Status of monument -> National monument
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 16 to 22 May 2006 the Commission adopted a
D E C I S I O N
I
The architectural ensemble of the Franciscan monastery in Konjic is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument consists of the monastery church of St John the Baptist, the monastery building with three ancillary buildings (religious education classrooms – auditoria) and movable heritage consisting of a collection of paintings (25), a collection of sculptures (3), a collection of items of metalwork (4), a collection of old books (3) and a collection of textile items (2).
The National Monument is located on a site designated as cadastral plot no. 1017, title sheet no. 207, cadastral municipality Konjic I, Konjic Municipality, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.
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 ensuring and providing the legal, scientific, technical, administrative and financial measures necessary to protect, conserve and display the National Monument.
The Commission to Preserve National Monuments (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and setting up signboards with the basic data on the monument and the Decision to proclaim the property a National Monument.
III
To ensure the on-going protection of the National Monument, the following protection measures are hereby stipulated, which shall apply to the area defined in Clause 1 para. 3 of this Decision:
- all works are prohibited with the exception of research, conservation and restoration works and minor works designed to adapt the building to the present-day needs of the community, with the approval of the Federation ministry responsible for regional planning (hereinafter: the relevant ministry) and with the expert supervision of the heritage protection authority of the Federation of Bosnia and Herzegovina (hereinafter: the heritage protection authority),
- all protection works, regardless of their type and extent, must be based on the prior approval of the relevant ministry.
IV
All executive and area development planning acts not in accordance with the provisions of this Decision are hereby revoked.
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 preservation thereof.
VI
The removal of the movable heritage items referred to in Clause 1 para. 2 of this Decision (hereinafter: the movable heritage) from Bosnia and Herzegovina is prohibited.
By way of exception to the provisions of paragraph 1 of this Clause, the temporary removal from Bosnia and Herzegovina of the movable heritage 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 temporary removal 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 movable heritage in any way.
In granting permission for the temporary removal of the movable heritage from Bosnia and Herzegovina, the Commission shall stipulate all the conditions under which the removal may take place, the date by which the items shall be returned to Bosnia and Herzegovina, and the responsibility of individual authorities and institutions for ensuring that these conditions are met, and shall notify the Government of the Federation, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.
VII
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
On the date of adoption of this Decision, the National Monument shall be deleted from the Provisional List of National Monuments of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02, Official Gazette of Republika Srpska no. 79/02, Official Gazette of the Federation of BiH no. 59/02, and Official Gazette of Brčko District BiH no. 4/03), where it featured under serial no.303.
XI
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: 07.1-2-900/03-2
18 May 2005
Sarajevo
Chair of the Commission
Amra Hadžimuhamedović
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.
The Commission to Preserve National Monuments issued a decision to add the Franciscan monastery in Konjic to the Provisional List of National Monuments under serial no. 303.
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 documentation was inspected:
- Documentation on the current owner and user of the property,
- Details of current legal protection of the property,
- Data on the current condition and use of the property, including a description and photographs, data of war damage, data on restoration or other works on the property, etc.
- Historical, architectural and other documentary material on the property, as set out in the bibliography forming part of this Decision.
The findings based on the review of the above documentation and the condition of the site are as follows:
1. Details of the property
Location
The architectural ensemble of the Franciscan monastery in Konjic is in the very centre of the town of Konjic, on the right bank of the river Neretva, below the hill known Vrtaljica, close to the site where the original mid 14th century church and monastery were erected.
The National Monument consists of the monastery church of St John the Baptist, the monastery building with three ancillary buildings (religious education classroms – auditoria) and movable heritage.
Historical information
The Konjic area has been settled since Neolithic times. There is reference to it in the 4th century BCE. The remains of a Mithraic temple were found close to the town below Repovica hill, opposite the railway station. During Roman times there was a major crossroads here. Vestiges of settlement on both banks of the Neretva dating from Roman times have been found in the area of the present-day town of Konjic (Mujezinović, 1998, p. 422; Mulić, 2003, p. 24).
The 15th century saw the rapid development of the caravan waystations on the route leading from Dubrovnik via the Neretva valley to central Bosnia, as a result of the economic growth of Visoko and the more intensive exploitation of the central Bosnian mining basin. One of these waystations developed in Konjic, where a customs house had already been established during the reign of King Tvrtko (1353-1394). The active merchant traffic led to royal houses or hostels, too, being built in Konjic, where travellers could rest and display their goods. These public hostels were run by the “Patarenes” and the Bosnian kings. In 1356 where was a ban’s (governor’s) court in Konjic (Anđelić, 1975, pp. 128, 312).
The first official information on Konjic as a settlement on the right bank of the Neretva bears the date 16 June 1382. This is an agreement between the people of Dubrovnik and the Vlachs to transport lead on their caravans from Podvisoko and Konjic to Dubrovnik.
The exact date when the original monastery and church in Konjic were founded is not known. Dominik Madić gives the date of the erection of the Franciscan monasteries in Konjic, Humac near Ljubuški and Vukodo near Mostar as 1454. It was located on a site known as Pod, not far from the present-day monastery.
During the campaign by Sultan Mehmed el Fatih, lasting from early May to mid June 1463, the entire Konjic region was conquered (Anđelić, 1975, pp. 129, 313). During the Ottoman period, Konjic was a traffic hub and wayside station on the road from the Istanbul road via the Neretva valley to the sea. Between 1550 and 1574 Konjic market acquired the status of a kasaba or town, with the name Neretva, but the name Konjic remained in use until the beginning of the 18th century. In 1833 two nahijas gained the status of counties with the names Neretva and Konjice (Konjiće). With the formation of the Bosnian vilayet in 1865, they were merged into a single subdistrict with the title Sa Neretvom Konjice (Mea Neretva Konjiće), shortened to Konjiće in 1867. The two kasabas were also merged into one, also known as Konjiće. This remained unchanged until the start of the Austro-Hungarian period in 1878. The Austro-Hungarian authorities immediately transformed the subdistrict of Konjiće into a district known as Konjic, and the kasaba of Konjiće into a town also known as Konjic (Mulić, 2003, p. 27).
A bujruntija (order issued by a pasha or vali) of the Bosnian sandžak-beg Firuz-beg issued at the end of July 1511 reveals that the congregation donated to the Franciscan monastery a meadow in Pod and a newly built house with two rooms and stabling for visitors' mounts close to the neighbouring cemetery. The last official reference to the Franciscan monastery dates from 1516, in the census of monasteries of the Bosnian vicariate.
In 1524 the friars of the monastery were killed, and the monastery and all the churches in this region were demolished. The Franciscan monastery in Visoko, Sutjeska and Fojnica were also demolished in 1524. A record of these events is preserved in the Chronicle of the Franciscan monastery in Fojnica. The ruins of the monastery remained visible until the start of the Austro-Hungarian period, when the military garrison built a recreational complex known as Pleha (Blecha, from Blechmusik – military brass band music) on the site (material obtained from Konjic municipality, 2005).
It has not been ascertained how many Franciscans there were in the monastery before it was demolished. When fleeing Konjic, the occupants of the monastery, the parish priest and the curate took with them part of the most valuable reliquaries (chalices, paintings, statues) and robes and deposited them in the monastery in Kreševo. Following these events, Catholics disappeared almost completely from the Konjic area, and towards the end of the 19th century almost all the Catholic church's activities had died out. The remaining Catholics from the area belonged initially to the parish of Kreševo, and then to that of Podhum.
The growing size of the congregation and the considerable distances between the various settlements led to the parish of Podhum being divided, with a new parish based in Orašje, a suburb of Konjic, established in 1876. Registers of births, marriages and deaths have been maintained since them. A further division of this large parish in 1882 gave rise to the new parish of Glavatičevo, and yet another in 1917 to the parish of Jablanica.
The first church in the Konjic parish was built the same year the parish was established, in 1839, in Zaslivanj, where the parish was based until 1876, when fr. Andrija Karačić built a residence, the ground floor of which was converted into a church, in Orašje, a suburb of Konjic (materials obtained from Konjic municipality, 2005).
The present-day monastery building, in the heart of Konjic, was built in 1939-40, but the friars did not live in it for a further ten years. In 1955 the parish priest returned to the monastery, when part of the ground floor was made available for his use. In 1969 the entire monastery was restored to the Province, and in 1970 it was designated as a monastery.
The building of the church of St John the Baptist took place in stages, over a longish period. The building itself was erected in 1895-97, the interior was completed in 1909, and the bell tower was built in 1919. The church was not built according to the original design by architect Josip Vancaš(1), as revealed by a perspective drawing of the church by the architect himself. Instead of the roof over the baptistery and a stairway to the bell tower, roof terraces were built with a balustrade and openings at the sides of the bell tower, the steps leading to the main street did not give direct onto the entrance, as the original design intended, but were set to the side.
The monastery and church are completed and linked into a single architectural ensemble by the religious education classrooms: three large auditoria. These were built in 1969 with funds from the Konjic-based benefactor Petar Dicca.
During World War II the church was quite badly damaged, after which it was renovated on several occasions. During the 1992-1995 war, the church and monastery building suffered major damage. The church was again renovated after 1995.
2. Description of the property
The National Monument consists of the monastery church of St John the Baptist, the monastery building with three ancillary buildings (religious education classroms – auditoria).
Church of St John the Baptist
The church of St John the Baptist, which was built in 1897, was designed by Josip Vancaš, one of the most important architects of his day in BiH. By comparison with his other works, the church in Konjic is a relatively modest building, but is nonetheless the most important work of archicture in Konjic dating from the Austro-Hungarian period (materials obtained from Konjic municipality, 2005).
In stylistic features, the church of St John the Baptist belongs to historicism and has neo-Romanesque features.
In ground plan, the building is a single-naved vaulted basilica, with a semicircular altar apse.
The single-naved church consists in layout of a narthex, nave, semicircular sanctuary and choir gallery above the narthex. The choir gallery has a solid parapet railing at the front.
The nave measures 10 x 40 m. The side walls have two structural reinforcements running their full height – pilasters, joined transversally by a pair of round arches and longitudinally by single round arches, thus forming three visual-cum-spatial elements of the nave. The entire space is covered by a barrel vault resting on arches. The nave is lit from the sides by six (three pairs) of round-arched windows on each of the side walls. The apse area is lit by three round-arched windows.
The narthex of the church consists of the main entrance area, set centrally opposite the altar apse, with steps leading to the bell tower to the left and the baptistery to the right.
The altar area is raised above the floor level of the nave, and has a further two small altars in niches on each side of the access steps. The sacristy is located to the right of the altar and the room where ecclesiastical robes are kept is to the left.
In addition to the main central entrance, there are a further three side entrances to the nave, and a separate entry to the sacristy.
The side facades of the building are plain, plastered and painted white. Plasticity is achieved on these facades by accentuating the vertical and horizontal divisions by means of vertical elements projecting slightly outwards from the wall plane, corresponding to the positions of the interior pilasters forming sections at the centre of each of which is a pair of tall, round-arched windows, and from top to bottom by the roof cornice, cordon string course below the windows of the church, and stone socle.
Only the main entrance facade of the church is treated more elaborately, with a stone facade, accentuated by stone quoins and window frames. The entire area of the entrance facade can be divided into four levels, separated one from another by string courses.
On the first, ground floor level, to the right and left of the entrance, light enters the baptistery and the steps leading to the bell tower through tall, narrow, round-arched windows on the front and side facades of the entrance area of the building. Both the baptistery and the stairway are slightly set back from the wall plane of the entrance facade, thus further accentuating the dominant, centrally-placed church tower. Above these rooms are terraces with balustrades. The main body of the tower itself is set on a markedly accentuated «base» - the centrally-placed projection of the entrance facade. The central element of the entrance facade is a portal projecting slightly outwards from the wall plane and terminating in a tympanum. The entrance to the church itself is round-arched, with above it the triangular panel of the tympanum with a round-arched niche in the axis of the triangle. The niche houses a sculpture, and to right and left of the niche are quarter circles in bas relief.
The second level is the narrow strip of the «base» of the tower with the dominant element of a centrally-placed circular rosette above which is a strongly accentuated round arch composed of stone blocks. The sides of this level are the exits to the roof terraces of the baptistery and stairway, and have no decorative features.
The third and fourth levels are the main body of the tower itself: the lower storey of the tower has a tall, narrow, centrally-placed round-arched window on three sides, with a pronounced stone frame following the outline of the opening. Above these is a string course, on which the biforae of the fourth storey of the tower rest on all four sides. Somewhat higher than the biforae, and directly above them, is a clock on each side. The terminal cornice of the tower is incomplete, featuring only at the corners of the bell tower. The roof of the tower is a pointed four-sided pyramid, flared at the base.
The roof of the church is clad with plain tiles with single overlap. All the flashings of the roof surface are made of sheet copper, as are the guttering and downpipes, the snow barriers and the lightning conductor.
Monastery building
The monastery is a simple two-storey building with a hipped roof, clad with plain tiles.
The plastered, blue-painted facades are without decoration. The only dynamic of the facade planes is provided by the rectangular windows in two rows, with prominent window frames projecting outwards from the plane of the facade. From top to bottom, the facades are articulated by the roof cornice, shallow cordon string course marking the height between the storeys, and the stone socle, which extends around the entire building.
Religious education classrooms
The religious education classrooms, three large auditoria, were built as a distinct architectural element abutting onto the church.They were built in 1969, and in terms of town planning they visually complete the monastery complex, forming a central courtyard enclosed on three sides.
The building is a single-storey structure reached through an open porch composed of columns interlinked by round arches. Relief circles are set at the base of thearches.
The central part of the entrance facade is a strongly accentuated tympanum below which is a stone bas relief. The lower line of the relief, in the form of steps, echoes the top of the stylized form of the window through which light enters the stairway. As counterweight to the pronounced verticality of the central part of the entrance facade are two round-arched bifora windows to the right and left of the central axis of the symmetry of the facade. A typical detail is the stylized eaves above the biforae, which project outwards semicircularly from the wall plane of the facade.
The upper part of this building is of regular cut stone facade blocks, and the lower is plastered and painted white.
Movable heritage
The first interior decoration of the church was carried out in 1909, soon after the building was completed. After World War II, when the church was damaged, it was renovated on several occasions. The most extensive renovations were carried out in 1975, when the interior of the church was refurbished. It was then that the following murals on the vault of the church were painted:
- symbol of the Franciscans – crossed arms of Christ and St Francis of Assisi, with between them a cross with sunrays extending from it
- Christ with angels – Christ standing, dressed in a yellow robe with a blue cloak over it. He has long hair and a beard. His right hand is at chest height and His left above His head. There is a halo around His head. Two figures of angels with wings feature on each side of Him.
- St Anthony of Padua with Christ and the Madonna – the saint standing in a landscape, with the outlines of a city in the background. St Anthony of Padua is wearing a blue robe and red cloak, and has a halo around his head. He is holding a tall stem topped by a lily flower in his left hand. His right hand is raised at head level.To his right is the Christ Child, dressed in a yellow robe, with a white belt around the waist and a halo around His head. He is holding a staff in His left hand and His mother's hand in His right. The Madonna is to the right of Christ, dressed in a red robe with a blue cloak over it. She has a white veil over her head and a halo around it. Her left hand is holding Christ's and her right a book.
- Madonna – standing on a globe and crescent moon. A serpent is twined around the globe. Her hands are crossed over her breast. She is wearing a white robe with a red-line blue cloak over it. To her left are four figures of angels, and to her right one angel.
A new group has been added to the old stone altar in the last ten years of so – a scene of the baptism of Christ in the river Jordan, painted at the centre of a large rectangular slab. The painting is semicircular at the top, while the stone slab terminates in a triangle.
There are four sculptures of the following saints in the church:
- St John the Baptist – height of the sculpture approx. 140 cm. The sculpture is of wood, painted and varnished. St John the Baptist is wrapped in sheepskin. A large cross rests against his left hand, which is by his side, while his left [sic] hand is raised above his head. A lamb lies at his feet.
- Blessed Virgin Mary – height of the sculpture approx. 140 cm. The sculpture is of wood. The Blessed Virgin Mary is shown with her head raised heavenwards and her arms folded over her breast, standing on a globe and crescent moon. She is wearing a white robe over which is a blue cloak with a yellow lining.
- St Anthony of Padua – height of the sculpture approx. 140 cm. The sculpture is of wood. The saint is wearing the Franciscan habit. He is holding a book in both hands, with the Christ Child seated upon it, giving a blessing with His right hand and holding a lily spray in His left.
- St Clare – height of the sculpture approx. 140 cm. The sculpture is of wood. The saint is wearing the habit of her order. She has a halo around her head and her arms are folded across her breast, holding a spray of roses. One rose lies at her feet. A plaque is attached to the plinth of the figure, with the following inscription:
Dragotin Horvat
Izdelovatelj oltarjev. podob in
križev. pota
Domžale.
The fourteen Stations of the Cross are attached to the walls of the church, executed in relief.They came to the church by way of donation from a church in Italy.
The church organ was made in about 1960 in Zagreb in the workshop of the Heferer family.
Monastery museum
Since the Franciscan monastery in Konjic was destroyed, along with all its works of art, in the 16th century – with the exception of a sculpture of St Catherine, which has been housed since them in the Franciscan monastery in Kreševo – the monastery collection consists mainly of relatively recent works. In terms of the items it contains, the collection can be divided into three: the picture and sculpture gallery, the ethnological collection and the treasury of items of metalwork.
Of particular value in the monastery collection are the Portrait of St Pascal of Bologna, dating from the late 16th or early 17th century, and the work by Ivan Tišov, the Deposition in the Tomb, along with a gilded chalice with an inscription by master-craftsman Josip Vasiljević dating from 1758.
Pictures
1. PORTRAIT OF ST PASCAL OF BOLOGNA
Artist: unidentifiedi artist – Emilian school
Date: late 16th or early 17th century
Technique: oil on canvas
Size: 47x37 cm
Signatura: without signature (Rakić, 1990, 23)
Description: The painting features the half-length figure of a young man in profile, wearing priest's robes. His arms are folded on his chest and his head is slightly raised.
2. DEPOSITION OF CHRIST IN THE TOMB AND PIETÀ
Artist: Ivan Tišov (1870-1928)
Date: late 19th or early 20th century
Technique: oil on canvas
Size: 148x85 cm
Signatura: bottom right: Ivan Tišov (Rakić, 1990, 23)
Description: The painting features the body of Christ wrapped in a white shround. His body is being laid in the tomb by two elderly men, behind whom is a group of men and women.
3. ASCENSION OF CHRIST
Artist: Ella Doctorovich after B. Coletti
Date: 1910, Vienna
Technique: oil on canvas
Size: 220x161 cm
Signatura: bottom right: Ella v. Doctorovich frei n. B. Coletti Wien 5. 1910. (Rakić, 1990, 23)
Description: Christ is wearing a white robe and light-coloured mantle with a halo around His head. He is shown ascending to heaven. Below Him are four men with expressions of amazement on their faces. The tower of a city can be made out in the distance.
4. MONASTERY OF ST MARY IN MLJET
Artist: Josip Crnobori (1907)
Date: not known
Technique: oil on canvas
Size: 77x82 cm
Signatura: bottom right: J. Crnobori (Rakić, 1990, 23)
Description: The painting is dominated by the monastery building.
5. MARY AND THE PEOPLE
Artist: Stjepan Skoko (1959)
Date: 1988
Technique: oil on canvas
Size: 40x32 cm
Signatura: bottom right: Skoko 88 (Rakić, 1990, 23)
Description: Surrealist representation of the presentation of the Blessed Virgin Mary to the people. She is shown in silhouette in a blue light.
6. MARY AND THE PEOPLE
Artist: Stjepan Skoko (1959)
Date: 1988
Technique: oil on canvas
Size: 40x31 cm
Signatura: without signature (Rakić, 1990, 23)
Description: -
7. MARY AND CHILD
Artist: Stjepan Skoko (1959)
Date: 1988.
Technique: oil on canvas
Size: 40x31 cm
Signatura: bottom right: Skoko 88 (Rakić, 1990, 23)
Description: -
8. LANDSCAPE
Artist: Stevo Jozić (1951)
Date: not known
Technique: watercolour
Size: 14x18 cm
Signatura: bottom left: Jozić Stevo (Rakić, 1990, 23)
Description: -
9. STILL LIFE
Artist: Stevo Jozić (1951)
Date: 1983
Technique: watercolour
Size: 27x38 cm
Signatura: bottom left: Jozić 83 (Rakić, 1990, 23)
Description: -
10. FLOWERS
Artist: Stevo Jozić (1951)
Date: 1983
Technique: watercolour
Size: 40x30 cm
Signatura: bottom left: Jozić 83 (Rakić, 1990, 23)
Description: -
11. FLOWERS
Artist: Stevo Jozić (1951.)
Date: not known
Technique: watercolour
Size: 54x41 cm
Signatura: bottom right: Jozić Stevo (Rakić, 1990, 23)
Description: -
12. LANDSCAPE
Artist: fr. Blago Karačić (1914)
Date: 1986
Technique: watercolour
Size: 25x35 cm
Signatura: bottom centre: B. Karačić 86 (Rakić, 1990, 24)
Description: -
13. LANDSCAPE
Artist: fr. Blago Karačić (1914)
Date: 1986
Technique: watercolour
Size: 25x35 cm
Signatura: bottom centre: B. Karačić 86 (Rakić, 1990, 24)
Description: -
14. UNTITLED
Artist: Ivan Lacković Croata (1932)
Date: not known
Technique: Indian ink drawing
Size: 31x41 cm
Signatura: bottom right: Ivan Lacković Croata (Rakić, 1990, 24)
Description: -
15. LANDSCAPE
Artist: Ivan Lacković Croata (1932)
Date: not known
Technique: coloured graphic, Indian ink drawing
Size: 18x34 cm
Signatura: lower centre: original Indian ink drawing Ivan Lacković Croata 8 (Rakić, 1990, 24)
Description: -
16. PEASANT WOMAN WITH FLOWERS
Artist: Ivan Lacković Croata (1932)
Date: 1978
Technique: graphic, Indian ink drawing
Size: 68x49 cm
Signatura: bottom centre: original Indian ink drawing by the hand of the artist Ivan Lacković Croata 78 (Rakić, 1990, 24)
Description: The drawing features a barefoot woman with a headscarf, holding a large bunch of flowers. There is a village in the background.
17. COMPOSITION
Artist: Davor Runtić – Sivi (1941)
Date: 1984
Technique: ink, combined technique
Size: 33x51 cm
Signatura: ddu: Sivi 83 (Rakić, 1990, 24)
Description: -
18. PORTRAIT OF IVAN MEŠTROVIĆ
Artist: Davor Runtić – Sivi (1941)
Date: 1984
Technique: silk screen
Size: 44x31 cm
Signatura: bottom right: Sivi 83, silk screen 77/100 (Rakić, 1990, 24)
Description: -
19. CRUCIFIXION
Artist: Rudolf Labaš (1941)
Date: 1981
Technique: Indian ink drawing
Size: 45x31 cm
Signatura: bottom right: Labaš 81 (Rakić, 1990, 24)
Description: -
20. LANDSCAPE
Artist: unidentified artist
Date: not known
Technique: Indian ink drawing
Size: 34x47cm
Signatura: without signature (Rakić, 1990, 24)
Description: -
21. UNTITLED
Artist: J. I. Giusti
Date: 1981
Technique: coloured Indian ink drawing
Size: 49x33 cm
Signatura: bottom left: J. I. Giusti 81 (Rakić, 1990, 24)
Description: -
22. UNTITLED
Artist: unidentified artist (Mazza)
Date: 1983
Technique: coloured graphic
Size: 66x49cm
Signatura: bottom right: Mazza 1983. (Rakić, 1990, 24)
Description: -
23. UNTITLED
Artist: Ivan Večenaj (1920)
Date: not known
Technique: hand-finished coloured graphic
Size: 44x37 cm
Signatura: bottom left: 27/99; bottom right: I. Večenaj (Rakić, 1990, 24)
Description: -
24. UNTITLED
Artist: Susan Williams
Date: 1989
Technique: graphic, dry point
Size: 49x32 cm
Signatura: bottom centre: Susan Williams 1989 P.a. (Rakić, 1990, 24)
Description: -
25. UNTITLED
Artist: Edo Murtić (1921)
Date: 1985
Technique: lithograph
Size: 60x85 cm
Signatura: bottom centre: Murtić 85 (Rakić, 1990, 25)
Description: -
Sculptures
1. FIRST STEPS
Artist: Frano Kršinić (1897-1982)
Date: not known
Material: bronze
Size: height 41 cm (Rakić, 1990, 25)
Description: Nude figure of a mother and child.
2. SAINT IN PRAYER
Artist: Stjepan Skoko (1959)
Date: 1986
Material: bronze
Size: height 36 cm
Signatura: below: Skoko 1986. (Rakić, 1990, 25)
Description: -
3. CRUCIFIXION
Artist: Stjepan Skoko (1959)
Date: 1988
Material: bronze
Size: height 42 cm
Signatura: below: 88 (Rakić, 1990, 25)
Description: -
Treasury
1. CHALICE
Artist: Josip Vasiljević
Date: 1758
Material: metal
Technique: casting, chasing, gilding
Size: 22.8 cm
Signatura: inner side of base: IOSEPH + VASSIGLIEVICH + FECIT + A + D + MDCCLVIII +
Description: Acorn-shaped knop on a round foot, decorated with deep-cut engraving. Bowl with three winged angels' heads in relief. Cup with gilded edge. (Rakić, 1990, 26 – after Đuro Basler)
2. CIBORIUM
Artist: unidentified
Date: 19th century
Material: silver
Technique: casting, chasing
Size: 30.8 cm
Signatura: inner side of base: SANCTA MARIA AB ANGELO SALUTATA ORA NOBIS, with Annunciation engraved towards the empty space.
Description: On a semi-moulded base, an angel with Cornucopia in his left hand and raised right hand holding a cup with a shallow lid. A pierced cover with symbols of the Passion and St Veronica's facecloth in cartouches over the cup and lid (Rakić, 1990, 26, after Đuro Basler)
3. MONSTRANCE
Artist: unidentified
Date: 19th century
Material: silver, gilding
Technique: casting, chasing
Size: 48 cm
Signatura: inner side of base: SANCTA MARIA AB ANGELO SALUTATA ORA NOBIS, with Annunciation engraved towards the empty space.
Description: Oval moulded base, gilded and decorated with floral and geometric designs. Knop moulded and gilded, terminating in a silver relief of intertwined leaves, flowers and bunches of grapes. Three garlands, one after the other, around the slightly oval-shaped ostensorium. Inside it is in the shape of a gilded cartouche surrounded by acanthus leaves and bunches of grapes, and multicoloured glass stones and gilded rays on four sides. At the centre is a floral garland in relief (intertwined flowers, beading and leaves) to which cast, gilded figures are attached: God the Father at the top, beneath a baldaquin finished with flowers, and to each side the figures of angels in adoration, one holding a ladder and the other the colonnade of a church. The cast silver figure of the Holy Spirit as a dove is attached below, surrounded by gilded rays of light. The third, outermost garland of the ostensorium is a circle of gilded flickering rays. There is a gilded cross on top (Rakić, 1990, 26-27, after Đuro Basler)
4. Reliquary (with the relics of st Francis Xavier)
Artist: unidentified
Date: 19th century
Material: silver, copper, gilding
Technique: casting, chasing
Size: 32 cm
Signatura: inner side of base: SANCTA MARIA AB ANGELO SALUTATA ORA NOBIS, with Annunciation engraved towards the empty space.
Description: The moulded base is decorated with cast floral ornament. The silver knop if moulded and decorated with a design of a spiral interweave and beading at the centre. The ostensorium is oval, within a gold band, glass beads and a band with the inscription: S FRANCISCI XAVERII. Around the ostensorium is a silver garland decorated with spirals, flowers and bunches of grapes and gilded rays on the outer circle (Rakić, 1990, 27, after Đuro Basler)
Collection of old books
1. EASTER SPIRITUAL
Printed in: Rome
Date printed: 1842
Size: 17x9,5 cm
No. of pages: 440 (Rakić, 1990, 27)
2. PRAYER BOOK
Printed in: Wurtenberg
Date printed: 1895. godine
Size: 12,5x8,5 cm
No. of pages: 448
Note: The covers are of ivory decorated with mother of pearl and gold incrustation (Rakić, 1990, 27).
3. PRAYER BOOK
Printed in: probably Rijeka
Date printed: 1905
Size: 11,5x8 cm
No. of pages: 544
Note: The covers are of imitation ivory decorated with gold incrustation (Rakić, 1990, 27).
Collection of textiles
1. CHASUBLE
Date: 19th century
Material: silk brocade, silk thread
2. CLOAK
Date: 20th century
Material: silk brocade, braid
3. Legal status to date
The Franciscan monastery in Konjic is on the Provisional List of National Monuments of the Commission to Preserve National Monuments under serial no. 303.
4. Research and conservation and restoration works
-
1975: the following works were carried out on the renovation of the church: salonite was laid on the roof, a concrete ring beam was installed around the entire building, the windows and guttering were replaced, and a new facade was added. In the interior of the church, heating and new electric wiring were installed, and the entire interior was painted.
-
1989: the church was renovated.
-
1995: following war damage, the church was again renovated (materials obtained from Konjic municipality, 2005)
5. Current condition of the property
An on site inspection in April 2006 ascertained that the church and monastery building are in good condition. All the collections in the Franciscan monastery in Konjic are in good condition.
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
C. Artistic and aesthetic value
C.iii. proportions
C.iv. composition
C.v. value of details
D. Clarity (documentary, scientific and educational value)
D.iii. work of a major artist or builder
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
F. Townscape/ Landscape value
F.ii. meaning in the townscape
G. Authenticity
G.iii. use and function
G.v. location and setting
G.vi. spirit and feeling
I. Completeness
I.iii. completeness
The following documents form an integral part of this Decision:
- Copy of cadastral plan
- Copy of land register entry and proof of title;
- Photodocumentation;
- Drawings
Bibliography
During the procedure to designate the monument as a national monument of Bosnia and Herzegovina the following works were consulted:
1977. Nikić A, Šematizam franjevačke provincije Uznesenja Blažene Djevice Marije u Hercegovini (Schematism of the Franciscan Province of the Assumption of the Blessed Virgin Mary in Herzegovina), Provincialate of the Herzegovinian Franciscans, Mostar, 1977.
1987. Krzović, Ibrahim, Arhitektura Bosne i Hercegovine 1878-1918 (Architecture of BiH 1878-1918) (catalogue), exhibition design and selection of exhibits, Art Gallery of Bosnia and Herzegovina, 1987.
1989. Božić, Jela: Arhitekt Josip pl. Vancaš, Značaj i doprinos arhitekturi Sarajeva u periodu austrougarske uprave (Architect Josip Vancaš, significance and contribution to the architecture of Sarajevo in the period of Austro-Hungarian rule), doctoral dissertation, University of Sarajevo, Faculty of Architecture in Sarajevo
1990. Various authors, Galerija Franjevačkog samostana u Konjicu (Gallery of the Franciscan monastery in Konjic), Konjic 1990.
2005. materials received from Konjic Municipality
(1) Josip pl. VANCAŠ, architect (Šopronj, Hungary, 22 March 1859 – Zagreb, Croatia, 15 December 1932). Graduated from Technical High School, department of architecture in Vienna in 1881, and from 1882 to 1884 studied architecture with Prof. Schmidt at the Academy of Fine Arts in Vienna. Initially worked in the Fellmer and Schmidt studio. Came to Sarajevo for the first time in 1893, and settled there in 1894. From 1890 on he worked as a civil architect. He was very active in Sarajevo, building in historical styles and later in secessionist style. From 1908 he began his quest for the Bosnian style. During his long career as an architect he designed 70 churches and town halls, ten institutes and schools, six cafés and hotels, ten banks, 102 rental and private houses, six factories and seven altars and interiors, ten extensions and conversions, and a total of some 240 blueprints, most of which were carried out. His works were shown at exhibitions in Paris, Vienna and Budapest, for which he received honours. He lived in Sarajevo until 1922. Perceiving the value of the country’s architecture as a whole, and backed by a number of architects and civil engineers, in 1911 he put to the Bosnian Assembly a Resolution on the protection, recording, surveying and preservation of cultural monuments and concessions for building in the Bosnian style.
Source: Archives of the Technical High School and Academy of Fine Arts in Vienna.
(Arhitektura Bosne i Hercegovine 1878-1918 (catalogue), exhibition design and selection of exhibits Ibrahim Krzović, Art Gallery of BiH, p. 253)
|
