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 4 to 11 September 2006 the Commission adopted a
D E C I S I O N
I
The historic building of the Orthodox Metropolitan's Palace in Sarajevo together with its movable heritage is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument is located on a site designated as cadastral plot no.. 2028, cadastral municipality Sarajevo XI, (c.p. no.. 71, part 68, Mahala XXXVIII-Sarajevo, old survey), Municipality Stari Grad, Sarajevo, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.
The movable heritage referred to in para. 1 of this clause consists of:
- a collection of paintings: 14 portraits of metropolitans, two paintings on religious themes, and one icon;
- furniture: two drawing-room suites (16 items in all), two dining suites (25 items in all) and two cabinets.
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:
- all works are prohibited other than conservation and restoration works, with the approval of the Federal ministry responsible for regional planning and under the expert supervision of the heritage protection authority of the Federation of Bosnia and Herzegovina,
- the Federa ministry responsible for culture shall oversee the implementation of the measures to protect the movable heritage.
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 specified in Clause 1 para. 3 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 to Preserve National Monuments (hereinafter: 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, the Commission shall stipulate all the conditions under which its removal from Bosnia and Herzegovina may take place, the date by which the items 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, 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
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. 563.
X
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.
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: 06.1-2-166/06-3
5 September 2006
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 Orthodox Metropolitan's Palace in Sarajevo to the Provisional List of National Monuments of BiH under the heading "Townscape ensemble of the Orthodox Cathedral Church, Metropolitan's Palace and Seminary", serial no. 563.
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 para. 4 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:
- 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.
- The current condition of the property
- Documentation on the location of the property and documentation pertaining to ownership
- 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 corner building of the Orthodox Metropolitan's Palace stands on the intersection of Zelenih beretki, Ćumurije and Štrosmajer streets. Forming the end corner of the row of buildings along the west side of Štrosmajer street, the Metropolitan's Palace abuts onto the central pedestrian zone of Stari Grad, the Old City. The main entrance to the Metropolitan's Palace is to the south, from Zelenih beretki street, while to the west of the building it borders on the courtyard of the Orthodox Cathedral (church of the Holy Virgin).
All the buildings surrounding the National Monument consist of a ground floor and three or four upper floors, with pitched roofs. The ground floors house commercial premises, and most of the upper floors are used for residential purposes.
The Orthodox Metropolitan's Palace is located on a site designated as cadastral plot no.. 2028, cadastral municipality Sarajevo XI, (c.p. no.. 71, part 68, Mahala XXXVIII-Sarajevo, old survey), Municipality Stari Grad, Sarajevo, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina, and is the property of the Serbian Orthodox parish of Sarajevo.
Historical information
The area in the immediate environs of the National Monument was settled by the mid 15th century: during his term as governor of Bosnia (1470-1475 and 1476-1477) Ajas-beg, second sanjak-bey of Bosnia and successor to Isa-beg, built a mosque on the site now occupied by the Hotel Central, with a mekteb close by. A mahala took shape around the mosque, extending from the present-day Hotel Central along Zelenih beretki street east and westward. This street, which is indubitably one of the city's oldest, lead north towards Latinluk (the Christian quarter, the earliest written information about which dates from 1485), also known as the Franačka(1) čaršija.
The Ajas-beg mosque was built of unbaked (adobe) brick, timber and stone, and had a stone minaret. Mula-Mustafa Bašeskija recorded that the minaret of this mosque was blown down by high winds on 15 Rajab 1188 (21 September 1774). Immediately after 1878 the Austro-Hungarian authorities used it as a military depot. In 1897 the mosque burned down, and in 1899 the Vakuf Authority built the present-day Hotel Central, formerly known as the Ajas-beg Palace, on the site. A transcript of Ajas-beg's vakufnama (deed of endowment) dating from 882 (1477) has survived. Alongside the mosque was a small area with some graves with nišan tombstones. Sejfudin Kemura noted that this burial ground was exhumed during the construction of the Hotel Central, and that the mortal remains and nišan tombstones were transferred to the burial ground in Bakije. A legend that Ajas-beg himself was buried there has also been recorded(2).
The census of Sarajevo’s mahalas taken in 1874-75 refers to the Ajas-paša mehallesi-Kolukčije(3).
Between 1859 and 1862, the site and building materials for the Orthodox Cathedral of the Nativity of the Virgin were purchased. Building work began on the church on 13 June 1863 and was completed in 1874. The site where the Cathedral was built belonged at the time to the Tašlihan(4) mahala.
A disastrous fire that broke out on 8 August 1879 and "destroyed 304 houses, 343 shops and 135 other buildings in 36 streets over a wide area around the present-day Hotel Evropa"(5) totally destroyed buildings to the west of the Gazi-Husrev-beg bezistan and the Latin bridge, including Latinluk, the Ajas-beg mahala (or Kulukčije mahala(6), as it was called in the last years of Turkish rule) and the Kaimi-babo tekke(7). Along with the process of intensive urbanization that the Austro-Hungarian authorities had already begun, with much new building in Sarajevo, extending the city westwards from the old centre, the aftermath of the 1879 fire prompted the first regulatory plan for the čaršija and for the city of Sarajevo as a whole.
These circumstances were conducive to the construction of new buildings and to a new street layout in the immediate environs of the Cathedral, which had already been built: the opening of the Ajas-beg Palace(8), designed by Josip Vancaš, took place on 6 May 1897, and on 4 October that year the foundations of the Serb School (later the Seminary) were laid on a site to the north of the Cathedral; this was designed by Karl Pařik and was completed and opened on 2 December 1898(9).
A completely new street was laid in the years following 1878: originally known as Rudolf street(10), it is now called Štrosmajer(11) street. It was built as a modern street in a new part of the city, where architecture of European pseudoclassicist styles were predominant.
The Metropolitan's Palace was built immediately to the south-east of the Cathedral, on the same cadastral plot. The architect Rudolf Tönnies(12) was commissioned to design it in 1898, the foundations were laid on 20 September 1898, and the building was completed in 1899(13).
The following note pertains to the completion of the building works and the opening of the building: "Last year, on the feast of the Nativity of the Virgin, the foundation stone was laid and consecrated for the new Serbian Orthodox Metropolitan's Palace in Sarajevo at the corner of Franz Josip and Rudolf streets, just beside the Serbian Orthodox Cathedral, and this autumn the new Metropolitan's Palace was completed. In the past few days the Most Reverend Archbishop Metropolitan Mandić has moved into the new Palace with his consistory. The new Metropolitan's Palace is a tasteful and stylish three-storey building. The ground floor contains shops, the first floor handsome premises for the Metropolitan's offices, and the second floor the Metropolitan's private chambers and clerical offices for the consistory; there are also some rooms in the attic and on the ground floor for the common folk. The first floor will be decorated and furnished later, so that the Most Reverend Metropolitan is currently occupying the secondfloor. The new Metropolitan's Palace has a handsomely decorated, spacious stairway reached from the portico in Franz Josip street, and a separate exit leads to the churchyard, which will later be levelled with the street and given a new iron boundary fence. Our illustration(14) still shows the old poplars outside the church, which have now been felled to allow for the street to be levelled. Electric lighting has been installed throughout the new Metropolitan's Palace, as well, of course, as running water. All the rooms are suitably laid out and lit, and some of them have a fine view of Sarajevo and Mt. Trebević. The shops on the ground floor have been rented out and are already occupied. The new Metropolitan's Palace is the latest building to adorn the very centre of progressive Sarajevo.(15) "
2. Description of the property
The residential and public buildings designed by the architect Rudolf Tönnies bear the marked stamp of an artistic concept of a work of architecture.
"By comparison with others, Tönnies is an architect who has always given his works a degree of sculpturality and plasticity, structurally unifying their spatial and functional components. Compared with the works of his contemporaries and with other buildings along the street fronts, his works stand out and are to be recognized by their strongly accentuated decorative content, the powerful architectural articulation of their front facades, and the elaborate moulding of the roofs, which in his case merit the name of a fifth facade. More than anyone of his generation of architects, he is a sculpture and poet in architecture. His principal works are in Sarajevo, but there are also fine works of his in Mostar, Tuzla and Ljubljana.. (16) "
At the start of his career as an architect in Sarajevo, Tönnies worked as an associate designer on major projects designed by older architects(17); the 1898 design of the Metropolitan's Palace was his first independent work in Sarajevo.
The Palace is a residential-cum-commercial building with an artistic architectural treatment of the facades in the style of Serbo-Byzantine and Neo-Romanesque architecture.
The Metropolitan's Palace has a basement, ground floor, mezzanine, first floor and second floor. Since it was designed as a residential-cum-commercial building, the owner of the property, the Serbian Orthodox parish of Sarajevo, rents out the commercial premises on the ground floor (two cafés and a boutique). The basement extends under the entire building, and is functionally interconnected with the commercial premises, while a small section of the basement is functionally interconnected with the premises used by the Dabar-Bosnia Metropolitanate itself: the main ground-floor entrance leading into the Dabar-Bosnia Metropolitanate's premises in the southern part of the building, part of the mezzanine (in the north-western part of the building), the first and second storeys and part of the attic (the part of the attic area in the north-western part of the building, in Tönnies' design, is mansard-style and is used for residential purposes).
The entrances to the commercial premises are on the ground floor, one from Zelenih beretki street and two from Štrosmajer street. The residential areas of the Metropolitan's Palace can be reached via the main entrance from Zelenih beretki street (to the south of the property) and by a side entrance to the west of the building which links the Metropolitan's Palace and the Cathedral via the churchyard.
The building is constructed from solid opposing walls(18) (with thicknesses of 30, 45, and 60 cm) using the Henebik floor joist construction (the primary load-bearing structure composed of steel NP1 section laid over short-span premises, over which a secondary load-bearing structure is laid forming shallow brick vaults stretched between steel NP1 section). The same type of horizontal load-bearing structure was used for the main staircase landings. The ceiling joists above the first and second floor are classic wooden joists.
The layout and organization of the premises within the Palace derive from the clear intention of the architect, Tönnies, to have the most representative rooms in the Palace – the salons (the first floor salons, measuring 6.15 x 9.27 m, 6.15 x 6.15 m and 6.15 x 11.50 m, with ceilings approx. 4.20 m high(19)) – face Štrosmajer street to the east and Zelenih beretki street to the south. The salons are separated from the staircase by a corridor, anterooms and the usual offices. The anterooms to the salons have no outside walls, and received natural light indirectly via the light well.
The second floor consists of smaller salons, office premises, a kitchen and two dining rooms. There is a residential mansard area housing priests in part of the building, to the north-west. The various floors are of different heights(20): the basement approx. 3.40 m, the first floor approx. 5.65 m, the second floor approx. 4.65 m and the attic approx. 3.75 m.
The various storeys of the Metropolitan's Palace are linked by a triple-flight(21) staircase (the internal measurements of the stairway are 5.28 x 5.90 m; the treads are approx. 1.40 m wide; 28 31/15 cm steps lead from the basement to the ground floor, 30 31/15 cm steps from the ground to the first floor and the same again from the first to the second floor, and 23 31/15 cm steps from the second floor to the mansard), as well as by a lift(22).
Each step consists of a single piece of stone, cantilevered approx. 25 cm into the perimeter walls(23) of the stairwell. The steps form flights abutting onto the main staircase landing. The wrought iron stairrail is hand-made. The stairwell is lit by windows in the west wall: biforas (at attic level), oculi (at 2nd floor level: diameter of exterior masonry approx. 120 cm) and triple casement arched windows between the first and second floors (exterior masonry measurements approx. 160/300 cm).
Tönnies articulated the relative long walls of the facade (south wall, overall length of approx. 21.95m and east wall approx. 24.27 m long) using three shallow projections, projecting out approx. 15 cm from the wall face). The side projections are approx. 5.40 m wide, and the central projection(24) is rather wider (5.40 + 2.80 + 45.40 m). The projections are accentuated by pilaster strips extending over two storeys (first and second). The pilaster strips run in pairs along the edges of the projections and at the changes in width of the central projection. These pairs of pilaster strips are approx. 55 cm apart, and are half-round, with the curved section of the strip having a radius of approx. 6 cm.
The unbroken horizontal string course between the mezzanine and the first floor, and the different treatment of the facades at ground floor and mezzanine level on the one hand and the first and second storeys on the other, accentuate the distinction between the commercial and the residential parts of the Palace. The walls of the ground floor and mezzanine are rusticated, and the shop windows and entrance portals are of simple design: all(25) the doors and windows are round-arched or elliptical, in the case of those of the facade projections, and all are accentuated by a keystone(26).
The moulded decorative elements on the facades at first and second storey level are pilaster strips, pillars, round arches, string courses, arched niches, blind arcades and friezes of blind arcades. All the windows on the west and south facades of the Palace are round-arched.
At first floor level, there are biforas in the facade projections (the bifora niche measures 2.20 x 3.77 m, and is set back by approx. 6 cm from the face of the projection); above the window sills (measuring 2.20 m wide x 0.85 m high and set back by approx. 6 cm from the face of the projection) are two round-arched windows (1.04 x 2.65 m; radius of the curved opening approx. 52 cm) with a pillar between, topped by a capital (diameter approx.12 cm) in the bifora, above which is the round-arched masonry niche of the bifora. The top of the bifora niche is surrounded by a round architraval arch (width approx. 27 cm).
The wall faces of the east and south facades at second-storey level are articulated by a series of blind arched niches surrounded by pilasters with capitals alternating(27) with bifora windows. The columns of the niches are approx. 88-91 cm apart, and are 1.55 m in height including the capital, with a diameter of approx. 11.5 cm, the radius of the curved arch of the niche is approx. 40 cm, and the overall height of the niche(28) is approx. 2.10 m.
The same decoration as that of the east and south second-storey facades is repeated on that of the second storey of the west wing of the Palace, but since there are no windows in the west wing, the repetition takes the form of a row of blind-arched niches edged by pilasters with capitals.
There is a blind trifora on a balustrade in the blind niche (approx. 2.60 wide x 4.00 m high x 0.12 m deep) of the first-floor facade of the west wing of the Palace. The balustrade is approx. 90 cm high and the column with capital is approx. 1.80 m high.
The wall faces of the first and second storey facades of the Palace are articulated by broken string courses set level with the foot of the round architraval arches of the first-floor biforas, level with the top of the parapet walls of the first-floor biforas, and level with the top of the parapet walls of the second-floor biforas.
The pilaster strips running from the horizontal string course between the mezzanine and the first floor terminate in a row of blind arcades in the upper part of the second-storey walls. The brackets supporting the arches of the arcades are approx. 7 cm wide and are set approx. 45.5 cm apart; the diameter of the curved arches of the arcades is approx. 38.5 cm. The walls of the facade terminate in a roof cornice with an overall height of approx. 60 cm, set on brackets approx. 45.5 cm apart.
The Palace has a complex (multipaned) pitched wooden roof frame. The load-bearing structure of the roof is timber. Below the attic area of the roof frame, the structure is a combination of king posts and simple hanging trusses, while in the mansard area there is a pent, shallow-pitched roof supported by king posts. The roof is clad with rebated tiles, and all the flashings and guttering are made of sheet copper.
MOVABLE HERITAGE
1. METROPOLITAN SAVA KOSANOVIĆ(29)
Artist: unknown
Date: late 19th or early 20th century
Technique: oil on canvas
Size: with frame: 114.5 x 75.5 cm
Signatura: unsigned
Description: The Metropolitan is depicted seated, wearing an over and under mantle, and a kamilavka (kalimauki: tall black cylindrical hat worn by priests). He is holding his bishop's staff in his left hand, and his right hand is lying in his lap. He has two medallions and a cross on his breast.
2. METROPOLITAN GEORGIJE NIKOLAJEVIĆ(30)
Artist: unknown
Date: late 19th or early 20th century
Technique: oil on canvas
Size: with frame: 125.5 x 79 cm
Signatura: unsigned
Description: The Metropolitan is depicted seated, wearing bishop's vestments.
3. ST ANDREW THE FIRST APOSTLE
Artist: monks in the monastery of the Sergejev Trinity near Petrograd
Date: February 1876
Technique: oil on canvas
Size: with frame: 97 x 70.5 cm
Signatura: unsigned
Description: A realistic figure of a man with grey hair and beard. He has a halo around his head and a white gathered cloth around his loins. His hands, with fingers clasped, are held out in front of his naked body.
4. ST ANDREW THE FIRST APOSTLE
Artist: monks in the monastery of the Sergejev Trinity near Petrograd
Date: February 1876
Technique: oil on canvas
Size: with frame: 127 x 95 cm
Signatura: unsigned
Description: A realistic figure of a man with grey hair and beard. He has a halo around his head and a white gathered cloth around his loins. His hands, with fingers clasped, are held out in front of his naked body.
Description: The Metropolitan is depicted seated, facing slightly to the left, wearing bishop's vestments. He is holding his bishop's staff in his left hand, and his right is resting on his right knee. On his breast is a medallion with the figure of the Holy Mother of God and Christ and a medallion with a central cross.
5. MITROPLIT VLADISLAV MITROVIĆ(31)
Artist: unknown
Date: late 19th or early 20th century
Technique: oil on canvas
Size: 114 x 84 cm
Signatura: unsigned
Description: The Metropolitan is depicted seated, facing slightly to the right, wearing bishop's vestments. Both hands are lying in his lap. On his breast is a medallion with the figure of the Holy Mother of God and Christ, and a cross.
6. NIKOLAJ MANDIĆ(32)
Artist: Špiro Bocarić(33)
Date: 1910
Technique: oil on canvas
Size: 134 x 92.5 cm
Signatura: unsigned
Description: Half-length portrait of the Metropolitan facing slightly to the right, wearing bishop's vestments. He has a red band around his neck, fastened on his breast with a gold clasp, another clasp to the left side, and a cross on a long chain in the middle.
7. METROPOLITAN NEKTARIJE KRULJ(34)
Artist: unknown
Date: late 19th or early 20th century
Technique: oil on canvas
Size: 121.5 x 90.8 cm
Signatura: unsigned
Description:The Metropolitan is depicted seated, facing to the right, wearing bishop's vestments. He has spectacles, and is holding a rosary in his right hand. There is a medallion and a cross on his breast.
8. METROPOLITAN EVGENIJE LETICA(35)
Artist: Špiro Bocarić
Date: 1908
Technique: oil on canvas
Size: 121 x 90.5 cm
Signatura: bottom right Špiro Bocarić 1908.
Description: The Metropolitan is depicted sitting on a chair, facing to the left. Over his mantle is a black cloak edged with a wide red band. He has a red girdle around his waist, and a cross on his breast.
9. METROPOLITAN PETAR ZIMONJIĆ(36)
Artist: unknown
Date: late 19th or early 20th century
Technique: oil on canvas
Size: 121 x 91 cm
Signatura: unsigned
Description: The Metropolitan is depicted seated, facing to the right. His right hand is resting on a table with a number of books on it. He is holding a rosary in his left hand, and has a medallion and cross around his neck.
10. ICON OF THE HOLY MOTHER OF GOD – DOSTOJNA JEST
Artist: unknown
Date: unknown
Technique: tempera on board
Size: 89 x 667 x 5 cm
Signatura:
top left OBR. PRSTJA BOGORODICI
top right DOSTOJNA JEST
centre ISHS
bottom left(37)
Description: The figure of the Mother of God and infant Christ on her right arm are depicted against a gold background. She is wearing a crown the outer points of which are being held by two angels standing on clouds, and has a halo around her head. The infant Christ is also shown wearing a crown surrounded by a halo. He is holding a scroll in his right hand, with verses from the Gospel according to St Luke and from Isaiah. At the top of the icon is a cloud with the figure of God the Father at the centre and the symbol of the Holy Spirit, a dove, below Him. Beside them are some more angels' heads.
11. UNIDENTIFIED GREEK METROPOLITAN
Artist: Špiro Bocarić
Date: between 1878 and 1941
Technique: oil on canvas
Size: 61.4 x 51.4 cm
Signatura: bottom right Špiro Bocarić
Description: Half-length portrait of a middle-aged man wearing a kamilavka, with a cross and a medallion around his neck.
12. UNIDENTIFIED GREEK METROPOLITAN
Artist: Špiro Bocarić
Date: 1904
Technique: oil on canvas
Size: 64.5 x 52.7 cm
Signatura: bottom right Špiro Bocarić
Description: Half-length portrait of a grey-bearded man wearing a kamilavka, with a red band, a medallion of the Baptism of Christ, a cross and another two medallions around his neck.
13. METROPOLITAN NIKOLAJ MANDIĆ
Artist: Špiro Bocarić
Date: 1904
Technique: oil on canvas
Size: 65.5 x 52.6 cm
Signatura: bottom right Š Bocarić 1904. Sarajevo
Description: The Metropolitan is depicted seated on a chair, wearing an over and an under mantle, with a red girdle around his waist. The mantles are decorated with a red border and buttons. He has a kamilavka on his head, and a long chain with a cross on his breast.
14. METROPOLITAN GEORGIJE NIKOLAJEVIĆ
Artist: unknown
Date: late 19th or early 20th century
Technique: oil on canvas
Size:
- with frame: 99 x 65.5 cm
- painting: 60.5 x 47 cm
Signatura: unsigned
Description: The painting is ellipsoidal in shape and has an elaborate carved brown wooden frame. The painting is the portrait of a man with very grey beard and hair. He is wearing three medals on his right breast, and a cross with two medallions.
15. ARCHIMANDRITE GEORGIJE NIKOLAJEVIĆ
Artist: unknown
Date: late 19th or early 20th century
Technique: oil on canvas
Size:
- with frame: 75 x 64 cm
- painting: 50 x 38.5 cm
Signatura: unsigned
Description: The painting is ellipsoidal in shape and has a carved brown wooden frame. The painting is the portrait of a man with brown hair and a long grey beard.
16. METROPOLITAN NEKTARIJE KRULJ
Artist: Kosta Hakman(38)
Date: 1933, godine
Technique: oil on canvas
Size: 79 x 63.2 cm
Signatura: bottom right Kosta Hakman 1933
Description: The Metropolitan is depicted seated in a chair with an elaborately carved backrest. He is wearing a mantle and a kamilavka headdress, and dark-framed glasses. Around his neck are two long chains, one with a cross and the other with a medallion of the Holy Mother of God and the infant Christ.
17. THE RAISING OF LAZARUS
Artist: Roman Petrović(39)
Date: between 1896 and 1947
Technique: oil on canvas
Size: 85 x 7 x 84.9 cm
Signatura: bottom right Roman Petrović
Description: Scene of the raising of Lazarus with Christ and other onlookers.
FURNITURE
1. SIDEBOARD
Date: late 19th century
Material: wood
Technique: woodcarving
Size: 291 x 212 cm
Description: Visually, the sideboard may be divided into a lower section consisting of two single-door cupboards at the sides and a central double-door cupboard, and drawers above the cupboards. The outer, visible sides of the cupboards and drawers are decorated with carved plant designs. The lower part of the sideboard is covered with a dark granite slab. Above this is the upper section of the sideboard, the first part of which consists of three single-door cupboards, one on either side and one in the middle, with a drawer below the central cupboard. To either side of this the sideboard is open in the form of niches or shelves. The second part of the upper section of the sideboard is richly moulded, and is semicircular at the top, with shelves in the semicircular opening.
2. CABINET
Date: early 20th century
Material: wood
Size: 225 x 200 cm
Description: Visually, the cabinet may be divided into a lower section composed of three single-door cupboards, with a drawer above each, covered with a dark granite slab; and an upper section, which is concave in shape and composed of two tall single-door cupboards to the sides and a central double-door cupboard. The central section is shorter than the outer ones. The cabinet is topped by a shelf.
DRAWING ROOM No. 1
3. CHAIR
Date: late 19th century
Material: wood, fabric, mother of pearl
Size:
- overall height: 84 cm
- size of seat: 43 x 40 cm
- backrest: 38 cm
- armrest: 30 cm
Description: Four-legged chair upholstered in blue-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay.
4. ARMCHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 80 cm
- size of seat: 58 x 54 cm
- backrest: 45 x 46.5 cm
- armrest: 33 cm
Description: Four-legged armchair upholstered in blue-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay. Parts of the woodwork are turned on the lathe. The armrests are fixed to the backrest and alongside the seat.
5. ARMCHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 80 cm
- size of seat: 58 x 54 cm
- backrest: 45 x 46.5 cm
- armrest: 33 cm
Description: Four-legged armchair upholstered in blue-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay. Parts of the woodwork are turned on the lathe. The armrests are fixed to the backrest and alongside the seat.
6. ARMCHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 80 cm
- size of seat: 58 x 54 cm
- backrest: 45 x 46.5 cm
- armrest: 33 cm
Description: Four-legged armchair upholstered in blue-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay. Parts of the woodwork are turned on the lathe. The armrests are fixed to the backrest and alongside the seat.
7. ARMCHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 80 cm
- size of seat: 58 x 54 cm
- backrest: 45 x 46.5 cm
- armrest: 33 cm
Description: Four-legged armchair upholstered in blue-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay. Parts of the woodwork are turned on the lathe. The armrests are fixed to the backrest and alongside the seat.
8. SOFA
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 88 cm
- length: 123 cm
- size of seat: 39 x 128 x 59 cm
- backrest: 123 x 48 cm
- armrest: 44 cm
Description: Four-legged sofa upholstered in blue-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay. Parts of the woodwork are turned on the lathe. The armrests are fixed to the backrest and alongside the seat.
9. TABLE
Date: late 19th century
Material: wood, mother-of-pearl
Size:
- overall height: 70 cm
- tabletop: 98 x 59.5 cm
Description: Table on four turned legs, which are joined at the base by two sickle-shaped wooden stretchers themselves joined at the centre by a wooden crossbar. The upper surface of these components is decorated with mother-of-pearl inlay. The tabletop is elliptical in shape. The centre is decorated with floral motifs inscribed in a mother-of-pearl frame. Below the tabletop is a stretcher the outer sides of which are decorated with mother-of-pearl inlay.
10. MIRROR
Date: late 19th century
Material: wood, mother-of-pearl
Size: 250 x 97 cm
Description: Visually, the mirror may be divided into two sections. The lower consists of a cupboard decorated with carved plant designs and inlaid with mother-of-pearl. The upper consists of a rectangular mirror set in a massive frame. The top of the frame is triangular, with the top cut out into two semicircles. The frame is decorated with carved floral designs and mother-of-pearl inlay.
DRAWING ROOM No. 2
11. CHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 78.5 x 46 cm
- size of seat: 52 x 53 cm
- backrest: 40 x 46 cm
- armrest: 33.5 cm
Description: Four-legged chair, with the front legs decorated by turning on the lathe. Upholstered in claret-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay.
12. CHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 78.5 x 46 cm
- size of seat: 52 x 53 cm
- backrest: 40 x 46 cm
- armrest: 33.5 cm
Description: Four-legged chair, with the front legs decorated by turning on the lathe. Upholstered in claret-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay
13. CHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 78.5 x 46 cm
- size of seat: 52 x 53 cm
- backrest: 40 x 46 cm
- armrest: 33.5 cm
Description: Four-legged chair, with the front legs decorated by turning on the lathe. Upholstered in claret-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay.
14. CHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 78.5 x 46 cm
- size of seat: 52 x 53 cm
- backrest: 40 x 46 cm
- armrest: 33.5 cm
Description: Four-legged chair, with the front legs decorated by turning on the lathe. Upholstered in claret-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay.
15. ARMCHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 78.5 x 46 cm
- size of seat: 52 x 53 cm
- backrest: 40 x 46 cm
- armrest: 33.5 cm
Description: Four-legged chair, with the front legs decorated by turning on the lathe. Upholstered in claret-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay. The armrests are upholstered.
16. ARMCHAIR
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 78.5 x 46 cm
- size of seat: 52 x 53 cm
- backrest: 40 x 46 cm
- armrest: 33.5 cm
Description: Four-legged chair, with the front legs decorated by turning on the lathe. Upholstered in claret-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay. The armrests are upholstered.
17. SOFA
Date: late 19th century
Material: wood, fabric, mother-of-pearl
Size:
- overall height: 88 cm
- dužina: 123 cm
- size of seat: 57 x 126 cm
- backrest: 123 x 47 cm
- armrest: 40 cm
Description: Four-legged sofa, with the front legs decorated by turning on the lathe on the lathe. Upholstered in claret-beige material. The wooden parts of the chair are decorated with mother-of-pearl inlay. Some of the woodwork is turned on the lathe. The armrests, which are fixed to the backrest and alongside the seat, are upholstered.
18. CANAPE
Date: late 19th century
Material: wood, fabric
Size:
- overall height: 50 cm
- height of headrest: 65 cm
- length: 185 cm
- width: 76 cm
Description: Four-legged canapé with raised headrest.
DINING ROOM No. 1
19. TABLE
Date: early 20th century
Material: wood
Size: 81 x 402 x 124 cm
Description: Six-legged table with wooden crossbars set widthwise. The legs are decorated by turning on the lathe.
20. CHAIRS (15)
Date: early 20th century
Material: wood, fabric
Size:
- overall height: 94.5 cm
- size of seat: 43.5 x 45.5 cm
- backrest: 40 x 35 cm
Description: Four-legged chairs. The backrests and seats are upholstered in light red, blue and ochre fabric.
DINING ROOM No. 2
21. TABLE
Date: early 20th century
Material: wood
Size: 81 x 200 x 126 cm
Description: Four-legged table with wooden crossbars set widthwise. The legs are decorated by turning on the lathe.
22. CHAIRS (8)
Date: early 20th century
Material: wood, fabric
Size:
- overall height: 89 cm
- size of seat: 44 x 44.5 cm
- backrest: 35 x 36 cm
Description: Four-legged chairs. The backrests are composed of three crossbars. The seats are upholstered in light red, blue and ochre fabric.
3. Legal status to date
The Metropolitan's Palace, along with the Cathedral of the Holy Virgin and the Seminary, are listed as cultural monuments in the records of the Cantonal Institute for the Protection of the Cultural, Historical and Natural Heritage of Sarajevo.
The townscape of the Cathedral, Metropolitan's Palace and Seminary is on the Provisional List of National Monuments under serial no. 563 and, pursuant to the Law on the Implementation of Decisions of the Commission to Preserve National Monuments of BiH, is treated as a national monument of Bosnia and Herzegovina.
4. Research and conservation and restoration works
In 1997 and 1998 the government of Sarajevo Canton financed repair and restoration works on the Metropolitan's Palace on the basis of an estimate drawn up by architect Nedeljko Rosić, who also supervised the repair works.
The following works were carried out: repairs to damaged walls and ceilings, replacement of dilapidated woodwork and repairs to damaged woodwork, refurbishment of wooden floors (oak parquet), repair and conservation of damaged mouldings on the facade (pillars and arches of the biforas) and repair and restoration of the facades; part repairs to the timber roof structure, repairs to the roof cladding of rebated tiles, replacement of and repairs to the sheet copper flashings (0.66 mm thick) of the roof, eaves, cornice, window sills, flashings of the gable wall, roof valley and roof ridge, and chimneys; installation of new copper guttering; renovation of floor hydroinsulation in the toilet block and kitchen areas.
In addition, the electricity and telephone wiring was made good, as were the lightning conductor and earthing and all the water and drainage pipes, and central heating was installed.
The project for the repair and reconstruction of the interior water and drainage pipes was drawn up in March 1998 by architect Tahir Konjhodžić, and that same year the main project for the central heating and gas installation in the Metropolitan's Palace in Sarajevo was drawn up by Samos d.o.o. of Sarajevo.
5. Current condition of the property
The property is in good condition.
A comparison between its current condition and the orignal design of September-December 1898, signed by architect Rudolf Tönnies, reveals that the building has not undergone any major alterations:
- a lift shaft has been installed in the area designed as a light well (in the centre of the building, designed to provide indirect lighting for the antechambers of the salons of the Palace);
- the first-floor salon to the south of the Palace has been converted into two smaller rooms;
- the old installations have been renovated and modern ones installed, and central heating has been installed in the Palace.
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. i. quality of workmanship
C.ii. quality of materials
C.iii. proportions
C.iv. composition
C. v. value of details
C.vi. value of construction
D. Clarity (documentary, scientific and educational value)
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
F. Townscape/ Landscape value
F.i. relation to other elements of the site
F.ii. meaning in the townscape
F.iii. the building or group of buildings is part of a group or site
G. Authenticity
G.i. form and design
G.ii. material and content
G.iii. use and function
G.iv. traditions and techniques
G.v. location and setting
G.vi. spirit and feeling
G.vii. other internal and external factors
H. Rarity and representativity
H.i. unique or rare example of a certain type or style
H.ii. outstanding work of art or architecture
H.iii. work of a prominent artist, architect or craftsman
I. Completeness
I.i. physical coherence
I.ii. homogeneity
I.iii. completeness
I.iv. undamaged condition
The following documents form an integral part of this Decision:
- Copy of cadastral plan, scale 1:1000, c.p. no. 2028, c.m. Sarajevo XI (c.p. no. 71, part 68, Mahala XXXVIII-Sarajevo, old survey), plan no. 11/149, issued 29 June 2006 by the Dept. of Property, Geodetics and Cadastre of Municipality Stari Grad, Federation of Bosnia and Herzegovina
- Photodocumentation;
o Photographs of current condition of the Metropolitan’s Palace taken on 10 July 2006 by ethnologist Slobodanka Nikolić and architect Emir Softić (using Canon PowerShot G3 digital camera)
- Drawings (original drawings of the Metropolitan's Palace – ORIENTH: ORTH: ERZBISCHÖFLICH ES PALAIS SARAJEVO, BAUDIRECTION DER LANDESREGIERUNG – dated September-December 1898, signed by architect Rudolf Tönnies:
o Plan No 5, No 2465, I Stock Grundriss
o Plan No 5, No 2466, Zweiter Stock
o Plan No 23, No 2493 (plan indicating «overturned [??]» cross-sections of window openings)
o Plan No 38 (plan of first-floor corner balcony)
o Plan No 24, No 2494 (details of second-floor arcade friezes and biforas)
o Plan No 19, No 2484 (plan of roof frame with details)
o Plan No 15, No 2486 (vertical transverse section through chimneys)
o Plan No 9, No 2469, Sockl Plan
o Plan No 16, No 2485, (plans of window and door openings on ground floor and mezzanine)
o Plan No 26, No 2495, (vertical cross-section CD through staircase)
o Plan No 32, No 2510, (drawings with designs of carpentry, doors)
o Plan No 33, No 2511 (ground plan of ground floor entrance portal, scale 1:25)
o Plan No 34, No 2512 (ground plan of staircase)
o Plan No 31, No 2509, (drawings with designs of woodwork, windows)
o Plan No 1, No 2461 (ground plan of basement)
- Estimate for repair and restoration works and refurbishment of the Serbian Orthodox Metropolitan's Palace in Sarajevo
- Main project for central heating and gas installation in the Metropolitan's Palace in Sarajevo drawn up by Samos d.o.o. of Sarajevo, Sarajevo, 1988.
Bibliography
During the procedure to designate the historic building of the Orthodox Metropolitan's Palace in Sarajevo together with movable heritage as a national monument of Bosnia and Herzegovina the following works were consulted:
1900. “Zgrada srpsko-pravoslavne mitropolije u Sarajevu” (The Serbian Orthodox Metropolitan's Palace in Sarajevo), Calendar Bošnjak, XVIII/1900, Sarajevo, Provincial Press, p. 64
1959. Đoko Mazalić, Špiro Bocarić. Enciklopedija likovnih umjetnosti (Encyclopaedia of the Fine Arts). no 1, Zagreb, 1959, 411
1964. Smail Tihić, Roman Petrović. Enciklopedija likovnih umjetnosti (Encyclopaedia of the Fine Arts), no. 3, Zagreb, 1964, 667
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.
1973. Bejtić, Alija, Ulice i trgovi starog Sarajeva, Topografija geneza i toponimija (Streets and squares of old Sarajevo, topography, origins and toponymy), Sarajevo 1973.
1988. Krzović, Ibrahim: Rudolf Tönnies, magazine Radio-Sarajevo, Third Programme, no. 60/1988, yr. XVI, 419-429
1998. Mujezinović, Mehmed, Islamska epigrafika Bosne i Hercegovine (Islamic epigraphics of Bosnia and Herzegovina), bk. I, Sarajevo-Publishing, 1998 pp. 68-69
1989. Škaljić, Abdulah: Turcizmi u srpskohrvatskom jeziku (Turkish Loanwords in Serbo-Croatian), Sarajevo, 1989
1997. Zlatar, Behija, Zlatni period Sarajeva (Sarajevo’s Golden Age). Contributions to History, Institute of History, Sarajevo, 1997.
2003. Vidosava Grandić, Špiro Bocarić – Pero Popović – Božo Nikolić u srpskom građanskom slikarstvu Bosne i Hercegovine 1900-1941 (Špiro Bocarić – Pero Popović – Božo Nikolić in Serbian Bourgeois Painting of Bosnia and Herzegovina 1900-1941), Glas Srpski, Banja Luka, 2003
www. mitropolijadabrobosanska.org
(1) “Merchants from Dubrovnik gave a particular impetus to international trade. They lived in the Latinluk or, as it was called in official documents, the Frankluk mahala, Franačka čaršija. In the early 16th century this colony had 66 houses. ..” (Zlatar, Behija: Zlatni period Sarajeva, Prilozi historiji Sarajeva, Institut za istoriju, 1997 pp. 53-60)
(2) Mujezinović, Mehmed: Islamska epigrafika Bosne i Hercegovine, bk. I – Sarajevo, Sarajevo, 1988, pp. 68-69
(3) (published in Bejtić, Alija: Ali-pašina mahala u Sarajevu (The Ali pasha mahala in Sarajevo), Prilozi za proučavanje istorije Sarajeva (Contributions to the Study of the History of Sarajevo), II/1966, pp. 19-58) Bejtić, Alija: Ulice i trgovi Sarajeva, Topografija geneza i toponimija, Sarajevo, 1973, p. 15
(4) “At one time just before the 1878 occupation a stretch of this street, apparently from Šalom Albahari street to the end, was known as Tašlihan street after Gazi Husrev-beg’s stone han (hostel) known as the Tašlihan, dating from 1541-1543, which remained in existence and operation until 1879 on the site of the garden of the present-day Hotel Evropa, but it is not known for sure whether this was a new official name for Galata street or an alternative name for the street used by the people.” (Bejtić, Alija: Ulice i trgovi Sarajeva, Topografija geneza i toponimija, Sarajevo, 1973, pp. 203-204). In the passage quoted, the words “this street” refer to what was then JNA (Yugoslav National Army) street (op. E. Softić).
(5) Bejtić, Alija: Ulice i trgovi Sarajeva, Topografija geneza i toponimija, Sarajevo, 1973, p. 30
(6) «krlukčija, kulukčija, krlučija, kulučija, kulučija, kulugdžija m (tur.) sword-smith, artisan making and selling swords and sabres. Sarajevo had a swordsmiths’ čaršija known as «Krlukčije» or «Kulukčije», which extended from the present-day Hotel Central to the Ćumurije bridge and along JNA street to the JNA Centre.» (Škaljić, Abdulah: Turcizmi u srpskohrvatskom jeziku, Sarajevo, 1989, p.419)
(7) «Somewhat downstream from the Ćumurije bridge, on the right bank of the Miljacka, there was a tekke known as the Kaimija tekke. It was destroyed by the great fire of 1879, but some information concerning it has come down to us. Kemura says that the tekke was rather fine, with a magazine on the ground floor and a simahana and two rooms on the first floor. The grounds of the tekke ran down to the Miljacka. Kemura also says that were was a tomb in the magazine of the tekke, which he too remembered, but that the nišan tombstones bore no epitaph. According to older people, it was the tomb of Sultan Fatih’s sanjakdar Mustafa-aga. The tekke building was owned by the famous shaikh Kaimi-babo, who converted it into a tekke. Shaikh Hasan Kaimija was a scholar and poet, who wrote in Turkish and Bosnian. He was banished from Sarajevo in 1681 after acquiring prominence as a popular tribune and calling for the grain which Sarajevo’s wealthy were using as a speculative investment to be taken from them and distributed to the poor. He died in Zvornik and was buried in a special turbe in the village of Kula above Zvornik in 1103 (1691-92). His surname was Zrnić (Zrin-oglu)”. (quoted from: Mujezinović, Mehmed: Islamska epigrafika Bosne i Hercegovine, bk. I – Sarajevo, Sarajevo, 1988, pp. 68-69)
(8) The Ajas-pasha Palace, later known as the Hotel Central, was built in 1889 on the site of the Ajas-pasha mosque which was destroyed by the 1879 fire. It was the second modern hotel in Sarajevo (the first being the Hotel Evropa. Given its attractive location in the centre of the city, the Vakuf Commission decided to lease out the entire building on condition that the ground floor be used as a coffee house. The café was rented out to the restaurateur Kunert and opened on 22 November 1889.
(9) Bejtić, Alija: Ulice i trgovi Sarajeva, Topografija geneza i toponimija, Sarajevo, 1973, pp. 31-34
(10) It was so named after the Austrian Archduke and Crown Prince of Austria Hungary Rudolf (1858-1889), who was the only son of the Emperor Franz Joseph I, and who came to a tragic end by killing his mistress Baroness Marie Vetsera and himself in the Mayerling hunting lodge. (Bejtić, Alija: Ulice i trgovi Sarajeva, Topografija geneza i toponimija, Sarajevo, 1973, pp. 350-351).
(11) The street now bears the name it has had without change since 10 January 1919, after Bishop Josip Juraj Štrosmajer (Osijek, 1815 - Đakovo, 1905), who founded the Yugoslav Academy of Science and the Arts and the University in Zagreb, helped to open a printing house in Cetinje and to found the Matica srpska and Matica slovenska, and is credited with encouraging major advances in science, literature, art and publicist writings throughout the south Slav area. (Bejtić, Alija: Ulice i trgovi Sarajeva, Topografija geneza i toponimija, Sarajevo, 1973, pp. 350-351)
(12) “Rudolf Tönnies, architect (Ljubljana, 3 April 1869-6 December 1929). Graduated from the Architecture Dept. of the Academy of Fine Arts under Prof. Hasenauer in 1891. Worked initially for the Provincial Government in Zagreb, and then for the Provincial Government of Bosnia and Herzegovina in Sarajevo, in the High Building Section of the Department of Civil Engineering. In 1910, at his own request, he ceased to work for the Provincial Government and became civil architect of Bosnia and Herzegovina, based in Sarajevo. He worked with architect Josip Vancaš in the Bosnia and Herzegovina Construction Joint-Stock Company, and then as director of the company. He returned to Ljubljana in 1918, and founded, with his brother, the Obnova Construction Corporation. (Krzović, Ibrahim: Arhitektura Bosne i Hercegovine 1878-1914, Umjetnička galerija Bosne i Hercegovine, Sarajevo, 1987, 253) Source: Archives of the Academy of Fine Arts in Vienna
(13) Bejtić, Alija: Ulice i trgovi Sarajeva, Topografija geneza i toponimija, Sarajevo, 1973, p. 33
(14) The photograph published with the article “Zgrada srpsko-pravoslavne mitropolije u Sarajevu” (Kalendar Bošnjak, XVIII/1900, Sarajevo, Zemaljska štamparija) shows an avenue of poplars south of the Cathedral. These were felled during the Austro-Hungarian period when the street was regulated.
(15) “Zgrada srpsko-pravoslavne mitropolije u Sarajevu” Kalendar Bošnjak, XVIII/1900, Sarajevo, Zemaljska štamparija, p. 64
(16) Krzović, Ibrahim: Rudolf Tönnies, magazine Radio-Sarajevo, Third Programme, no. 60/1988, yr. XVI, 419
(17) In 1898 he helped to draft the details and develop the major project for the Filipović barracks in Bistrik in Sarajevo, led by Karl Pařik (Krzović, Ibrahim: Rudolf Tönnies, magazine Radio-Sarajevo, Third Programme, no. 60/1988, yr. XVI, 420)
(18) the walls are built of Austrian format brick, 15 x 30 cm (op. E. Softić)
(19) measured from floor to ceiling
(20) measured from the construction level of one floor to that of the floor immediately above it
(21) As a result of the different heights of the storeys, there is a two flight stairway between the second floor and the mansard storey (op. E. Softić).
(22) On the original 1898 blueprints, there was no provision for a lift shaft or lift, indicating that the lift was installed later (op. E. Softić).
(23) These walls are approx. 45 cm thick, correspoding to 1 ½ Austrian format bricks –15 x 30 cm (op. E. Softić)
(24) the central projection is composite, consisting of three areas
(25) except the entrance at the corner of the building, which has a flat lintel
(26) the entire property is brick-built, with even the arched windows on the façade made of brick, so that the use of a keystone results from the artistic treatment of the façade.
(27) The alternating blind niches and window openings of the biforas are of the same size
(28) the window openings of the second-storey biforas are of the same height
(29) Born in 1839 in the village of Miljanovići, in what is now Montenegro. Worked as a teacher in Mostar and in the Girls’ High School in Sarajevo, the establishment of which he had strongly advocated. He became Archimandrite of Dabar-Bosnia in 1872. It was on his initiative that the Consistorium and Seminary were founded in Sarajevo in 1882. He died in 1903 in Ulcinj. (www. mitropolijadabrobosanska.org)
(30) Born in Srem in 1806 to a priest’s family. He was a teacher and priest, and also taught at the Seminary in Zadar; he was a member of the Consistorium of the Eparchy of Dalmatia, rector and professor at the Seminar in Sarajevo (Reljevo) and member of the Consistorium of the Dabar-Bosnia Metropolitanate. When getting on in years he was appointed as Metropolitan of the Dabar-Bosnia Metropolitanate. He was a founder and member of numerous charitable associations and funds, and was also a writer, translator and editor of a number of periodicals. He died in 1896 in Sarajevo. (www. mitropolijadabrobosanska.org)
(31) Born in 1913 in Glamoč to a teacher’s family. Graduated from Faculty of Theology and Faculty of the Humanities, majoring in Byzantine history and general national history, in Belgrade. In 1955 he was appointed as Bishop of Hum and Herzegovina, and in 1967 as Metropolitan of Dabar-Bosnia. Died in 1992 in Valjevo. (www. mitropolijadabrobosanska.org)
(32) Born in 1840 in Gornji Gračac in Croatia. Before becoming Metropolitan in the Dabar-Bosnia Metropolitanate, he was Metropolitan of Zvornik and Tuzla. It was thanks to his advocacy that the Dabar-Bosnia Metropolitanate was divided into two, Dabar-Bosnia and Banja Luka Bihać, the latter headquartered in Banja Luka. It was also thanks to him that approval was granted and regulated by the Austrian court and the Istanbul Patriarchate for the organization of the Serbian Orthodox Church in Bosnia and Herzegovina, consisting of four metropolitanates under the jurisdiction of the Istanbul patriarchate. He died in 1907 in Abacija. (www. mitropolijadabrobosanska.org)
(33) „Špiro Bocarić was born in Budva in 1878. He studied painting in Venice. In the late 19th century he came to Sarajevo, where he worked for some thirty years before moving to Banja Luka, where he remained until his death. He was killed in Banja Luka in 1941. He was mainly involved in genre painting, portrait painting, landscape painting and icon painting. After abandoning the academic style of painting he had adopted in Italy, he opted for impressionism, fostering a divisionist technique for which his model was the Italian painter Segantini. He took his subjects from Baščaršija or from Sarajevo’s old mahalas, and from folklore. His works of this kind are illustrative in nature. His portrature and icon painting are of greater importance. His earlier portraits are full of life and colour. He left a great many works. He painted the iconostasises in Rogatica and Prača, which were completely destroyed during World War II, and those in Ilijaš and Nišići near Sarajevo, parts of which survive. From 1929 on he was director of the Museum of the Vrbas banate in Banja Luka, which he founded, organized and expertly arranged.” (Mazalić, 1959, 411, Grandić, 200-3.1)
(34) Born in 1879 in Pocrnje near Ljubinje. Studied law in Vienna and Zagreb. Gained his doctorate in 1911. Was initially appointed as Bishop in the Zahum-Rascia eparchy, and then as Bishop of Zvornik and Tuzla and finally Metropolitan of Dabar-Bosnia. He died in 1966 in Sarajevo. (www. mitropolijadabrobosanska.org)
(35) Born in 1858 in Plaško. Studied law in Vienna, Graz and Zagreb. Was initially Metropolitan of Banja Luka and Bihać, and then of Dabar-Bosnia. Died in Sunja in 1933. (www. mitropolijadabrobosanska.org)
(36) Born in 1866 in Grahovo. Graduated from seminary in Reljevo, and then from theological college in Chernovitz in Ukraine, and in Vienna. Was appointed as Bishop of Zahum and Herzegovina, and in 1920 as Metropolitan of Dabar-Bosnia. In 1941 he was taken from the metropolitanate, and was last heard of in the camp in Gospić. The Serbian Orthodox Church's holy archpriestly synod proclaimed him a martyr in 1998. (www. mitropolijadabrobosanska.org)
(37) Passages from Isaiah 61. 1-2, and Luke 4. 18-19
(38) Kosta Hakman was born in 1899 in Bosanska Krupa. He was arrested in 1914 as a member of the “Young Bosina” liberation movement. After World War I he studied painting under Vlaho Bukovac and in the academies of Cracow and Prague. Hakman was one of the leading artists of the Kingdom of Yugoslavia, and taught at Belgrade University. During World War II he spent four years in a concentration camp in Dortmund. After 1945 he continued working at the Fine Arts Academy in Belgrade, and had a major influence on the development of post-war modern art. He died in Opatija in 1961.
(39) Roman Petrović was born in Donji Vakuf in 1896. He studied in Cracow, Zagreb and Budapest, and completed his studies in Paris. He was professor of art in Sarajevo, and later became the first president of the Fine Arts Association of BiH. His work includes paintings, watercolours, drawings (in pencil, ink and chalk), graphics (woodcuts, lithography), frescoes, scene painting and book illustration. As his work evolved, he moved on from an impressionist view to expressionist portraits and compositions. He painted Bosnia and its people and landscapes. His art focused on people and was imbued with social humanitarianism (street children, old people, refugees). He also dealt with religious topics. His colour palette is striking: to him, colour was the most important component of painting. In an endeavour to underline content as strongly as possible, he emphasized the features of his subjects by means of deformation of line. Towards the end of his life his canvases became dark and grey. He died in Sarajevo in 1947. (Tihić, 1964., 667)
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