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 1 to 7 July 2003 the Commission adopted a
D E C I S I O N
The architectural ensemble of the Franciscan monastery in Kreševo together with its movable property is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).
The National Monument consists of the architectural ensemble of the Franciscan monastery in Kreševo with movable property consisting of: 14 paintings, 5 sculptures, 18 items of metalwork, a library with two old catalogues and 9 books, the Fr. Grgo Martić memorial room with 71 items, a chasuble and an organ.
The church built in 1970 is not protected by the provisions of this Decision as a National Monument, but is part of the ensemble and subject to the restrictions stipulated by this Decision
The National Monument is located on cadastral plots nos. 355, 356, 357, 358, 360, 362, 363, 364 and 367, cadastral municipality Kreševo, Land Registry entry 616, Kreševo Municipality, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.
The provisions relating to protection and rehabilitation measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of the Federation of BiH nos. 2/02 and 27/02) shall apply to the National Monument.
The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for ensuring and providing the legal, scientific, technical, administrative and financial measures necessary to protect, conserve, display and rehabilitate the National Monument.
The Commission to Preserve National Monuments of Bosnia and Herzegovina (hereinafter: the Commission) shall determine the technical requirements and secure the funds for preparing and setting up signboards with the basic data on the monument and the Decision to proclaim the property a National Monument.
To ensure the lasting preservation of the property the following are hereby defined:
Protection Zone I, encompassing the area specified in Clause I, para. 4 of this Decision. The following measures shall apply within this zone:
• no new construction shall be permitted, but existing buildings may be restored and works carried out designed to display the National Monument or landscape the plots or minor infrastructural works may be permitted with the approval of the relevant Federal ministry and under the professional supervision of the heritage protection authority of the Federation of Bosnia and Herzegovina (hereinafter: the heritage protection authority);
• existing high plant cover shall be preserved.
A protective zone 100 m. from the outer limits of Protection Zone I is hereby defined, in which the following measures shall apply:
• the construction of industrial buildings or facilities the operations of which could be detrimental to the architectural ensemble, quarrying, or the siting of environmental polluters are prohibited;
• the exploitation of forest resources is prohibited;
• infrastructure works shall be permitted only with the approval of the relevant Federal ministry responsible for regional planning and to the terms and conditions stipulated by the heritage protection authority.
The Government of the Federation shall be responsible in particular for providing the funds to draw up a study to record the movable heritage items listed in Clause I para. 2 of this Decision (hereinafter: the movable items), to include an inventory and setting up and maintaining an inventory register and record cards for the entire collection.
The removal of the movable items from Bosnia and Herzegovina is prohibited.
By way of exception to the provisions of paragraph 1 of this Clause, the temporary removal from Bosnia and Herzegovina of the movable items for the purposes of display or conservation shall be permitted if it is established that conservation works cannot be carried out in Bosnia and Herzegovina.
Permission for the temporary removal of the movable items from Bosnia and Herzegovina under the conditions stipulated in the preceding paragraph shall be issued by the Commission, if it is determined beyond doubt that it will not jeopardize the collection in any way. In granting permission for the temporary removal of the collection, the Commission shall stipulate all the conditions under which the removal may take place, the date by which the collection 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 of Bosnia and Herzegovina, the relevant security service, the customs authority of Bosnia and Herzegovina, and the general public accordingly.
All executive and area development planning acts not in accordance with the provisions of this Decision are to be revoked.
Everyone, and in particular the competent authorities of the Federation of Bosnia and Herzegovina, the Canton, and urban and municipal authorities, shall refrain from any action that might damage the National Monument specified in Clause I of this Decision or jeopardize the preservation and rehabilitation thereof.
The Government of the Federation, the Federal Ministry of Regional Planning and the Environment, 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-V of this Decision, and the Authorized Municipal Court shall be notified for the purposes of registration in the Land Register.
The elucidation and accompanying documentation form an integral part of this Decision, which may be viewed by interested parties on the premises or by accessing the website of the Commission (http://www.aneks8komisija.com.ba)
Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.
This Decision shall enter into force on the date of its adoption and shall be published in the Official Gazette of BiH and the Official Gazette of the Federation 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.
Chairman of the Commission
3 July 2003
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.
At a session held on 30 June 1998 the Commission issued a Decision to add the Franciscan church and monastery in Kreševo to the Provisional List of National Monuments of Bosnia and Herzegovina, numbered as 325.
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 location and current owner and user of the property
• Details of legal status to date
• Data on the current condition and use of the property, including a description and photographs,
• Details of war damage, data on restoration or other works on the property, etc.
• Details of the movable heritage items within the property
• 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 site
The architectural ensemble of the Franciscan church and monastery in Kreševo is 55 km west of Sarajevo, at an altitude of 670 m above sea level.
The architectural ensemble is located on cadastral plots nos. 355, 356, 357, 358, 360, 362, 363, 364 and 367, cadastral municipality Kreševo, Land Registry entry 616, Kreševo Municipality, Federation of Bosnia and Herzegovina.
Kreševo is one of the oldest settlements in Bosnia. The first written reference to it dates from 1381, as the Kreševo mine. In 1430 it is referred to as a fortified town, and in 1434 as the present-day settlement (Raspudić, 1981, pp.7-10)
As a mining settlement with advanced metal-working skills, Kreševo was a very important economic centre from ancient times and throughout the Middle Ages, until the establishment of Austro-Hungarian rule over BiH. Kreševo held a very important place in the mediaeval Bosnian state. During the Ottoman period the church and monastery were an important religious and cultural centre for the Catholics, and the seat of four bishops of Bosnia Argentina, three of whom were from Kreševo. Here too Fra Matija Divković lived at the time when he began writing his literary works. In the immediate vicinity of present-day Kreševo, according to written sources, archaeological findings and folk tradition, there were several churches dating from antiquity and the early Middle Ages; what can be ascertained with certainty is that a church on the present site in Kreševo was built near the end of the fourteenth century. From the time it was erected through to the 1960s the monastery and church were demolished, set on fire, repaired and rebuilt on several occasions. The most serious damage was suffered in 1765 when both the monastery and the church burned to the ground.
The Franciscan monastery and church of St Catherine was founded towards the end of the fourteenth century (Karamatić-Nikić, 1990, p. 48)
All that remains of the original Gothic church is the south-east end of the sanctuary wall. Against this, probably in the fifteenth century, there was a stone-built chapel of St. Amrija. In 1524 the monastery and church were destroyed for the first time. There are no written sources on this, but the assumption is that they were quickly rebuilt. There is also reference to a leprosery in Kreševo, which was probably, as was the custom, alongside the monastery (Raspudić, 1981, p.13). Both monastery and church were certainly renovated in 1763. On 7 April 1765 the church and monastery, along with all their valuables (archives, library) were destroyed by fire. In 1767 the Franciscans obtained permission to rebuild the church and monastery, but this did not last long. In 1827 the Franciscans renovated their monastery and church yet again (Karamatić-Nikić, 1990, p. 48)
In 1853 the construction of a new church began on the foundations of the old one; this took until 1860. The design concept for the new building was the work of Fr. Andrija Kujundžić. The plan was based on the model of St Peter's in Rome, as a triple-aisled basilica with the main nave, not including the apse, 32 m. long and 15 m. wide (Tihić, 1956, p. 195). The three-aisled neo-Romanesque church had 14 slender columns bearing rounded arches and a wooden barrel vault. In 1872 the bell tower was built, and in 1887 the alter to Our Lady was set up in the church to a design by the architect Josipa Vancaš. The altar painting of the Immaculate Conception was painted that same year by Alexander Seitz. The construction of the monastery, which began in 1889, was completed in 1895. (Karamatić-Nikić, 1990, p. 49)
In 1924 the Kreševo church was renovated to a design by the architect Karl Paržik; «stylistic purification» alterations were carried out (Tihić, 1956, p. 195). In the interior architectural alterations were carried out: the columns were made stouter, and the sanctuary narrower. The choir stalls were removed to the upper floor of the monastery, communicating with the right-hand aisle. A new bell tower was built and a new altar set up in the church. The main altar was made of concrete, and because of its weight the sanctuary began to break away, as a result of which the church was pulled down in 1963. In its place a new one was built to a design by the architect Antun Karavanić, work on which was completed in 1970 (Karamatić-Nikić, 1990, p. 51). This was the appearance the church was to retain to this day.
According to Fr. Mate, works to install central heating in the monastery were carried out in 1978, and works on the facade were carried out in 1980 (stuccoing and painting the facade, which is still in place now) along with minor works to the interior (alterations to the woodwork). In 1983 the surviving wall of the old Gothic church was provided with concrete underpinnings; this now forms the load-bearing wall of the access ramp to the church. Most recently alterations to the exterior woodwork have been carried out – in some places the woodwork has been replaced by PVC.
Legal status to date
The ensemble was under state protection as a cultural monument and was listed in the register of immovable monuments under serial no. 575.
The Regional Plan for the Republic of Bosnia and Herzegovina to 2002 lists the Franciscan monastery as a Category II monument.
The architectural ensemble of the Franciscan church and monastery in Kreševo is on the Provisional List of National Monuments under serial no. 325, as Franciscan church and monastery in Kreševo.
2. Description of the monument
The architectural ensemble consists of the monastery building, church and bell tower. The monastery building houses a library, museum, archives, chapel, residential quarters for the friars, kitchen and refectory. It has retained the basic features of the original late nineteenth century building. Apart from minor interventions to the interior and the facade there are no visible traces of major works or alterations. The monastery building is a two-storey structure with a steep gabled roof. The facade of the building is divided horizontally by string courses above the windows of the ground and first floors. The rhythmic repetition of simple rectangular windows still further emphasizes the solidity of the building itself. In the interior of the building, the emphasis is on the functional disposition of the premises (a corridor arrangement of space).
The church, built to the design of architect Karavanića in 1970, is a completely new and modern building consistent with architectural trends of the time when it was built. It was built on the same site as the previous demolished building but with a completely different orientation. All the previous church buildings had been perpendicular to the monastery building, i.e. with their longer sides abutting onto the front of the monastery. The new building was erected parallel to the monastery, giving the effect of a single spatial unit, the functional differentiation of which is visible in the treatment of the facades. The church building is a single-space reinforced concrete structure the exterior of which imitates or recalls the triple-aisled churches that used to stand on the site in the past. In ground plan, it is a single-space building with a three-sided gallery above the main entrance area to the church. Đuro Seder, a fine-art painter from Zagreb, painted the gallery with scenes from the Way of the Cross in 1986.
The reinforced concrete frame structure is emphasised in the interior by glass screens (basilica-style lighting at the gallery level and just beneath the roof) set between two adjacent columns so as to give the impression of a triple-aisled structure with the emphasis on the central nave. The simple form of the building follows the lines of the main frame girders which also dominate the entire interior space. They are also the only element of architectural sculpture within the building, which still further emphasizes the logic of the building's structure.
Another element of the interior is the great organ, built in the church in 1958.
This horizontal separation of space, visible in the interior, has no matching exterior expression; outwardly, the building gives the impression of a huge structure made of reinforced concrete screens with apertures only in the upper reaches. The treatment of the horizontal planes in the interior and the exterior in the shape of stuccoed facades with emphatic changes to the basic dimensions treated with somewhat darker tones betrays the readily distinguishable form of the building following the logic of the structure itself. Only the entrance facade of the building is given somewhat richer treatment. The entrance is emphasized by a shallow portico divided by four load-bearing pillars faced with granite, still more emphasized by the colour contrast, at the ground floor level, stressing the entrance function. Between and around these pillars on the upper level is the only decorative element on the exterior facade of the builidng. In the lower level there is a mosaic which continues in the form of a stained glass window dominating the entire facade. The mosaic and stained glass are to a design by the Dubrovnik painter Ivo Dulčić and the works were carried out by the painter Đuro Pulitika.
The bell tower, also of reinforced concrete, is physically separate from the other buildings in the group. It stands to the left of the entrance, about 5 m. from the church building. It is basically a simple square building of which the third dimension, its height, is greatly emphasized. The only decorative element on the bell tower are the light wells on all four sides of the building, which still further stress its vertical dimensions.
During its almost six centuries of existence, the buildings composing the ensemble – the monastery, church and bell tower – have altered in appearance, and represent the continued presence of the Kreševo Franciscans.
MOVABLE HERITAGE ITEMS
Ever since they first came to Bosnia, the Franciscans have collected and preserved in their monasteries the most varied items of a cultural, historical and artistic nature, bringing them from Italy, Austria and Hungary, and also collecting folk creations from the regions around their monasteries.
The Franciscan monastery in Kreševo stands out for the number and variety of its collections. The friars began collecting items from the time the monastery was founded, and over time these items developed into distinct collections, including:
I a collection of paintings
II a collection of sculptures
III a collection of items of metalwork
IV a library
V Fr Grgo Martić's memorial room
VI ecclesiastical robes
I COLLECTION OF PAINTINGS
Three of the most valuable collections of late Renaissance and Baroque art of the sixteenth to eighteenth centuries, mainly of Venetian origin, are to be found in the museums of the Franciscan monasteries of Kreševo, Kraljeva Sutjeska and Fojnica (Rakić, 1988, p.13).
The collection of paintings in the Franciscan monastery in Kreševo is large, but many of the paintings have not been inventoried. About fifteen paintings stand out as particularly valuable: all are oil on canvas and most are large. They date from the late sixteenth or early seventeenth century, or a little later, and mainly originate from Italy, more specifically from Venice and its environs. They were the legacy of friars from the said monastery.
1. THE ASSUMPTION – oil on canvas, 210 x 100 cm, unknown Venetian artist, second half of the 16th century. Framed in an elaborate gilt frame. The composition recalls Titian's Assumption where the Virgin is borne aloft by two angels. Below her are onlookers. This part of the painting recalls Tintoretto's Miracle of St Mark freeing the Slave.
2. LAST JUDGMENT – oil on canvas, 180 x 150 cm, artist unknown, second half of the 16th century. The composition is divided into three areas. Symbolically, the upper part represents the Church Triumphant, with a dominant figure of Christ at the centre and the inscriptions «VENITE BENEDICTI PATRIS DEI», and «ITE MALEDICTI IN IGNEM AETERNUM». To the right of Christ is Mary in a kneeling position. Behind her are popes, doges, cardinals and monks. To the left of Christ is the Archangel Michael and other martyrs. The second area symbolizes the Church Militant. The central area is occupied by angels, a cross and the inscription «VENITE. AD. IVDICIV. DOMINI». To the right of the angels is a group of the chosen, monks and nuns, and to the left of the angels a group of sinners. The third area represents the Suffering Church. Historians of art attribute this painting to the school of painters associated with Palma and Giovanni (Tihić, 1956, p. 199)
3. THE CORONATION OF MARY – oil on canvas, 150 x 160 cm, unknown artist, second half of the 16th century. The central part of the painting is occupied by Mary and the Child. To her right is St. Rocco, and to her left St. Elias. Two angels hover above them. On the plinth on which the Madonna is seated is an inscription «this is an image from [dobroci...] Fr. Mato Kognicanin Aprila. Na. K. M. 1708», which probably relates to the date the painting was brought to the monastery (Tihić, 1956, p. 200, Rakić, 1988, p. 18). Stylistically, the painting is similar to the works of the painters associated with Antonio Allegri Correggio.
4. CRUCIFIXION – oil on canvas, 200 x 200 cm, artist unknown, 17th century. The central part of the painting is occupied by Christ crucified, with an angel beside his body. To the right of the crucifixion is Mary, and to the left Magdalena and St. John. In the lower left hand corner of the painting is the city of Jerusalem, and in the lower centre a group of warriors on horseback. In the lower right hand corner is an inscription: «This was done by P. Definitor Fr. Martin Nikolich of Kresevo 1770.»
5.SS. FRANCIS, BONO, CLARE AND OTHER SAINTS OF THE FRANCISCAN ORDER – oil on canvas, 200 x 180 cm, 17th century. Compositionally, the painting belongs to the early Venetian baroque period. The centre of the painting show St. Francis with an angel standing at his feet. To his right is St. Bono with two figures in the background, and to the left, another group of saints with St. Clare, kneeling, prominent among them. Behind her are St. Agnes, St. Anthony and another saint.
6.THE LAST SUPPER – oil on canvas, 300 x 150 cm, second half of the 16th century. The Last Supper is represented in the traditional manner of Venetian representations of the subject. Artistically, the most successful elements are the still life items on and in front of the table.
7.ST. GEORGE – oil on canvas, 165 x 190 cm, late 17th or early 18th century. Compositionally, the painting is in two sections. The central area is occupied by a scene in which St. George is killing the dragon. In the lower part of the painting, to the right of the saint, is St. Lucia, and to the left St. Apollonius. In the upper centre is St. Joseph with the Christ child in his arms. To their left is St. Nicholas and to their right St. Elias, two angels and an unidentified male figure. The painting is iconographically unusual and shows a certain originality on the part of the artist, but at the same time is hard to decipher and uncoordinated. Artistically, it belongs to the late Venetian baroque style.
8.MADONNA AND CHILD, ST. FRANCIS AND ST. CATHERINE – oil on canvas, 67 x 91 cm, 17th century. The painting shows the Madonna with Jesus in her arms, and a long band emerging from her mouth bearing an inscription: ERO EIS IN MATREM. To the right of the Madonna is St. Catherine, kneeling, looking at Jesus. A ribbon runs from her mouth towards the head of Jesus with the inscription: TVOS AB HOSTE PROTEGE. In her right hand she holds a model of the monastery beneath which is the word CRESCEVE. Based on its stylistic features, art historians date this painting to the third decade of the 17th century and are of the view that it is of the school of masters associated with Strozzi, Liss or Paolo Veronese.
9.PORTRAIT OF UNIDENTIFIED CARDINAL – oil on canvas, 60 x 71 cm, 18th century. The painting shows an unidentified middle-aged cardinal.
10. THE SEVEN SORROWS OF THE BLESSED VIRGIN MARY (MATER DOLOROSA) – oil on canvas, 54 x 74 cm, 18th century. The painting shows a bust of Mary wrapped in a black veil. On her bosom are seven daggers, symbolizing the seven sorrows of the Virgin. Beneath the daggers is a leaning cross with an inscription: F. F: PET RUSZIEZ: PRO: EC: CRES: 1768.
11.PORTRAIT OF BISHOP ILIĆ – oil on canvas, 69 x 89 cm. The painting shows Bishop Ilić seated on a throne holding his episcopal staff, with a mitre on his head, and moustaches. To the right of the bishop is a boy with an open book, on one page of which the Franciscan coat of arms is displayed, and on the other the inscription:
R. F. GREGORI A VARES
IN BOSNA ARGENT.
12. THE STIGMATA OF ST. FRANCIS – oil on canvas, 62 x 100 cm, 19th century. In the foreground is St. Francis, kneeling, and in the background, Jesus crucified in the heavens. The painting is assumed to be the work of a local artist.
13.THE IMMACULATE CONCEPTION – oil on canvas, 205 x 100 cm, the work of Aless. Mass. Seitz Senior Pinx, 1887. The centre of the composition is occupied by the Virgin. Seven busts of small angels are shown in a semicircle near the top of the painting.
14. THE SACRED HEART OF JESUS – oil on canvas, 205 x 100 cm, the work of Maximiliani Seitz, 1883. Compositionally this work resembles the previous one, with the centre occupied by Jesus.
II COLLECTION OF SCULPTURES
1. St. Catherine – work of an unknown Italian master of the second half of the 17th century. Painted wood. The sculpture is 135 cm high.
2. St. John the Baptist – work of an unknown master. Painted wood. The sculpture is 135 cm high.
3. Nativity scene – wood relief by unknown artist. 20 x 20 cm.
5. Cruxifixion – work of Ivan Meštrović, bronze, 35 cm high.
III COLLECTION OF ITEMS OF METALWORK
The collection of items of metalwork is no less valuable than the collection of paintings. It numbers about a hundred items, but like the paintings, they have not been separately inventoried. They are mainly items used during divine service, and are no longer in use, but are on display in the monastery museum. The following items among them are of particular note:
1. HANGING LAMP: engraved, F.L.P. MDCLXXXIII
2. HANGING LAMP: with engraving showing bust of St Catherine
3. HANGING LAMP: with figure of St Francis
4. HANGING LAMP: engraved, ANNO MDCLXXIII+F.N.C.
These four lamps are typical representatives of Venetian church vessels of the kind to be found in the churches of southern Dalmatia.
5. HANGING LAMP: filigree work, with Cyrillic inscription: «THIS LAMP is a donation to the holy church of ST CATHERINE IN KREŠEVO from Aleksia Petrović ĆURĆIJA IN SARAJEVO 13 May 1899.» On the underside of the base is another inscription: «to the glory of the mother of god with cost of Niko Tvrtković. 1876.» (Various authors, 1984, p. 32).
The candlesticks are silver and measure 49 to 50 cm high. They are decorated with stylized floral ornaments worked in treib technique. They have triangular bases with feet in the shape of dragon's heads, indicating where they were made – in Venetian workshops in the 17th or 18th century. The central part of the candlesticks has a medallion on all three sides, with in one the figure of St. Catherine, in the second the year MDLCXXXX (1693) and in the third the inscription F. LORO DIPALO DACRIVO». (Various authors, 1984, p. 32).
10. GILT CRUCIFIX
The crucifix is 39 cm high including the base. The base of the crucifix is an octagonal rosette. Where the arms of the crucifix meet is the figure of Christ crucified. At the end of the arms of the crucifix the symbols of the Evangelists are applied. On the back of the crucifix there is an engraved figure of the Madonna with Christ in the centre and four seated male figures with mantles and bishops' mitres in the angles. The Gothic-Renaissance elements on this valuable piece indicate its foreign origin and a date of the 15th or 16th century.
11. PROCESSIONAL CROSS
12. PROCESSIONAL CROSS
Both crosses are worked in silver filigree.
The monstrance is 45.5 cm high and circular in form. It is made of gilded cast, embossed copper. On the inside of the rim is an indistinct engraved inscription and the date 1831.
The reliquary is 43 cm high, and is made of cast silver. On the inner side of the base the words «+P:FRATER.NICOLAVS. BRAIKOVICH FIERI FECIT» are engraved (Basler, 1984, p. 32)
Both ciboria are made of silver. One is 15 cm high, the other 11 cm. Both are circular. Around the rim of the first an indistinct inscription and the date 1830 are engraved, and around the rim of the other, on the cover, the words «Ad usum.P.F.Laurentii Tuczich ab Ivancsa 1825» are engraved.
16.CONTAINER FOR THE HOST, now serving as a reliquary. Made of silver filigree. Around the rim of the cover of the reliquary is engraved the following inscription: «O.M.P.F.BONE.BENICA.S.G.G. 1779.»
17. WROUGHT IRON CROSS – made in Kreševo in one of the blacksmiths' shops. The upright of the cross is 195 cm long and the crossbar 130 cm.
The library of the Kreševo monastery is the most recent of the libraries of the three central Bosnian Franciscan monasteries, being the latest to go up in flames, in 1765, a century later than the Fojnica and Sutjeska fires. Immediately after the fire the Kreševo Franciscans established a new library. The Kreševo chronicle records that Fr. Mato Bogdanović came from Italy in September 1767 bringing with him some important books on medicine, natural history and history. (Various authors, 1984, p. 29).
Two old catalogues of books are preserved in the library. The older, to judge from the form of the script, probably dates from the eighteenth century, and lists 1300 volumes, arranged by subject. The other dates from 1835 and is entitled «Cataloque librorum Bibliothecae Sanctae Catharinae... de Kreschevo... 1835». This catalogue lists 2008 volumes classified into 20 subjects. The monastery now has more than 17,000 volumes.
Among the most valuable of the books is an incunabula of Strabo's Geographia, translated from the Greek into Latin and printed in 1480. The initials are hand-drawn. It is in a good state of preservation. It was brought to the monastery by Fr. Andrija Kujundžić.
The following books are also very valuable:
1. Georgius Agricola: De re metallica, Basileae, printed in Basle in 1657 (this is the third edition; the first dates from 1556). The work is basically a miner's and metalworker's manual, consisting of 12 volumes, and is regarded as the first manual of its kind to be printed in Europe. The miners and metalworkers of Kreševo acquired their basic knowledge of mining and extracting metal from ore from this. There are only a few such books surviving world-wide.
2. Donzelli: Teatro Farmaceutico, printed in Venice in 1763. 360 pp., condition fair.
3. Mattioli: Herbario nuovo, printed in Venice in 1717, 480 pp, condition fair.
4. D. Emanuele Tesauro: La Filosofia morale, printed in Treviga in 1704, 718 pp. Condition good.
5. Forcellini: Totius latinitatis lexicon. Vol. I printed in Prata in 1837, 837 pp. Condition good. Vol. II printed in Prata in 1842 968 pp. Good condition. Vol. III printed in Prata in 1844, 998 pp. condition good. Vol.IV printed in Prata in 1845. 804 pp. condition good.
6. Gonzaga: De origine Seraphicae religionis, printed in Venice, year unknonw. 624 pp. Condition poor.
7. Marcus de Lisabona: Croniche de gli Ordini istituti dal P.S. Francesco. Vol I printed in Naples in 1680. 512 pp. Condition fair. Vol. II printed in Naples 1680. 1142 pp. Condition fair. Vol III printed in Naples in 1680. 620 pp. Condition fair. Vol. Prima parte, printed in Naples, 1680, 620 pp. Condition fair. Vol. Seconda parte, printed in Naples 1680, 612 pp. Condition fair. Vol. Terza parte, printed in Naples 1680, 710 pp. Condition fair.
8. Farlati: Illiricum sacrum. Vol. I printed in Venice, 1770, 780 pp. Condition good. Vol. II printed in Venice, 1753, 636 pp. Condition good. Vol. III printed in Venice, 1765, 528 pp. Condition good. Vol. V printed in Venice, 1775, 540 pp. Condition good. Vol. VII printed in Venice, 1817, 330 pp. Condition good.
9. Greiderer: Germania franciscana seu Chronicon Geographo-historicum Ordinis S. Francisci. Printed in Oniponte, 1777, 878 pp. Condition good.
V FR. GRGO MARTIĆ'S MEMORIAL ROOM
Fra Grga Martić was born in 1822 near Posušje, and is one of the best known Franciscans of Bosnia and Herzegovina. He served in various places in Bosnia, spending most of his time as a parish priest in Sarajevo. He was an advocate and member of the Illyrian movement, a long-time member of the Majlis in Sarajevo, and one of the most influential figures in Bosnia in the nineteenth century.
After his death in 1905 the brotherhood of the Kreševo monastery set up a room in his memory. As well as the furniture used by Fr. Martić, the room contains gifts from famous people, a small library, hunting rifles, various chibuks, medals and decorations, and Martić's manuscripts and letters.
The inventory of the room consists of:
1. a cupboard with books – 159 titles
2. four armchairs
3. a desk with drawers (bought from Omer-paša Latas)
4. a tobacco box and cigarette box
5. a razor and shaving equipment
6. a medallion of Leo XIII
7. a medallion of Franciscan general Aloysius [Lauer? Trans.] of Parma
8. medallion of the international exhibition in Sarajevo, 1900
9. souvenir box from a court luncheon in Buda, 1878
10. medallion of Franz Joseph I during his stay in Požega in 1885 and Zagreb in 1985 – in the souvenir box
11. Napredak Foundation metal moneybox with booklet for recording contributions
14. yataghan (Turkish dagger)
18. sabre of Ban Jelačić
19. calabash for gunpowder
20. tobacco pouch
21. glass flask in leather case
22. green metal box with tools for making hunting bullets
25. towel with embroidered initials «F.G.M.» and crown
26. badge of the Karlovac «Zora» - pinned to towel
27. painting – Hunting idyll
28. gusle with bow
29. painting of Perkan
30. Martić's obituary published in Osvit, 2 September
31. portrait of Strossmayer with his signature
32. Grohar's St. Anthony
33. image of Our Lady
35. image of the Mater Dolorosa
36. image of the Saviour Crucified
37. diploma of the order of Franz Joseph I
38. diploma of the order of the Iron Crown
39. photograph of Archbishop Štadler
40. photograph of Franjo Rački
41. desk with drawers
42. inkwell and two quill pens
43. clock [or watch? Trans]
44. two ashtrays
45. scrap of homespun cloth
47. book Slava Preporoditeljima, (1848-1888)
48. book Zvonimirova spomenica Gunduliću, (1588-1885)
49. three chibuks
50. two pipes
51. small cupboard
53. bundle of quill pens
54. large packsaddle
55. small packsaddle
56. cup and saucer for white coffee
57. porcelain tea service
58. sugar bowl
59. vessel for baking eggs
60. two flasks
63. painting of Emperor Franz Joseph I
64. epigraph from Horatio Vixi
65. testimonial/commemorative medal/ribbon [?? Trans.] of the Vrhbosanski seminary for the poet's Golden Mass
66. Trnski's poems in memory of Martić: «Fra Grgi Martiću» and «U spomen dičnom pokojniku»
67. diploma of the Medžidija
69. fire tongs
70. fire shovel
VI ECCLESIASTICAL ROBES
1. Chasuble, dating from between 1620 and 1640, Italian. Made of multicoloured broširana [sic] brocade] silk, measuring 130 x 80 cm. On a crimson ground, around the central motif of stylized apple branches and trefoil flowers, is a dense circular wreath of golden leaves and acorns.
3. Research and conservation and restoration works
Research and conservation works were carried out in:
1924, when the Kreševo church was renovated to the design of architect Karl Paržik;
1930, when Gabrijel Jurkić restored the paintings listed above
1970, when the new church was built to a design by architect Antun Karavanić
1990, when the Institute for the Protection of Cultural and Historical Monuments of Sarajevo restored the paintings listed above;
1990, when the sculpture of St. Catherine was cleaned in Belgrade by a person or persons unknown.
4. Current state of the property
An on-site inspection in April 2003 ascertained as follows:
- Works are under way to extend the open space around the church and monastery to obtain a larger area to be used for parking. As part of these works a concrete retaining wall is being built to secure the open space so obtained. The works are being carried out without the approval of the Federation ministry responsible for urban planning and contrary to the provisions of the Law on the Implementation of the Decisions of the Commission;
- The monastery's museum holdings have not been inventoried or professionally arranged.
III – CONCLUSION
Applying the Criteria for the adoption of a decision on proclaiming an item of property a national monument, adopted at the fourth session of the Commission to Preserve National Monuments (3 to 9 September 2002), the Commission has enacted the Decision cited above. The monastery church built in 1970 is not protected by the provisions of this Decision given that, applying the criteria for the adoption of a Decision of the Commission to designate a property as a National Monument, adopted at the fourth session of the Commission to Preserve National Monuments (3 to 9 September 2002), it does not meet the criterion of the timeframe.
The other elements of the complex, including the movable heritage listed in the elucidation to this Decision, are designated as a National Monument. The Decision was based on the following criteria:
A. Time frame
B. Historical value
C. Artistic and aesthetic value
D.ii. evidence of historical changes
D.iii. work of a major artist or builder
D.iv. evidence of a typical way of life at a specific period
E.ii. religious value
E.iii. traditional value
E.v. significance for the identity of a group of people
F. Townscape/landscape value
F.ii. meaning in the townscape
F.iii. the building or group of buildings is part of group or site
G.iii. use and function
G.vi. spirit and feeling
The following documents form an integral part of this Decision:
- copy of cadastral plan;
- copy of Land Registry entry and proof of title;
The documentation annexed to the Decision is public and available for view by interested persons on written request to the Commission to Preserve National Monuments of Bosnia and Herzegovina.
During the procedure to designate the monument as a national monument of Bosnia and Herzegovina the following works were consulted:
Catalogue, Stari franjevački samostani BiH, (Old Franciscan Monasteries in BiH), Sarajevo, 1984
Institute for Architecture, Town Planning and Regional Planning of the Faculty of Architecture,
Sarajevo: Stage B, valorization of natural and cultural and historical valuables, Regional Plan for BiH, Sarajevo, 1980
Jelenić, Julijan, Kultura i bosanski Franjevci, I, II, (Culture and the Bosnian Franciscans I, II) Svjetlost Sarajevo, 1990
Karamatić, Dr. Marko, and Nikić, Dr. Andrija, Blago franjevačkih samostana Bosne i Hercegovine, (Treasures of the Franciscan monastery of BiH) Privredni vjesnik – Tourist publicity, Zagreb, 1990
Karamatić, Marko, Franjevci Bosne Srebrene u vrijeme austrougarske uprave 1878-1914., (The Franciscans of Bosnia Argentina during the period of Austro-Hungarian rule, 1878-1914) Svjetlo riječi, Sarajevo, 1992
Kovačević-Kojić, Desanka, Gradska naselja srednjevjekovne bosanske države (Urban settlements of the mediaeval Bosnian state)
Raspudić, Krunoslav, Čaršija u Kreševu – zaštita i obnova, (The Kreševo čaršija – preservation and restoration), master's thesis, Sarajevo, 1981
Tihić, Smail, Nekoliko novopronađenih predmeta spomeničke vrijednosti u posjedu samostana SV: Katarine u Kreševu (Some newly discovered items of monumental value in the possession of the monastery of St. Catherine in Kreševo),Naše starine br. VI, tr. 253-258, Sarajevo 1959.
Tihić, Smail, Starije slike i predmeti umjetnog zanata u kreševskom samostanu, (Old paintings and arts and crafts items in the Kreševo monastery) Naše starine III, Sarajevo, 1956.
Various authors, Blago franjevačkih samostana u Bosni i Hercegovini, (Treasures of the Franciscan Monasteries of BiH), Institute for the Protection of the Cultural, Historical and Natural Heritage of Bosnia and Herzegovina, Sarajevo 1988
Various authors, Franjevci Bosne i Hercegovine na raskršću kultura i civilizacija, (The Franciscans of Bosnia and Herzegovina at the Crossroads of Civilization, Museum space Zagreb, Zagreb 1989