Lions' heads serving as the chain-holders of the lamp are mounted on the last and largest section. The chains have metal spheres half way along their length and terminate in domed caps. A metal incense-vessel with serrated ends is mounted on the largest bellied section.
36. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 40 cm, length of chains (3) 60 cm.
Description: The widest part of the bowl of the lamp is decorated with rosettes. The chain holders are set on the bowl; the chains terminate in domed caps.
37. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 56 cm, length of chains (3) 74 cm.
Description: The widest part of the bowl of the lamp is decorated with rosettes. The chain holders are set on the bowl; the chains terminate in domed caps.
38. Hanging lamp
Maker: Ivan Du..
Date of origin: 19th century.
Place of origin: Travnik.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 42 cm, length of chains (3) 53 cm.
Inscription: NAČINI IVAN DU. IZ TRAVNIKA
Description: The incense holder terminates in a sphere from which the conical vessel widens towards the top. The widest section is decorated with embossed circular motifs. The chains, which terminate in domed caps, are fixed to the widest section. The wide part of the bowl narrows towards the top, giving the lamp an almost spindle-like shape.
39. Hanging lamp
Maker: Marko Krilić.
Date of origin: 1843.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 42 cm, length of chains (3) 53 cm.
Inscription: at the base of the lamp; + F+ STIPO + MARKOVIĆ + 1843 + U FONICI MARKO + KRILIĆ + CINI + NAČINIT + NA + POSTEGNE + GOSPINO
Description: The base of the lamp consists of a cross. Above this are three bellied sections widening towards the top, the widest of which is decorated with embossed circular motifs and fitted with three chain holders; the chains are capped at the ends. The lamp narrows again towards the top.
40. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 24 cm, length of chains (3) 50 cm.
Description: The hanging lamp consists of four bellied sections and a cross at the base. The sections are divided into a number of rectangular fields. The chain holders are fixed to the final and largest section, on which is mounted a metal incense holder with serrated ends.
41. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 55 cm, length of chains (3) 82 cm.
Description: The hanging lamp consists of four parts. A ring is attached to the lower, circular part, while the upper part gradually widens into a wide vessel. This part is decorated with embossing, with the rim divided into ten sections with a rosette at the centre of each. The massive chain-holders are fixed to this part. The chains are capped at the ends. The chain holders curve outwards. The vessel of the lamp narrows again from the widest point towards the top.
42. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 20 cm, length of chains (3) 41 cm.
Description: The hanging lamp consists of four parts. A ring is attached to the lower, circular part, while the upper part gradually widens into a wide vessel. This part is decorated with embossing, with the rim divided into six oval fields. The massive chain-holders are fixed to this part. The chains are capped at the ends. The chain holders curve outwards. The vessel of the lamp narrows again from the widest point towards the top
43. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 64 cm, length of chains (3) 90 cm.
Description: The hanging lamp consists of four parts. A ring is attached to the lower, circular part, while the upper part gradually widens into a wide vessel. This part is sdcorated with embossing, with the rim divided into six rectangles. The massive chain-holders are fixed to this part. The chains are capped at the ends. The chain holders curve outwards. The vessel of the lamp narrows again from the widest point towards the top.
44. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 50 cm, length of chains (3) 80 cm.
Description: The hanging lamp consists of four parts. A ring is attached to the lower, circular part, while the upper part gradually widens into a wide vessel. This part is secorated with embossing, with the rim divided into eight rectangles with a rosette at the centre of each. The massive chain-holders are fixed to this part. The chains are capped at the ends. The chain holders curve outwards. The vessel of the lamp narrows again from the widest point towards the top
45. Hanging lamp
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height of vessel 38.5 cm, length of chains (3) 60 cm.
Description: The hanging lamp consists of four parts. A ring is attached to the lower, circular part, while the upper part gradually widens into a wide vessel. This part is secorated with embossing, with the rim divided into eight rectangles with a rosette at the centre of each. The massive chain-holders are fixed to this part. The chains are capped at the ends. The chain holders curve outwards. The vessel of the lamp narrows again from the widest point towards the top
46. Custodium(26)
Maker: unidentified.
Date of origin: 17th century.
Place of origin: Fojnica workshop.
Technique: casting.
Material: silver gilt.
Size: height of vessel 46 cm, diameter of foot 13.3 cm.
Description: The foot of the custodium is circular and decorated with a perforated band above which are engraved six sharp-ended rhombs. The spherical knop above the foot is engraved with intersecting circles. Above the knop is the rectangular vessel of the custodium. The edges of the vessel are silver, and the surfaces are glazed. Inside the vessel, a lunette is set on a hexagonal pyramid. The figures of a man and a woman are mounted to the sides of the vessel of the custodium. The vessel terminates in a dome that merges into a hexagonal pyramid with a tall spike. (Đ. Basler, 1988, 88)
47. Candlestick
Maker: unidentified.
Date of origin: 17th or 18th century.
Place of origin: Fojnica workshop.
Technique: casting, embossing.
Material: sheet silver.
Size: height 74 cm.
Description: The tripartite pedestal with feet supports the knop, which is divided by a horizontal concave recessed section. The pedestal is of foreign origin and simpler workmanship, while the applications on the base of the pedestal, in the form of angels' heads, are a later addition to a much older base. Two pommels, also later additions, support the bowl. (Đ. Basler, 1988, 90)
48. Candlestick
Maker: unidentified.
Date of origin: 1784.
Place of origin: Travnik (?).
Technique: casting, embossing, chasing.
Material: silver.
Size: height 42.7 cm.
Description: The three sided base on claw feet has a cartouche in each section. One bears the inscription «ZAVIT TRAVNIK» and the other the date, 1784. The pronounced knop has six vertical oval recesses, and above it a fixture like the spindles of a balustrade. (Đ. Basler, 1988, 90-91)
49. Candlestick
Maker: unidentified.
Date of origin: 18th century.
Place of origin: Fojnica workshop.
Technique: casting, chasing.
Material: silver.
Size: height 54,9 cm.
Description: The three-sided foot supports a baroque-style knop from which emerges a feature similar to the spindles of a Renaissance balustrade. All this terminates in a wide bowl the crown of which was completed by an unidentified local craftsman. (Đ. Basler, 1988, 91)
50. Candlestick
Maker: unidentified.
Date of origin: 18th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: silver.
Size: height 66 cm.
Description: The stem, decorated with four spheres, is set on a three-sided foot and topped by a wide bowl.
51. Candlestick
Maker: unidentified.
Date of origin: 18th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: silver.
Size: height 70 cm.
Description: The stem, decorated with four spheres, is set on a three-sided foot and topped by a wide bowl.
52. Candlestick
Maker: unidentified.
Date of origin: 1784.
Place of origin: Travnik (?).
Technique: casting, embossing.
Material: silver.
Size: height 42 cm.
Inscription: on the base; ZAVIT TRAVNIK 1784.
Description: The baroque-style base of the candlestick stands on three claw feet. The stem consists of two oval sections and a cylindrical section on which the bowl is mounted.
53. Candlestick
Maker: unidentified.
Date of origin: 1784.
Place of origin: Travnik (?).
Technique: casting, chasing, applique.
Material: silver.
Size: height 42.5 cm.
Inscription: on the base; ZAVIT TRAVNIK 1784.
Description: The baroque-style base of the candlestick stands on three claw feet. The figure of the Virgin Mary is applied to the base. The stem consists of two oval sections and a cylindrical section on which the bowl is mounted.
54. Candlestick
Maker: unidentified.
Date of origin: 1784.
Place of origin: unknown.
Technique: casting, chasing.
Material: silver.
Size: height 42 cm.
Inscription: on the base; A 7 P+G
Description: The baroque-style base of the candlestick stands on three claw feet. The stem is topped by a deep bowl.
55. Candlestick
Maker: unidentified.
Date of origin: 1784.
Place of origin: Travnik (?).
Technique: casting, embossing.
Material: silver.
Size: height 47 cm.
Inscription: on the base; ZAVIT TRAVNIK 1784.
Description: The baroque-style base of the candlestick stands on three claw feet. The stem consists of two oval sections and a cylindrical section on which the bowl is mounted.
56. Candlestick
Maker: unidentified.
Date of origin: unknown.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: height 54 cm.
Inscription: on the base; AZ.
Description: The baroque-style base of the candlestick stands on three claw feet. The lower part of the stem is decorated with designs resembling hanging lamps, narrowing towards the top, on which the bowl is mounted.
57. Candlestick
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: wood, metal alloy.
Size: height 42 cm.
Description: The stem of the candle is mounted on a triangular foot, and decorated at the base and under the bowl at the top with two spheres.
58. Processional cross
Maker: unidentified.
Date of origin: late 15th or early 16th century.
Place of origin: unknown.
Technique: casting, inlay, embossing, gilding.
Material: sheet silver and silver-gilt, polished glass.
Size: height 52 cm, width 32.5 cm.
Description: The hexagonal socket continues as a sphere on which the trefoil-ended cross is mounted. A relief figure of Christ crucified is attached to the cross, with a slanting plaque with the inscription INRI above his head. The surface of the trefoil ends is filled with inlaid multicoloured pieces of glass.
59. Processional cross
Maker: unidentified.
Date of origin: unknown.
Place of origin: unknown.
Technique: casting, filigree, applique, gilding.
Material: sheet silver, metal alloy.
Size: height 50 cm, width 25.5 cm.
Description: The cylindrical socket terminates in a filigree-covered sphere on which the cross is mounted. All four arms of the cross terminate in trefoils. A rosette is applied to the top of each trefoil (four rosettes are missing), and an eight-pointed gilded star is applied to the centre of each trefoil. The rest of the surface of the cross is filled with filigree. The figure of Christ crucified is attached to the cross, with above his head a plaque with the inscription INRI. The crucifix and plaque are gilded.
60. Processional cross
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, applique, embossing, gilding.
Material: metal alloy, silver.
Size: height 52.5 cm, width 26.5 cm.
Description: The cylindrical socket continues as a sphere on which the cross is mounted. The edge of the cross is embossed, and silver rosettes have been added to three of the arms, while the rest of the surface is gilded. A small relief figure of Christ crucified is attached to the cross.
61. Processional cross
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, applique, inlay, embossing, gilding.
Material: metal alloy, silver, polished glass.
Size: height 52.5 cm, width 26.5 cm.
Description: The cylindrical socket terminates in a sphere covered with filigree, on which the cross is mounted. All four arms of the cross terminate in trefoils. A rosette is attached to the top of each trefoil, and at the centre of each trefoil is an inlaid piece of polished glass. The rest of the surface of the cross is filled with filigree. Christ crucified is attached to the cross, with above his head a plaque with the inscription INRI. The crucifix and plaque are gilded.
62. Processional cross
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, applique, inlay, embossing, gilding.
Material: metal alloy, silver, polished glass.
Size: height 52.5 cm, width 26.5 cm.
Description: The cylindrical socket terminates in a sphere covered with filigree, on which the cross is mounted. All four arms of the cross terminate in trefoils. A rosette is attached to the top of each trefoil (four are missing), and at the centre of each trefoil is an inlaid piece of polished glass. The rest of the surface of the cross is filled with filigree. Christ crucified is attached to the cross, with above his head a plaque with the inscription INRI. The crucifix and plaque are gilded.
63. Processional cross
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, applique, inlay, embossing, gilding.
Material: metal alloy, silver, polished glass.
Size: height 34 cm, width 17 cm.
Description: The cylindrical socket terminates in a sphere covered with filigree, on which the cross is mounted. Three arms of the cross terminate in trefoils. A rosette is attached to the top of each trefoil (four are missing), and at the centre of each trefoil is an inlaid piece of polished glass. The rest of the surface of the cross is filled with filigree. Christ crucified is attached to the cross, with above his head a plaque with the inscription INRI. The crucifix and plaque are gilded.
64. Processional cross
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, applique, gilding.
Material: metal alloy, silver.
Size: height 31.5 cm, width 17.5 cm.
Description: The socket of the cross is in the form of a coil. The cross has trefoil ends, on the surface of which an eight-petalled is applied. The centre of the cross bears the gilded figure of Christ crucified (left leg missing), with above his head a plaque with the inscription INRI.
65. Processional cross
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, applique, embossing, gilding.
Material: metal alloy, silver.
Size: height 29.5 cm, width 21 cm.
Description: The socket of the cross is in the form of a coil. The arms of the cross terminate in trefoils in the shape of stylized fleur de lis. An eight-petalled flower is attached to the centre of each. The edges of the cross are embossed. A large gilded figure of Christ crucified is attached to the centre of the cross, and above his head is the embossed inscription INRI.
66. Monstrance
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, engraving.
Material: sheet silver. gilding.
Size: height 72 cm, width 34.5 cm, diameter of foot 24.6 cm.
Description: The circular foot of the monstrance is decorated with engraved oak leaves, narrower nearer the stem. The tabernacle is mounted on the stem, with the figures of winged angels with palms together in prayer to left and right. Below the tabernacle is the relief figure of an angel's head with wings, and above it the symbol of the Holy Spirit (a triangle with an eye) and God the Father on a cloud, giving a blessing. The interior of the tabernacle is glazed, and has a lunette at the base and rays extended around it. The monstrance is topped by a cross.
67. Monstrance
Maker: unidentified.
Date of origin: before 1822, when it was used on the occasion of the vows of Ivo Krilić.
Place of origin: unknown.
Technique: casting, embossing, inlay, filigree.
Material: sheet silver, polished glass, gilding.
Size: height 40 cm, width 21 cm, diameter of foot 14.7 cm.
Signature: on rim of foot; Zavit pri sakramentu Ive Krilića 1822.
Description: The circular foot is decorated with embossed sprays of flowers. Three angels' heads are attached to the knop of the stem. The central, circular part of the monstrance is glazed. Around it is a band of sheet silver decorated with pseudofiligree and polished pieces of blue, green and red glass. Rays extend from the circular part of the monstrance, alternating fleur de lis and sword blades. On top is the relief figure of a man with right hand raised, and beside him a flag in filigree.
68. Reliquary
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing, gilding.
Material: sheet silver.
Size: height 30.5 cm, width 13 cm, diameter of foot 13 cm.
Signature: in the central part of the glazed section; S.CRUCIS
Description: The circular foot is decorated with embossed stem-like ornaments. The stem has a knop decorated with four rosettes, on which the reliquary stands. The central section is glazed. It is surrounded by a circle the surface of which is covered with gilded spheres. Around the circle, in almost rhomboid form, are relief flowers and leaves, with silver-gilt rays emerging from them. The reliquary is topped by a cross with tripartite ends.
69. Reliquary
Maker: unidentified.
Date of origin: before 1847.
Place of origin: unknown.
Technique: casting, embossing, gilding.
Material: sheet silver.
Size: 5.5x5x1.5 cm.
Signature: na rubu: 1847. O.P.E. USTI.DEN.
Description: Circular in form, with the motif of Christ crucified on one side and the Virgin Mary with Christ in her arms on the other – both figures of rather crude workmanship.
70. Reliquary
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing, gilding.
Material: sheet silver.
Size: 8x6.5x2 cm.
Description: Rectangular in shape. The surface of the cover of the reliquary is decorated with interlinked fleur de lis motifs. The inscription IHS is embossed on the upper half of the cover. There is a cross above the letter H, and three nails below it.
71. Pyx(27)
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing, gilding.
Material: sheet silver.
Size: 5.7 cm.
Description: Circular in shape. A six-petalled flower is embossed on the cover. On the back is a circular band embossed with interlinked floral/foliar motifs. In the centre of the circle is a stylized cross and the inscription IHS.
72. Pyx
Maker: unidentified.
Date of origin: before 1757.
Place of origin: unknown.
Technique: casting, embossing, gilding.
Material: sheet silver.
Size: 8.3x6.3 cm.
Inscription: on the reverse; 1757 P.F.G.
Description: Circular in shape. Zigzag lines are embossed on the outer edge of the cover. The interior is filled with parallel horizontal lines. In the centre is the inscription IHS, with the letter H resembling the letter W with a cross over it and three embossed nails below.
73. Pyx
Maker: unidentified.
Date of origin: 18th century.
Place of origin: unknown.
Technique: casting, embossing, gilding.
Material: sheet copper.
Size: 7.5x9.5 cm.
Description: Circular in shape. The edge of the cover of the pyx is decorated with wavey lines. In the centre is an embossed circle within which is the inscription IHS, with the letter H resembling a letter W with a cross above it and three embossed nails below.
74. Pyx
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, gilding.
Material: silver.
Size: 8x5 cm.
Description: Circular, almost globular in shape, the pyx consists of two sections, the larger vessel and the smaller cover, with a mechanism to fasten it shut attached. The pyx is gilded inside.
75. Pyx
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, gilding.
Material: silver.
Size: 7.5x4 cm.
Description: Circular in form, with the vessel hemispherical in shape and the cover flattened. Five circles are embossed in the centre of the cover, with the same where the vessel and its cover are hinged together. On both the vessel and the coveris a small embossed crown. The interior of the pyx is gilded.
76. Pyx
Maker: unidentified.
Date of origin: c. 1849, judging from the coins used.
Place of origin: Fojnica workshop.
Technique: casting, gilding, embossing.
Material: silver.
Size: 5.3x1 cm.
Description: Circular in shape. Small adjoining squares are embossed on the edge of the cover, with the inscription IHS in the centre, a cross above the letter H and three nails below it. Seven rings are attached to the rim of the pyx, with chains threaded through them. Each chain terminates in a pierced coin dated 1849.
77. Pyx
Maker: unidentified.
Date of origin: c. 1849, judging from the coins used.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: silver.
Size: 5x2 cm.
Description: Circular in shape. Small adjoining squares are embossed on the edge of the cover, with the inscription IHS in the centre, a cross above the letter H and three nails below it. Seven rings are attached to the rim of the pyx, with chains threaded through them. Each chain terminates in a pierced coin dated 1849.
78. Pyx
Maker: unidentified.
Date of origin: c. 1849, judging from the coins used.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: silver.
Size: 5x2 cm.
Description: Circular in shape. Small adjoining squares are embossed on the edge of the cover, with the inscription IHS in the centre, a cross above the letter H and three nails below it. Seven rings are attached to the rim of the pyx, with chains threaded through them. Each chain terminates in a pierced coin dated 1849.
79. Pyx
Maker: unidentified.
Date of origin: c. 1849, judging from the coins used.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: silver.
Size: 5x2 cm.
Description: Circular in shape. Small adjoining squares are embossed on the edge of the cover, with the inscription IHS in the centre, a cross above the letter H and three nails below it. Seven rings are attached to the rim of the pyx, with chains threaded through them. Each chain terminates in a pierced coin dated 1849.
80. Pyx
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: metal alloy.
Size: 5.5 cm.
Description: The pyx is heart-shaped. The edges of the cover are decorated with floral/foliar motifs, and the centre is inscribed IHS, with a cross above the letter H and three nails below. The cover is gilded.
81. Pyx
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: metal alloy.
Size: 4.5 cm.
Description: The pyx is heart-shaped. The edges of the cover are decorated with floral/foliar motifs, and the centre is inscribed IHS, with a cross above the letter H and three nails below. The cover is gilded.
82. Vessel for holy oil
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: silver.
Size: 14x8.3x3.2 cm.
Description: The vessel is in the form of a cross, its surface decorated with embossed floral motifs in the form of a cross. The mechanism for fastening the vessel is at the top. The interior of the vessel is violet in colour.
83. Vessel for holy oil
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: silver.
Size: 6.7x3.5 cm.
Description: Oval in shape. The cover of the vessel is decorated with stem-like plant motifs. A circle in the form of a flower is embossed in the centre, with the inscription IHS within it, a cross over the letter H and three nails below. The interior of the vessel is gilded.
84. Vessel for holy oil
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: silver.
Size: 6x3 cm.
Description: Oval in shape. The cover of the vessel is decorated with stem-like plant motifs. A circle in the form of a flower is embossed in the centre, with the inscription IHS within it, a cross over the letter H and three nails below. The interior of the vessel is gilded.
85. Vessel for holy oil
Maker: unidentified.
Date of origin: before 1846, terminus ante quem.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: silver.
Size: 7x3.5 cm.
Inscription: on the lower side of the vessel; Fojnicza G.G. 1846.
Description: Oval in shape. The cover of the vessel is decorated with stem-like plant motifs. A circle is embossed in the centre, with the inscription IHS within it, a cross over the letter H and three nails below. The interior of the vessel is gilded.
86. Clasp for cloak
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, gilding, embossing.
Material: silver.
Size: 8 cm.
Description: Circular in form, consisting of two halves joined by a hook and ring. Each half has the embossed figure of a winged lion.
87. Clasp for cloak
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: silver.
Size: 8.5x7.5 cm.
Description: The clasp is in the shape of an irregular triangle and consists of two halves, one of which is missing. Embossed with the Sacred Heart motif, with above it the inscription IHS and a cross over the letter H.
88. Clasp for cloak
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: silver.
Size: 6.5x8.5 cm and 5x8.5 cm.
Description: The clasp consists of two halves, both of which are in the shape of a carnival mask with gaps for the eyes. Circles are embossed around the gaps to form “eyelashes,” and there is an embossed nose between the eyes. One part of the clasp has an embossed cross above the nose, while on the other the cross is attached to the outer edge. The two halves of the clasp are joined by a ring and hook.
Note: the clasp was made as a pledge for healed eyes.
89. Clasp for cloak
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: silver.
Size: 8x4.5 cm.
Description: The clasp is in the form of a lunette, decorated with a flower motif and two swords. One half is missing.
90. Belt
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: silver.
Size: 15 cm.
Description: Consists of three rectangular plaques joined by rings. A fleur de lis is embossed in the centre of each plaque, with an eight-petalled flower to each side. The outer edge is decorated with a ribbon-twist. The first and third plaques are fitted with a hook and ring to fasten the belt.
91. Medallion
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: 5.5x6.5 cm.
Description: Circular in shape. The rim of the medallion is decorated with a ribbon-twist. Eight flowers are embossed in a circle from the edge of the medalliion to the centre. The central circle contains an embossed scene of a monk at prayer.
92. Vessel for oil
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: 11x3.7 cm, length of spoon 8.2 cm.
Description: The base of the vessel is circular in shape. The ewer and cover are joined by an S-shaped handle decorated with floral/foliar motifs. The handle of the spoon is decorated with embossed geometric and floral/foliar motifs.
93. Vessel for oil
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: casting, embossing.
Material: metal alloy.
Size: 11x3.5 cm, length of spoon 9 cm.
Description: The base of the vessel is circular in shape. The ewer and cover are joined by an S-shaped handle decorated with floral/foliar motifs. The handle of the spoon is decorated with embossed geometric and floral/foliar motifs.
94. Crown
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: filigree, inlay, gilding.
Material: silver, polished glass.
Size: height 22 cm, diameter 14 cm.
Description: The crown is worked in filigree. The part that fits around the head is at right angles to the upper, conical section, which consists of eight lobes, alternately silver and gilded, decorated with filigree flowers and inlaid pieces of polished glass. The top of the crown terminates in a gilded rosette on which is a cross with the arms terminating in trefoils.
95. Crown
Maker: unidentified.
Date of origin: 19th century.
Place of origin: unknown.
Technique: filigree, inlay, gilding.
Material: silver, polished glass.
Size: height 20 cm, diameter 9 cm.
Description: The crown is worked in filigree. The part that fits around the head is at right angles to the upper, conical section, which consists of eight lobes, alternately silver and gilded, decorated with filigree flowers and inlaid pieces of polished glass. The top of the crown terminates in a gilded rosette on which is a cross with the arms terminating in trefoils.
96. Crown - tiara(28)
Maker: unidentified.
Date of origin: before 1822, when it was used on the occasion of the sacrament of Ivo Kril.
Place of origin: unknown.
Technique: casting, inlay, gilding.
Material: silver, polished glass.
Size: height 16 cm, diameter 13.5 cm.
Inscription: on the part that fits on the head; ZA PRI SAKRAMENTU IVE KRIL 1822.
Description: Cast in a single piece. The part that fits around the head is cast in solid silver, while the upper part of the crown is «see-through» (consisting of stems with leaves and the occasional flower). At the centre of the «see-through» part of the crown is an inlaid piece of blue glass. A cross is attached to the top.
97. Crown - tiara
Maker: unidentified.
Date of origin: before 1822, when it was dedicated to the Blessed Virgin Mary.
Place of origin: unknown.
Technique: casting, inlay, gilding.
Material: silver, polished glass.
Size: height 15 cm, diameter 14.5 cm.
Inscription: on the part that fits on the head; ZAVIT – B- D – M - 1820
Description: Cast in a single piece. The part that fits around the head is cast in solid silver, while the upper part of the crown is «see-through» (consisting of stems with leaves and the occasional flower). At the centre of the «see-through» part of the crown is an inlaid piece of greenish glass. A cross is attached to the top.
98. Crown - tiara
Maker: unidentified.
Date of origin: before 1794, terminus ante quem.
Place of origin: unknown.
Technique: casting, inlay, embossing, gilding.
Material: silver, polished glass.
Size: height 15 cm, diameter 15 cm.
Inscription: on the part that fits on the head; DEVO – F – TH – M – 1794
Description: Cast in a single piece on which floral motifs, mainly fleur de lis, were later embossed. In the central section, as if at the centre of the sun, is an inlaid piece of clear glass. The crown is topped by a crown.
99. Crown - tiara
Maker: unidentified.
Date of origin: before 1820, when it was dedicated to the Blessed Virgin Mary.
Place of origin: unknown.
Technique: casting, inlay, gilding.
Material: silver, polished glass.
Size: height 15 cm, diameter 18 cm.
Inscription: on the part that fits on the head; ZAVIT – B- D – M - 1820
Description: Cast in a single piece. The part that fits around the head is cast in solid silver, while the upper part of the crown is “see-through” (consisting of stems with leaves and the occasional flower). At the centre of the see-through part of the crown is an inlaid piece of clear glass. A cross decorated with pieces of clear glass is attached to the top.
100. Ewer
Maker: unidentified.
Date of origin: unknown.
Place of origin: unknown.
Material: glass.
Size: height 13.5 cm, diameter of base 5.5 cm.
Description: A pot-bellied ewer with a narrow neck on a circular base. The bellied section is painted with floral motifs. The vessel narrows towards the top. A handle is attached to one side and a spout on the other, from which the liquid in the pitcher is poured.
101. Glass
Maker: unidentified.
Date of origin: before 1921
Place of origin: unknown.
Material: glass.
Size: height 15 cm, diameter of base 7.7 cm.
Description: The base of the vessel is in the shape of a ten-petalled flower and the body of the glass is octagonal. The top of the glass is circular and curves outward slightly. The surface of the glass is painted.
102. Glass(29)
Maker: unidentified.
Date of origin: before 1921.
Place of origin: unknown.
Material: glass.
Size: height 14 cm, diameter of base 8.5 cm.
Description: The ten-sided glass is made of ruby glass. It is painted on the outside with a cross with fire irons, and a crown above it. The coat of arms is framed with a spray of leaves.
103. Glass
Maker: unidentified.
Date of origin: before 1921.
Place of origin: unknown.
Material: staklo.
Size: height 13 cm, diameter of base 8.2 cm
Description: Made of ruby glass, and circular in cross-section. Decorated with a cross and fire irons, with a crown above.
104. Glass
Maker: unidentified.
Date of origin: unknown.
Place of origin: unknown.
Material: glass.
Size: height 13 cm, diameter of base 8.2 cm.
Description: Made of ruby glass, circular in cross-section.
Sculpture
Collections of sculpture in the monasteries and churches of Bosnia and Herzegovina are never large. The reasons are to be found in the difficulty of transporting them in the past, but also in consideration for the religious sentiments of the Islamic inhabitants. The majority of sculptures in the Franciscan monastery in Fojnica are not artistic in nature, but are mainly the product of mass production in Austrian workshops. A few sculptures by an unidentified, probably local artist may be distinguished in the collection in this monastery. They are of no great artistic value, but are of interest historically.
1. Pietà
Artist: unidentified local master.
Date of origin: probably 19th century.
Material: wood, paint.
Technique: carving, painting.
Size: 100x70x50 cm
Description: The sculpture has been carved from a single piece of wood. The back of the sculpture has been left rough, having obviously been made to stand against a wall. The composition is of the Virgin Mary kneeling, her head facing heavenwards, as is her right hand. She is holding Christ on her left arm. She is wearing a red robe. Christ is shown half-seated, his body leaning against the Virgin Mary's raised left leg across which his right hand is lying. Blood is flowing from the right half of his ribcage. To close the composition, his legs are folded beneath his body. A light loincloth is wrapped around his waist.
Note: Compositionally, the sculpture is not very successful, but one should bear in mind that few sculptures were made by local craftsmen during the Ottoman period.
2. Six angels
Artist: unidentified local master.
Date of origin: probably 19th century.
Material: wood, paint.
Technique: carving, painting.
Size: height 50 cm
Description: The angels have been carved from a single piece of wood, and stand on a square wooden pedestal. They have gilded wings.
Note: there are certain similarities between the sculpture of angels and the Pietà, but they were probably the work of different craftsmen. The angels are said to be the work of Fr. Anđeo Ikić (d. 1918) in association with Fr. Frane Majdandžić. (S. Tihić, 1957, 88)
Textile items
1. Cloak
Material: dark green satin with stylized flowers and stars.
Place of origin: Probably Turkey
Date of origin: 15th century
Size: 117x140 cm.
Note: tradition has it that the cloak was given by Sultan Mehmed Fatih to Fr. Anđeo Zvizdović at Milodraž plain when he issued the Ahdnama in 1463 (J. Ivoš, 1988, 97)
2. Chasuble
Material: multicoloured silk embroidery and gold thread embroidery on silk taffeta.
Place of origin: Austria or France.
Date of origin: first half of the 18th century
Size: 106x70 cm.
Description: Multicoloured pastel-colour silk embroidered with various fruits, large floral forms, architectural details and landscapes. A gold embroidered coat of arms on the back. Oral tradition has it that it belonged to Bishop Augustin Miletić (1763-1831). (J. Ivoš, 1988, 98, 105)
3. Stole and maniple
Material: multicoloured silk embroidery and gold thread embroidery on white silk.
Place of origin: Croatia or Bosnia.
Date of origin: 18th century.
Size: stole 210x24 cm, maniple 42x24 cm.
Description: Fruit and flower motifs of rather rustic, crude workmanship. The stole and maniple belonged to Bishop Augustin Miletić. (J. Ivoš, 1988, 105)
4. Bishop's gloves
Material: white leather.
Place of origin: probably Austria.
Date of origin: c. 1800.
Size: 28x14 cm.
Description: Without decoration apart from a silver-thread-embroidered IHS monogram on the backs of the hands. The gloves belonged to Bishop Augustin Miletić. (J. Ivoš, 1988, 98, 105)
5. Bishop's gloves
Material: dark red satin
Place of origin: Austria or Croatia.
Date of origin: c.1800.
Size: 28x14 cm.
Description: The back of the gloves is decorated with a silver-thread-embroidered IHS monogram. Above the letter H is a cross, and below it a heart. The monogram is set in a circle of floral/foliar motifs. The same motif is used to decorate the border of the gloves, which belonged to Bishop Augustin Miletić.
6. Bishop's shoes
Material: laid white silk, gold thread embroidery, polished glass
Place of origin: Croatia or Austria.
Date of origin: c. 1800.
Description: The shoes are decorated with gold thread embroidery and beadwork [?] in empire style. The shoes belonged to Bishop Augustin Miletić. (J. Ivoš, 1988, 98, 105)
7. Mitre
Material: silver and gold brocade, gold thread embroidery, beadwork [?], metal foil.
Place of origin: probably Austria.
Date of origin: c. 1830.
Description: A wavy motif with ears of corn runs along the edge of the mitre. Rays extend out around the cross in the centre of the mitre, which belonged to Bishop Augustin Miletić. (J. Ivoš, 1988, 98, 105)
8. Bishop's crozier
Material: metal alloy, ivory.
Technique: casting, carving.
Description: A decorate ivory sphere is set into the crozier midway. The top of the crozier has a spiral carved ivory handle.
9. Bishop's crozier
Material: metal alloy.
Technique: casting, embossing.
Description: The crozier is decorated along its entire length with embossed work. The handle is spiral-shaped.
Archive material
The Franciscan monastery in Fojnica has a large and rich collection of archive material, dating back almost to the very foundation of the monastery. Since the monastery was for a long time the see of the Bishop of Bosnia, many of the documents preserved here are of exceptional interest. The archive material is organized chronologically by area, including Turkish documents, documents dating from the Austro-Hungarian period, the chronicles of the monastery, various manuscript books, records of births marriages and deaths, music scores and manuals of physick/herbals. Among the most important and best known archive documents preserved in this monastery are the Ahdnama of Sultan Mehmed II el Fatih and a Roll of Arms.
1. Transcript of the Ahdnama of Sultan Mehmed II el Fatih (the Conqueror)
Date of origin: 28. 05. 1463.
Place of origin: Milodraž near Fojnica.
Language: Turkish
Size: 52.5x22 cm
Translation of the Ahdnama:
Allah is the only helper
Mehmed, son of Murad-khan, forever victorious! The decree of the honourable and sublime Sultanic seal and serene edict of the Conqueror of Worlds is as follows:
I, Sultan Mehmed-khan proclaim to the lords and commons that the Bosnian clerics are recipients of my great grace and I therefore command:
That nobody shall molest or trouble them nor their church. They shall peaceably exist in my empire, and those who have fled may feel free to returnand without fear live in their monasteries in the lands of my empire. Neither my high majesty, nor my viziers, nor my servants, nor my subjects, nor any of the inhabitants of my empire shall cause them offence or harass them. Nobody shall attack or threaten them, or their life, or their property, or their church. And if from abroad they bring someone to my empire, this is allowed.
I have extended the above grace by imperial decree and I swear the following oath: By the Creator of earth and heaven, He who sustains all creation, and by the Seven Holy Books, and by the Great Prophet and the 124,000 prophets, and by the sword with which I gird myself, no one shall act in opposition to what is written here as long as they are in my service and true to my commands.
2. The Fojnica Roll of Arms(30)
Date of origin: c. 1675 or 1688.
Place of origin: probably Dubrovnik.
Language: Latin.
Script: capitals.
Size: 30.5 x 23 x 3.5 cm
Description: The Roll of Arms is bound in parchment-covered board. There is a painting in tempera on the first page, showing two nobles clad in 17th century costume. Both are holding long quill pens in their right hands. They have circles around their heads somewhat resembling haloes, and are looking up at the sky. A semi-circle of clouds divides the lower scene from the upper, a ring of flame with the monogram IHS within. There is a cross above the letter H, and three swords below. There is an embossed seal in the below left hand corner of the right hand page, with the seal of the Franciscan monastery beside it. The upper half of the page has a five-line Cyrillic inscription, with the date 1340 at the end. The lower half of the page has a text in Latin, signed by Bishop Gregory in 1800. The rest of the Roll of Arms, 139 pages, contains both the achievements of the countries of the region and those of some noble families. The achievements are painted on the right-hand pages of the Roll of Arms, with the crest at the top, the shield below it, and below that the name of the region or of the family to which the achievement belongs. The achievements are painted in tempera. The titles are set in a field resembling a plaque with trefoil terminals, using capital Roman lettering.
Monastery library
The origins of the Fojnica monastery library go back to its foundation. The majority of the books are inventoried within the monastery library, so that they have their own library card and inventory number in the accessions book. The library holdings may be divided into:
- the collection of incunabula
- older printed books
- more recent publications
The incunabula will be treated in detail in the following section.
The books in the second group, older printed books dating from the 17th to the 19th century, are mainly editions in Latin or German, theological in nature, and belonging to members of the brotherhood or the legacy of deceased members of the monastery. Some of them came into the collection by purchase or gift. There are about three hundred titles in this group. The books are now in rather poor condition as a result of being kept in inappropriate conditions. The list of older printed books will be added to the Decision once they have been inventoried in the monastery library.
The books in the third group are more recent publications, dating from the 19th century to the present day. The works vary from theological to historical, geographical and medical works, literary works by local and foreign authors, and the like. This group is estimated as numbering about 20,000 different titles.
Catalogue of incunabula of the Franciscan monastery in Fojnica
Incunabula (from the Latin incunabula, cradle) means an early printed work from the first days of the printing press, issued before the year 1500. Two types of incunabula are recognized, tabular, printed from a plate on which each separate page is produced from a woodcut, and typographic, printed using the movable type invented by Gutenberg (Encyclopaedia of the Fine Arts, MCMLXIV, 3, p. 2).
The collection of incunabula forms part of the monastery library.
This is the second-largest collection of incunabula in Bosnia and Herzegovina(31), the largest being in the monastery in Kraljeva Sutjeska (22 incunabula), compared with thirteen in Fojnica.
The incunabula can be classified into two groups. The first is of texts by authors who predate the invention of printing, i.e. incunabula where the works of writers from antiquity or the mediaeval period have been printed from a unique manuscript that has since been lost or succumbed to the ravages of time. The second group of incunabula comprises works contemporary with the incunabula themselves, mainly theological and scholastic tractates.
1. Alexander de Hales
Summa universae theologica.
Papiae, Franciscus Girardengus et Johannea Antonius Birreta. 1) 11. VII; 2) 20. X; 3) 23. X; 4) 23. XII. 1489.; 4˚. Leaves 224; 472; 368; 512.
H+ 644. BMC VII 1004. GW 872. Stillwll A 349. Badalić 31.
Irregularity in the signature: the third section has a8, b8, instead of aaa8, bbb8. The pages in the second section of bb6, aa (bis)1; the third section of SSS6; and the fourth section of aaa (bis)1, are blank. SSS5 is missing from the third section.
The first and third volumes of the book are bound together. Parchment sheets from a 14th century antiphon have been glued to the inside covers of this binding and that of the fourth section. Parchment sheets from a 14th century codex in textual Gothic have been glued to the inside covers of the second section.
All three bindings date from the 15th century. The covers are of wood covered with reddish-brown leather, with signs of metal fittings and clasps. They are decorated with blind blocking. The decorations on the covers of the first and third sections are: in the centre, a rectangular mesh-like ornament composed of small circles, with around it a roller-impressed frame of stylized shells. The decorations on the covers of the second section are: in the centre, one large and two smaller hallmarks with a braided flourish, surrounded by a roller-impressed frame of stylized leaves. The decorations on the covers of the fourth section are: a rectangular braided frame between sheaves of parallel lines, with a rosette in each corner. (Popović, 1965, 19)
2. Pseudo – Augustinus
Sermones ad heremitas.
Venetiis, Simon Papinsis, 4. XI 1495.; 8˚. (incomplete copy).
HC+ 2005. BMC V 520. GW 3007. Stillwell A 1173.
Leaf 08 (i.e. the final, 112th leaf) is missing
On leaf a2 recto is a very clear note in latin script in the upper margin: «Bibliothecae Sancti Spiritus Foiniczae F. M. Obs:1730». The marginalia on the first three leaves are in Latin. Bound in the 18th century. The covers are of leather-covered card. (Popović, 1965, 23-24)
3. Bible
Biblia (lat). Cum Tabula Gabrieli Bruni. Ed. Petrusangelus de Monte Ulmi.
Venetiis, Hieronymus de Paganinis, VII. Id. Sept. (7. IX) 1492.; 8˚. Leaves 552.
HC+ 3114 = H 3112 = 3113. M BC 456. GW 4271. Stillwell B 528.
The columns have 50 to 51 lines.
Leaves Q1, Q12, 510 are missing.
On leaf P7 recto midway along the right-hand column the word suspiciebat has been crossed out and corrected in the margin to suscipiebat. A number of quotations from the Bible have been written in Latin in 16th century humanist script on the front page of the first loose leaf of the binding. The binding dates from the 17th century. The covers are of soft card covered with parchment. (Popović, 1965, 24-25)
4. Bible
Biblia (lat.). cum postillis Nicolai de Lyra et expositionibus Guilelmi Britonis in omnes prologos S. Hieronymi et additionibus Pauli Burgensis replicisque Matthiae Doering. – (Accedit [sic]. NICOLAUS de Lyra: Contra perfidiam Judaeorum. Cum additionibus Francisci Moneliensis. Ed. Paulus a Mercatello. P. 1-4.
Venetiis, (johannes Herbot, de Seligenstadt), impensis, Johannis de Colonia, Nicolai Jenson et socc, pridie kal. Sext. (31.VII) 1481.; 2˚. Leaves 1) 306; 3) 468; 4) 400.
HC+ 3164. BMC V 301. GW 4286. Stillwell B 545. Badalić 206. Gspan-Badalić 117.
p.2 is missing. In pars 4 on leaf 148 recto, there is a white printer's mark on a black ground: a circle bisected by a horizontal line. The lower half has a small white circle, and in the upper half is an upright double cross with an extremely elongated upper arm. A single continuous signature extends through all four sections. The letter V is invariably followed by the letter U in the signature, so that both forms are present side by side.
In pars 3 leaf Dd10 is blank.
The whole of pars 2 is missing. In pars 3 leaf rr1 is missing. In pars 4 leaf (15)1 – (15)4 (i.e. 391-394) are missing.
Red, blue or blue-and-red initials the height of ten printed lines or less are framed in an ornament of stylized vines extending well into the margin.
In pars 1 on leaf C4 verso there is an inscription: “Hic liber est monachorum Congregationis S. Iustine de Padua ordinis S. Benedicti de observantis, deputatus ad usum fratrum habitantium in monasterio S. Georgii Maioris Venetiarum signatus 808.” The same inscription is to be found in pars 3 on leaf Dd9 verso except that the inventory number here is 810. In pars 4 leaf (16)6 recto in the lower margin the inscription is slightly different, reading: “Hic liber est monachorum Congregationis S. Iustine de Padua ordinis S. Benedicti deputatus ad usum fratrum habitantium in de monasterio S. Georgii Maioris Venetiarum signatus 811.” All three inscriptions are in the same hand, in 15th century humanist script, and all three are boldly crossed out. The binding dates from the 15th century and was made in the St Justine monastery in Padua, famous in the mediaeval period for its fine book bindings. The binding is of four double leather lacings with leather-covered wooden covers decorated with blind blocking. The decoration on the covers of pars 1 vis a rectangular mesh-like ornament framed with braiding and stylized flowers. On the covers of pars 3 are two square punched interlace designs in a rhombic frame of stylized leaves, surrounded by a rectangular braided frame with small rosettes. Eight small square interlace designs have been impressed with a punch between the rhomb and the rectangle. The covers of pars 4 have a cross on a pedestal in a rectangular surround of finely worked mesh-like design, all of which is in a rectangular frame of stylized leaves. All three bindings show traces of metal fittings and the remains of clasps. (Popović, 1965, 25-26)
5. Bonaventura, S.
Opuscula.
Brixiae, bernardinus de Misintis impensis Angeli Britannici, 17. XII 1495.; 8˚ & 4˚. Leaves 184.
H+ 3467 = H 3481. BMC VII 989. GW 4649. Stillwell B 838. Badalić 228.
The columns have 38 to 44 lines.
(a4) is in 4˚ (the first four leaves). a8 to the end is in 8˚. Leaves a1 gg8 (fifth and last) are blank. Leaf gg7 is missing.
Leaf (a4) verso bears an inscription in 15th century bookish humanist script: «Hic liber est monasterii S. Salvatoris Papie signatus numero 670». Below this is another inscription: “... emptus est a me 1558. Fr. ... in Carniol.” The last loose leaf of the binder bears an inscription in red ink: “est sancti Proculi de Bononia.”
Leaf (a1) recto has an inscription in 17th century latin script above the title: “Bibliothecae Sancti Spiritus Foiniczae Fratrum Minorum de observantis seraphici Patris s. Francisci.”
The binding dates from the 15th century. The covers are of leather-covered wood. On each cover, two mesh-like squares created by successive punches have been blind blocked. They are surrounded by a frame of stylized leaves. Traces of clasps. The book is in poor condition. (Popović, 1965, 26)
6. Garsias, Petrus
Determinationes magistrales contra conclusiones Ioannis Pici Mirandule. Romae, Eucharius Silber alias Franck, 15. X 1489.; 2˚. Leaves 120.
HC+ 7492. BMC IV 110. Stillwell G 85.
In the signature the letter “i” has been missed out. The columns have 41 to 42 lines.
Leaf r8 (120th) is blank.
Leaf r8 is missing.
Bound with Johannes Picus de Mirandula: Opera Bononiae, 1496. (Popović, 1968, 29)
7. Herolt, Johannes
Sermones discipuli.
Argentinae, johannes Herolt, 1489.; 4˚. Leaves 440.
H 8499.
Watermark of a walking unicorn.
Leaves e1. I1, B8, D1, P8, Q1 missing.
The initials are drawn in red and blue, only at the beginning and near the end of the book. Throughout almost the entire book the capital letters are in yellow for decorative purposes, or more rarely in red. The section marks are in the form of an inverted letter D in red and blue.
On sheet (a1) recto there is an inscription in 16th latin script above the title: “Ex Libraria Sancti Spiritus Foinizzae accomodatus pro tempore, usui patris fratris Ioannis Rad ... modo lucro.”
The marginalia are in various hands. Some are very brief, in red (or more rarely black) ink, in 15th century Gothic, using the Gothic symbol for the figure 4. Others are in Gothic rotunda. Yet others are in small cursive Gothic. All marginalia are in Latin.
The binding dates from the 18th century. The stiff card covers are covered with leather. (Popović, 1965, 29)
8. Nicolaus de Lyra
Moralia super totam Bibliam. Cum Tabula Ludovici a Turri.
Mantuae, Paulus Butzbach, III kal. Madii (29. IV) 1481.; 2˚. Leaves 270.
HC+ 10375. BMC VII 932. Stillwell N 90. Badalić 784.
The watermark is a skull with a serpent, cross and flower. Leaves e1, e8are missing.
Occasional marginalia in Latin.
Bound in the 18th century. Card covers covered with leather. (Popović, 1965, 32)
9. Nicolaus de Lyra
Postilla super Epistolas et Evangelia quadragesimalia. (Cum Quaestionibus Antonii Betontini et Alexandri de Ales). Ed. Petrus Malfeta.
Ferraria, Laurentius de Rubeis, de Valentia, VI id. Mart. (10. III) 1490.; 4˚. Leaves 180.
HC 10387. BMC VI 611. Stillwell N 94. Badalić 786.
The signature in the first half of the book has a mixture of Arabic and Roman numerals. The signature in the second half of the book has Roman numerals only. Throughout the book the fourth leaf of each section has a signature in Roman numerals.
The columns are of 44 to 46 lines.
On leaf a2 recto is an inscription in 18th century latin script: “Fratris Marini Torbich a Sutiescha.” Above this is another: ad usum F. B. R.
Bound in the 18th century. The card covers are covered with leather. (Popović, 1965, 32)
10. Pico de Mirandula, Johannes
Opera. Ed. Johannes Franciscus Picus.
Bononiae, Benedictus Hectoris Bononinsis, I) 20. III 1496.; II) 16. VII 1495. (i. E. 1496.); 2˚. Leaves 320.
HC 12992. BMC VI 843. Stillwell P 579. Badalić 894.
On leaves YY9 verso and L3 verso is a white printer's mark on a black ground: a circle bisected by a horizontal line forming the base of a triangle pointing downwards in which is the letter B. The upper part of the circle is bisected into two equal halves by the upright arm of a double cross, with a white dot in the middle of each half.
The columns have 38 to 39 lines.
Leaves YY10, L4are blank.
Leaf L4is missing.
Leaf (a1) recto has an inscription in cursive Gothic below the title: “Steph. Grattsman 1650,” and another above the title in 17th century latin script: “Bib. Sancti Spiritus Foijnicae Fratrum Minorum observantium.”
Occasional marginalia in Latin in 15th century cursive Gothic and legible 16th century latin script.
The binding dates from the 18th century. The covers are of semi-stiff card covered with yellow parchment. The capitals are sewn alternately with red and blue thread. The title on the spine is on a thin piece of green leather glued onto the binding.
Bound with: “Garsias. Petrus: Determinationes magistrales contra conclusiones Ionn ais Pici Mirandulae. – Rome, 1489. (Popović, 1965, 35-36)
11. Reuchlin Johannes
De verbo mirifico.
Basileae, Johannes Amerbach, (post 21. IV 1494).; 2˚. Leaves 50.
HC+ 13880. BMC III 755. Stillwell 149.
The columns have 45 to 50 lines.
Bound with: “Trittenheim Johannes: Liber de scriptoribus ecclesiasticis, Basel, 1494. (Popović, 1965, 37)
12. Sermones
Seromones Thesauri novi de tempore.
Argentinae, Martinus Flach, 1491.; 2˚. (incomplete copy).
C 5417. R I 191.
Leaves a1, l4, A2, F4, F5, F8, Q3, R3, Y7 missing.
The initials are drawn in red or blue, so thickly that protuberances can be felt here and there. The initial on leaf c1 recto measures 42x42 mm and is in six colours with gold leaf. The section marks are in the form of an inverted letter D in red and blue.
On leaf c1 recto is an inscription in latin script: ”Conventus Vijvariensis.“ On the inside back cover is an inscription in latin script: ”Matthias anni 1632. In Conventu Posuniensi.”
The marginalia, in Latin, are in four or five different hands, in humanist and cursive Gothic scripts of the 15th, 16th and 17th centuries.
The binding dates from the 15th century and has three triple leather lacings. The covers are leather-covered and decorated with a blind-blocked mesh-like design of stylized stems set in a rectangular frame of stylized flowers. At the centre of each mesh is an impressed stylized fleur de lis. The upper part of the front cover above the design bears the title in bold Gothic lettering: “The3 de tpe” (Thesaurum de tempore). On the upper right and lower left corners of the front cover are massive bronze cornerpieces; the other corners and the centre show traces of earlier fittings. There are the remains of two clasps on the front edge of the covers. (Popović, 1965, 38)
13. Tritheim, Johann
De scriptoribus ecclesiasticis. Ed. Johann Heynlin.
Basileae, (Johnn Amerbach), (post 28. VIII) 1494.; 2˚. Leaves 148.
HC+ 15613. BMC III 755. Stillwell T 410. Badalić 1076. Gspan-Badalić 667.
The watermark is a bird standing on a circle.
Leaf u8 (the 148th) is blank.
On leaf A1 recto is an inscription in latin script above the title: “Martini sum Hermann. Anno domini 1606,” and another below the title: “Emptus 6 florenis. Anno 1656 die 8 appril(is)”.
The binding dates from the 18th century. The book is bound in stiff card covered with yellowish parchment. (Popović, 1965, 41)
4. Conservation and restoration works
The items from the museum collection of the Franciscan monastery in Fojnica have not been subject to any conservation or restoration works.
5. Current condition of the property
Works of art
The collection of paintings is in good condition. The paintings are mainly located or on display in the monastery refectory, corridors and rooms occupied by the Franciscans.
Collection of metalwork items
The collection of metalwork items is in good condition. Some of the items are in use and some are located in the rooms occupied by the Franciscans within the monastery.
Textile items
The textile items are in good condition. They are located in a dormitory within the monastery.
Archive material
The items are housed in three metal cabinets in the newly-built but yet to be arranged monastery building. The archive material is stored in cardboarde folders in chronological order.
Library
The incunabula are in good condition. They are kept in various rooms occupied by the Franciscans, and are thus not all in one place.
The rest of the library holdings are the items which, of the entire collection of art works, are kept in the least satisfactory conditions in the monastery. The holdings are kept in the newly-built monastery building in one of the larger rooms. They may be divided into two groups or collections.
One group consists of old books printed before the 19th century, and the other of books printed since the 19th century, including contemporary editions.
The first group of books are on six metal shelves and several cardboard boxes in the smaller area of the room referred to. All are in poor condition. This means that before the new monastery building was completed they were exposed to very damp conditions, as a result of which the pages are stuck together, and the covers are mouldy, as are some of the pages.
The other group of books, consisting of more recent titles, has also been exposed to damp, but are not so badly affected as the books in the first group. Unlike the first group of books, which are stacked on shelves, the books in this group are in three large piles each about 1 m in height on the floor of the same room.
III – CONCLUSION
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.
The Decision was based on the following criteria:
A. Time frame
B. Historical value
D. Clarity
D.i. material evidence of a lesser known historical era
D.ii. evidence of historical change
D.iv. evidence of a particular type, style or regional manner
D.v. evidence of a typical way of life at a specific period
E. Symbolic value
E.i. ontological value
E.ii. religious value
E.iii. traditional value
E.iv. relation to rituals or ceremonies
E.v. significance for the identity of a group of people
G. Authenticity
G.iv. traditions and techniques
G.vi. spirit and feeling
The following documents form an integral part of this Decision:
- Photodocumentation;
- Ink drawing on papers
Bibliography
During the procedure to designate the museum collection of the Franciscan monastery in Fojnica as a national monument, the following works were consulted:
1912. Fr. J. Jelenić, Kultura i bosanski franjevci (Culture and the Bosnian Franciscans), Svijetlost, Sarajevo, phototype of the 1912 edition. Sarajevo, 1990.
1913. Fr. M. Batinić, Franjevački samostan u Fojnici od stoljeća XIV-XX (The Franciscan monastery in Fojnica 14th-20th century), Zagreb, 1913.
1933. A. Solovjev, “Postanak ilirske heraldike i porodica Ohmućević” (The origins of Illyrian heraldry and the Ohmućević family), Jnl of the Skopje Scientific Society, bk. XII, vol. 6, 1933, Skopje, 79-127.
1954. A. Solovjev, “Prinosi za bosansku i ilirsku heraldiku”. (Contributions to Bosnian and Illyrian heraldry), Jnl of the National Museum in Sarajevo ns vol IX arheologija, 1954, Sarajevo, 87-135
1964. Enciklopedija likovne umjetnosti (Encyclopaedia of the Fine Arts), Yugoslav Lexigraphical Institute, Vol. 3, Zagreb, MCMLXIV, 2.
1964. Berislav Gavranović, “Sudbina važnijih starih dragocijenosti iz naših triju historijskih samostana i biskup Strossmayer” (The fate of the more important old valuables from our three historic monasteries and Bishop Strossmayer), Dobri pastir Vol I-IV, Yrs XIII-XIV, Sarajevo, 1964, 225-270.
1965. Lj. Popović, “Popis inkunabula koje se nalaze u Bosni i Hercegovini” (List of incunabula in BiH), Bibliotekarstvo, Belgrade, 1965, 17- 45.
1978. Desanka Kovačević Kojić, Gradska naselja srednjovijekovna bosanske države (Urban settlements of the mediaeval Bosnian state), Sarajevo, 1978.
1980. Enciklopedija hrvatske povijesti i kulture (Encyclopaedia of Croatian history and culture), School Book, Zagreb, 1980, 237.
1982. Opća enciklopedija (General Encyclopaedia), Yugoslav Lexicographical Institute, Vol. 4, 8, Zagreb, 1982, 427, 223.
1984. Likovna enciklopedija Jugoslavije (Arts Encyclopaedia of Yugoslavia), Yugoslav Lexicographical Institute, Vol. 1, Zagreb, 1984, 261.
1984. Stari franjevački samostani Bosne i Hercegovine (Old Franciscan monasteries of BiH), Sarajevo, 1984.
1988. S. Rakić, “Slikarstvo i skulptura”, Blago franjevačkih samostana Bosne i Hercegovine (Painting and sculpture: Treasures of the Franciscan monasteries of BiH), 13-66, Sarajevo, 1988.
1988. Đ. Basler, “Metal”, Blago franjevačkih samostana Bosne i Herecgovine (Metal: Treasures of the Franciscan monasteries of BiH), 67-94, Sarajevo, 1988.
1988. Jelena Ivoš, “Tekstil”, Blago franjevačkih samostana Bosne i Hercegovine (Textiles: Treasures of the Franciscan monasteries of BiH), 67-94, Sarajevo, 1988.
1990. Blago franjevačkih samostana (Treasures of Franciscan Monasteries), Exhibition catalogue, Zagreb, 1990.
1990. A. Rašidbegović, V. Hunski, “Knjižno blago” (Book holdings), Blago franjevačkih samostana Bosne i Hercegovine
1992. M. Karamatić, Franjevci Bosne Srebrene u vrijeme austrougarske uprave 1878.- 1914. (The Franciscans of Bosnia Argentina during the Austro-Hungarian period, 1878-1914), Sarajevo, 1992.
1995. Bratislava Vladić Krstić, Seoski nakit u Bosni i Hercegovini u XIX i prvoj polovini XX vijeka I. (Rural jewellery in BiH in the 19th and first half of the 20th century), Ethnographic Museum, Belgrade, Belgrade, 1995.
2002. Simo Ćirković, Desanka Kovačević Kojić, Ruža Ćuk, Staro srpsko rudarstvo (Old Serbian mining), Prometej, Novi Sad, 2002.
www. hgu.hr
(1) “This is corroborated by local chroniclers who place the date of death of Fr. Angeo Zvizdović in 1498, also recounting that he died in Pazarnice.” The chronicles also recount that it was from there that Fr. Anđeo Zvizdović set off for Milodraž for the Ahdnama, but along with the monastery at Pazarnice and the Ahdnama there is also reference to Kašteli rocks on Mt Zahor, where the Franciscans took refuge prior to receiving the Ahdnama in 1463. It is probable that it was from Kašteli that Fr. Anđeo set off for Milodraž (M. Batinić, 1913, 21, 22)
(2) The Franciscan general of the order and historian Father Franciscus Gonzaga, describing the province and monasteries of the order in 1587, when dealing with Bosnia writes that the monastery in Fojnica was moved from Pazarnice to the other side of town, because the Franciscans could no longer received uninvited guests, who were disturbing them day after day (M. Batinić, 1913, 22).
(3) “...The inhabitants of the Fojnica mine, nahija (district) of Visoko, under the judiciary of the Sarajevo region, made the following request at the general assembly: Six years ago we repaired our old church in the town of Fojnica, where we have worshipped God since the time of unbelief, but since they said that the church had already been built since the original construction, they demolished it…” Their complaint was met by a response from several Musli villagers from the Fojnica area: “…We hereby testify and directly bear witness in this matter that when this region was conquered during the reign of the late Sultan Mehmed Khan of blessed memory, there had been a church on this same site since the time of the kingdom, which was 50 ells in length…” (M. Batinić, 1913, 26, 27)
(4) The Franciscan monastery in Fojnica was the archives and see of the apostolic governor until the death of Bishop Miletić in 1832 (M. Batinić, 1913, 114).
(5) The front wing was 57 m long and 12 m high. Inside, the rooms were comfortably furnished, and there were several very spacious halls. The ground floor of the monastery was open on the courtyard side with arches on columns, like an arcade, which gave this corridor a particularly appealing appearance
(6) Because of the Bosnian Franciscans’ links with the management of the order in Rome
(7) Trade with the west was conducted through the coastal towns, so that a great many imported items reached Bosnia via Split. In addition, a number of artists were working on the coast at that time.
(8) Born in Livno on 24. 03. 1886. Left Technical Secondary School in Sarajevo to dedicate himself to painting. Soon thereafter enrolled in the Provisional School for Art and Crafts in Zagreb, and then in the Fine Arts Academy in Vienna, where he was immediately entered in the fourth year of the general painting department in Alois Deluga's class. After his studies in Vienna, he returned to Sarajevo and set up the first monastery exhibitions. After almost fifty years in Sarajevo he returned to Livno to the studio of the Franciscan monastery in Gorica where he lived with his wife. Died on 25. 05. 1974. Buried in the Gorica cemetery.
(9) As S. Tihić notes, the painting bears the annotation MCCCX18th (1328). He says that if this date is to be regarded as accurate, this would be one of the oldest paintings on wood panel in Bosnia and Herzegovina. However, he is of the view that one should be extremely cautious when expressing such views, since it is not uncommon to falsify historical truths, particularly in circumstances when the owner of the item needs to be assured that his institution takes priority historically over other similar institutions. S. Tihić thus says that this is perhaps a later alteration to annotate the painting with an earlier date, or even a completely arbitrary case of adding an old date to a new work, or possibly the letter D (for 500) was accidentally or deliberately omitted from the painting. (S. Tihić, 1956, 77)
(10) the use of tempera on wood panel is a manner of painting used in Italy up to the mid 15th century, when the use of oil paints began to prevail. This would suggest that the date indicated is correct. However, the outlines of the ink drawing on paper are hard to make out, since the brushwork technique used is such that the pigments are laid on in almost impressionist fashion, similar to the technique used by the illuminators of late 14th century manuscripts in France. Italian painting of the first half of the 14th century is also more naturalistic, primarily using scenes from nature and still life. Add to this the simplicity of the wood panel, the solid craftsmanship and the overall appearance, and a date in the first half of the 14th century becomes possible. However, since the monastery was founded at this very time, according to Mijo Batinić, it seems barely credible that the painting would have survived all this time despite all the misfortunes that befell the monastery. (S. Tihić, 1956, 78)
(11) The characteristic use of reddish-brown pigment on the edges of parts of the hands, nostrils and ears is associated with the dating of the painting. Similar treatment is to be found on paintings by masters of the late Baroque Naples school (Matia Pretti [1613-1699] and Luka Giordano [1632-1705]). The basic characteristic of these artists is soft modelling with dark shadows, a distinctive palette leaning to chocolate-brown, dark red, dark blue, lilac and dark green tones, and romantic overtones in form and content. The origins of the artist of this painting should certainly be sought in northern Italy. (S. Tihić, 1956, 78-79)
(12) judging from the garments of the figure the artist could be from Italy or Dalmatia. (S. Tihić, 1956, 80)
(13) Sebastian Devito was born in Split in 1740. He worked in Rovigo, Padua and Venice. Some of his paintings have survived in Split. K. Prijatelj has dealt with his work. (S. Rakić, 1988, 20)
(14) Fr. Mijo Batinić says: «With pestilence and plague raging here, St Rocco and St Sebastian were appealed to, and in 1784 as a pledge they had Our Lady painted on canvas and these servants of God in the upper part, and in the lower part a Franciscan and several male and female persons praying to the saints, with a Latin inscription: Votum vovit Domino. This painting, which is now kept in the monastery museum, is of particular historical balue, for it shows the figures wearing the Bosnian folk costume of the day, which has now entirely died out.» (M. Batinić, 1920, 101-102) Batinić did not indicate the name of the artist commissioned to produce this work, but it is known that it was ordered by the Franciscans of Fojnica.
(15) This part of the painting is much more valuable than the upper part because of its documentary value. It shows the costumes worn by Bosnians in the 18th century. The men are shown with pigtails on the backs of their heads and the rest of their heads clean-shaved. They are wearing long-sleeved homespun jackets. The women are shown wearing various types of costume. One has a blue cloak and a multicoloured belt around her waist, with a white scarf over head head. Another has a red cloak with long sleeves and a triangular cut bodice; she has a red tepeluk (women's cap decorated with pearls or coins, or with gold or silver thread embroidery). The third woman has a white headscarf.
(16) Julijan Jelinić notes that Michael Cuich was eggregius pictor, meaning an outstanding artist, a model monk, who died in Duvno in Bosnia on 24 April 1809. (J. Jelinić, 1990, Vol. 2, 580) Čuić is known to have painted the interior of the old church in Fojnica that was demolished in 1884 and that he worked on the paintings in the church in Rama. (S. Rakić, 1988, 20)
(17) The saint's day is celebrated in Fojnica on 17 January, when he is traditionally believed to have died on the shores of the Red Sea.
(18) S. Tihić does not believe that the artist was Fr. Mijo Čuić, as Đ. Mazalić believes. According to Tihić, the portraits of Fr. Grga Ilić in the monastery museums in Kreševo and Kraljeva Sutjeska reveal an entirely different technique (S. Tihić, 1956, 84)
(19) S. Rakić believes that Mijo Čuić is the artist of this painting on the basis of comparison with the paintings of St Antony the Hermit and St Bono. She says: “The brown line, long straight nose and shape of the hands of St Francis, as well as the reddish tones on his cheeks, are the same as those of St Antony and St Bono. The lighting is diffuse here too, with the difference that the colour palette is subdued on the previous two paintings but predominantly light-toned here, mainly blue. The draperies are modelled with broad dark strokes of the brush, as on the two previous paintings. The same rosary is shown hanging from St Francis' girdle as the one seen hanging out of St Antony's basket. The mountains in the background of these two saints, too, are edged with the same light band that gives the impression of light emerging from them.” (S. Rakić, 1988, 21)
(20) S. Rakić believes, on the basis of comparison between this painting and the one of St Antony, that the artist is Mijo Čuić. S. Rakić says: “The skin tones of the faces of both saints are pale pink with light brown shadows, with cinnabar red on the lips. The broad line of the longish nose which starts from the eyebrows is straight, but curved on the eyebrows. The line of the face and the similarly shaped hands is brown and soft, and the skin tones of the fingers and ears have been enhanced with pale pink pigment. The almond-shaped eyes have black pupils. The dark contours are prominent on both of the saint's cloaks. So as to achieve a luminous effect, Čuić draws the contours of the subjects in the background in white pigment (a small Crucifixion in the case of St Antony the Hermit and three penholders in the case of St Bono). The light on both paintings is diffuse, with no central source of light.” (S. Rakić, 1988, 20-21)
(21) The original portrait of Bishop Miletić, after which this portrait was painted, dates from 1803 when Miletić was appointed as bishop. The original was in the Franciscan monastery in Tolisa. It is not known who painted the original portrait, but Saitz is known to have painted this one after it. (Information acquired in the Franciscan monastery in Fojnica).
(22) According to folk legend, Cecilia was the daughter of a 3rd century Roman patrician who brought her up as a Christian. She was engaged to a nobleman named Valerian, but after the wedding she told her husband that she had taken a vow of virginity, and begged him to respect her vow. Valerian agreed, on condition that he would be able to see the angel she said was watching over her. Cecilia sent her husband to Pope Urban, who was hiding with the Christians in the catacombs in Rome. There Valerian, too, embraced Christianity. On returning to Cecilia, he saw an angel standing beside her holding two garlands of flowers. The angel placed a crown of lilies on Cecilia's head, and a crown of roses on Valerian's. With the angel's help, Valerian's brother Tiburcia also embraced Christianity, and the brothers began to preach the gospel of Christ. When the Roman governor came to know of this he ordered them to stop, and when they refused, had them killed. At first he spared Cecilia, hoping to acquire her immense wealth. He ordered her to sacrifice to the gods, and when she refused, he tried to strangle her. By a miracle, she was unhurt, so the governor sent for an executioner to behead her. The executioner tried three times, but each time all that happened was that her neck was wounded. Cecilia lived for another three days, during which she distributed all her wealth to the poor. Cecilia is said to have been so close to heaven during her lifetime that she could hear the angels singing. She is also said to have been able to play any musical instrument. She is usually pictured listening to music, singing, or playing an instrument. The organ is her particular instrument. At times she appears with three wounds on the back of her head. On her head, or near her, she often has a crown of white or red roses. (www. hgu.hr)
(23) On the reverse of the photograph accompanying the painting is the following note: “This picture was painted in 1982 by academic artist Enver Krupić, who was born in 1911 in Bosanska Krupa, and died in Bihać in 1992. The painting was given to Raif Dizdarević and his wife Sena. Raif je gave the painting to the monastery in 1999.”
(24) From the notes accompanying the items it is clear that some items came to the monastery as gifts from Sarajevo, Olovo and Biograd.
(25) Identical to navicula no. 30.
(26) There is an identical custodium in the Franciscan monastery in Kreševo, on which is engraved the name of the donor: Fr. Nikola Brajković, 1635-1638. (Đ. Basler, 1988, 88)
(27) Vessel for holding the host and taking it to the sick
(28) intended to adorn a painting, eg. the portrait of a bishop (S. Tihić, 1957, 92)
(29) The glasses under serial numbers 102, 103 and 104 were a gift from Regent Aleksandar Karađorđević, who visited the monastery in 1921.
(30) Until the beginning of the 20th century the Fojnica Roll of Arms was considered to be the oldest in Bosnia and Herzegovina, and to date from 1340. In this view, it was the work of Father Stanislav Rubčić. (A. Solovjev, 1932, 103). However, in his work on Illyrian heraldry and the Ohmućević family, with which the Fojnica Roll of Arms is associated, Solovjev writes of its true date of origin: «... The Fojnica m/s could have originated only after the marriage of Pjer-Damjan Ohmućević, a descendant of the Radmirović's and Kovačević's, to Marija Jablanović, i.e. after 1645. It is likely, however, the Fojnica m/s originated even later; I cannot see enough reason for an expensive Roll of Arms to be drawn up for a young mathematician, deeply involved in science and far from vain. His father, the admiral, could have needed a Roll of Arms because of his official duties vis-a-vis the nobility of Dubrovnik, but then the Roll of Arms would not have included the coat of arms of the Jablanović's. It is much more likely that the Roll of Arms originated later than 1661, when the mathematician Pjer-Damjan himself became Dubrovnik admiral. This date could even be shifted towards 1675, when Pjer-Damjan had to do battle around the fideicomis with a representative of the older branch, Jelena Sančez, who was contesting his right to belong to the famous Ohmućević family. Pjer-Damjan then had to ask older people for testimonials and request patents on his origins from the Dubrovnik senate. He could then have felt the need to have to hand a copy of Dušan's Roll of Arms, where his coat of arms occupied one of the most prominent positions. It is most likely, then, that the Fojnica Roll of Arms came into existence around 1675 or even later, because its origins could be associated with Pjer-Damjan's and Marija Jablanović's son, the vain Don Andrija. The best way to verify this opinion would be to study the watermarks on the pages of the Fojnica Roll of Arms, but Fojnica is still well off the beaten track. In any case, it is clear that the Fojnica Roll of Arms is not the oldest (as is the general view)...» (A. Solovjev, 1932, 81,82)
(31) In 1965 Ljubinko Popović listed 51 recorded incunabula from Bosnia and Herzegovina, located in various institutions, in the publication Bibliotekarstvo (Librarianship) (Lj. Popović, 1965, 17- 45)
