Status of monument -> National monument

Published in the “Official Gazette of BiH”, no. 53/11.

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 26 October 2010 the Commission adopted a

D E C I S I O N

I

The historic building of the church of Our Lady in Olovo is hereby designated as a National Monument of Bosnia and Herzegovina (hereinafter: the National Monument).

The National  Monument consists of the church of the Our Lady and movable property (a collection of icons, an altar painting, a censer and a statue of the Virgin).

The National Monument is located on a site designated as cadastral plot nos. 681 and 682, title deed no. 1155, Land Register entry no. 1154, cadastral municipality Olovo, Municipality Olovo, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.

The provisions relating to protection measures set forth by the Law on the Implementation of the Decisions of the Commission to Preserve National Monuments, established pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina (Official Gazette of the Federation of BiH nos. 2/02, 27/02, 6/04 and 51/07) shall apply to the National Monument.

II

The Government of the Federation of Bosnia and Herzegovina (hereinafter: the Government of the Federation) shall be responsible for providing the legal, scientific, technical, administrative and financial measures necessary for the protection, conservation and presentation of the National Monument.

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

III

The following protection measures shall apply in the area defined in Clause 1 para. 3 of this Decision:

–      conservation and restoration works may be carried out with the approval of the Federal ministry responsible for regional planning (hereinafter: the relevant ministry) and under the expert supervision of the heritage protection authority of the Federation of Bosnia and Herzegovina (hereinafter: the heritage protection authority);

–      works designed to present the National Monument, to make good the site, and minor building and infrastructure works associated with these works, with the approval of the relevant ministry and under the expert supervision of the heritage protection authority.

The following emergency protection works shall be carried out with a view to protecting and ensuring that the conditions are in place for the conservation and restoration of the National Monument:

–      an examination and structural analysis of the structural components of the building;

–      the structural consolidation of the building and remedial works on the structural components using the same materials and building techniques wherever possible;

–      providing the building with protection from the elements.

The following protection measures for the movable property referred to in Clause 1 para. 2 of this Decision (hereinafter: the movable heritage) are hereby prescribed:

–      the display and other forms of presentation of the movable heritage in Bosnia and Herzegovina shall be effected under the terms and conditions stipulated by the ministry of the Federation of Bosnia and Herzegovina responsible for culture;

–      supervision of the implementation of the protection measures pertaining to the movable heritage shall be exercised by the ministry of the Federation of Bosnia and Herzegovina responsible for culture.

IV

The removal of 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 or can be carried out to a higher standard and more quickly and cheaply abroad.

Permission for temporary removal under the conditions stipulated in the preceding paragraph shall be issued by the Commission to Preserve National Monuments, 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 the 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 of Bosnia and Herzegovina, the relevant security service, the customs authority of  Bosnia and Herzegovina, and the general public accordingly.

V

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

VI

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.

VII

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

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.kons.gov.ba) 

IX

Pursuant to Art. V para 4 Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, decisions of the Commission are final.

X

This Decision shall enter into force on the day following its publication in the Official Gazette of BiH.

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

No. 07.3-02.3-71/10-22

26 October 2010

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.

On 10 February 2009 the Mayor of Olovo Municipality submitted to the Commission to Preserve National Monuments a proposal/petition to designate the church of Our Lady in Olovo as a national monument of Bosnia and Herzegovina.

Pursuant to the provisions of the law, the Commission proceeded to carry out the procedure for reaching a final decision to designate the Property as a National Monument, pursuant to Article V para. 4 of Annex 8 and Article 35 of the Rules of Procedure of the Commission to Preserve National Monuments.

Statement of Significance

The church of Our Lady in Olovo is a major pilgrimage church in Bosnia and Herzegovina in the context of the Franciscan tradition. The present-day church was designed by architect Karel Pařik in 1925. In the 1980s the church windows were replaced by stained glass windows by the painter Slavko Šohaj, who also signed the collection of icons of the Stations of the Cross. The church also includes a censer, a wooden statue of the Virgin, and a valuable altar painting.

II – PRELIMINARY PROCEDURE

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 (copy of cadastral plan and copy of land register entry)

–      Details of legal protection of the property to date

–      Data on the current condition and use of the property, including a description and photographs, data of war damage, data on restoration or other works on the property, etc.

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

Pursuant to Article 12 of the Law on the Implementation of Decisions of the Commission to Preserve National Monuments Established Pursuant to Annex 8 of the General Framework Agreement for Peace in Bosnia and Herzegovina, the following procedures were carried out for the purpose of designating the property as a national monument of Bosnia and Herzegovina:

–      A letter ref. 07.3-35.2-23/09-238 of 18 December 2009 was sent to Olovo Municipality, the Institute for the Protection of Monuments of the Federal Ministry of Culture and sport, the Roman Catholic Parish of Gornje Olovo, the National Museum of Bosnia and Herzegovina and the Archives of Bosnia and Herzegovina, requesting documentation and views in relation to the designation of the church of Our Lady in Olovo

–      The Roman Catholic parish office of Gornje Olovo has not provided its views in writing on the proposal to designate the property as a national monument.

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

1. Details of the property

Location

The church of Our Lady is in Gornje (Upper) Olovo, about 1 km south-west of the centre of Olovo. The religious edifice is at an altitude of about 650 m, on a strip of high ground surrounded by steep precipices to the west and north, known as Gradina.

The National Monument is located on a site designated as cadastral plot nos. 681 and 682, title deed no. 1155, Land Register entry no. 1154, cadastral municipality Olovo, Municipality Olovo, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.

Historical information

The town of Olovo is about 50 km north-east of Sarajevo, on the main Tuzla to Sarajevo road, at the confluence of the Stupčanica and Bioštica rivers, which later form the River Krivaja. The town lies below Mt. Stoborje.

The earliest reference to the town is in 1382, by the name Olovo Plumbum, followed by a reference in 1415 by the name “città de Piombo.” The abundance of ores and minerals determined its historical evolution, and the settlement and the town were named Olovo after the lead ore found there(1). The old lead mine dates back to well beyond this time, to the period of Roman rule in Pannonia, Dalmatia and Illyrica. In the latter half of the 14th century, there was a marked increase in mining operations in Bosnia, when the Olovo mine was also re-opened(2). The settlement of Olovo took shape there in mediaeval times, with a fort called Olovac(3). 

The first Franciscan monastery with a church in Olovo, on the site of the present-day church of Our Lady in Gornje Olovo, was founded in the 14th century(4). The original church was quite small (12.60 x 9.60 m), with massive walls of hewn stone(5), plastered and decorated with wall paintings inside(6). Another survival of the old Olovo church is the key, which doubled as a firearm(7).

There is a reference to the church of Our Lady in Gornje Olovo church in the Dubrovnik Chronicle for 10 April 1454, reading: “Herceg Stjepan has made peace with Dubrovnik, with his wife Jelena, his son Vladislav and his son-in-law, the King of Bosnia. This reconciliation gave great pleasure to both sons-in-law, and both his daughters, Katarina and Marija, sent gifts to Our Lady’s church in Olovo.”(8)

After Bosnia became part of the Ottoman Empire in 1463, the monastery and church were spared from destruction, and the Franciscan monks continued their work as before, without hindrance. Ante Šoljić, referring to a text about the Fojnica monastery by Fr. Mijo Vjenceslav Batinić, relates that the Olovo monastery came to grief in 1524(9). From the mid 17th century, reflecting the adverse economic and political circumstances, the indigenous Catholic inhabitants began to leave the area, mainly for the regions beyond the River Sava. Pavao Knezović claims that all the monasteries in Bosnia were looted 1648, with the exception of the Olovo monastery, basing his assertion on an 1890 chronicle (Euzebije Fermendžin, „Chronicon observantis provinciae Bosnae Argentinae ordinis s. Francisci Seraphici“, in Starine JAZU, vol. 22, Zagreb 1890, 1-67, p. 39)(10). It was not long before the imposition of various taxes and tributes left the monastery in debt, and in 1670 it was abandoned for a while.

In 1687, all the Franciscans left the monastery for Ilok, with the exception of the guardian, who followed them there in 1700(11).

In 1704, the monastery and church were set on fire(12), and left as gutted ruins. All that survived of the entire complex was one left-hand door jamb from the entrance to the old church, known as the Black Stone, around which the congregation used to gather and light candles(13). 

A wooden church was built in 1887(14), which collapsed in 1913, just before the outbreak of World War I.

Extensive archaeological investigations were carried out from 1886 to 1889, led by Kosta Hörmann, when the foundations of the 14th century church and monastery were found, overlapping in part with the entrance section of the church built in the first half of the 20th century(15). In 1925, Karel Pařik completed the design of the church. The work began only in 1930(16), and the main contractual works were completed in 1932(17). The building was roofed in 1936, though this did not mean that all the works were completed. 

In 1937 a design by an unidentified designer for the construction of a house for the caretaker of the Roman Catholic church in Olovo was completed(18). The design was for a building with a footprint of 8.00 x 10.00 m, of two storeys plus a loft.

In 1938 a stone altar with tabernacle made by the designer of the building was installed, incorporating a stone stećak found near the church(19). The building suffered no particular damage during World War II. According to Bernadin Matić, the choir gallery(20) above the narthex was built between 1959 and 1961, reinforced concrete to a revised design, while according to Fr. Gabrijel Tomić, the entrance portal was faced with Brač stone at this time. 

Between 1963 and 1965 structural repairs to the foundations of the church were carried out(21).

According to Fr. Gabrijel Tomić, a stone altar plaque by the sculptor Zdenko Grgić was installed in 1966(22).

Between 1968 and 1971 the two front towers of the four proposed corner towers were built.  There was also a plan to build a turret and portico to surround the area where pilgrims would assemble(23).

In 1972 a new parish hall was built on the site of the old one, on the initiative of Fr. Leopold Rochmes; the new hall was renovated in 2009.

In 1978, stone memorial plaques were mounted on either side of the entrance portal of the church to commemorate the quincentenary of the death of Bosnia’s Queen Katarina Tomašević.

In 1983 the windows of the church were replaced(24) by purpose-built ones in which stained glass by Marijan Ilić of Zagreb was fitted in 1985(25).

Archaeological and other investigative works associated with the site of the church of Our Lady were carried out between 1986 and 1989, resulting in an accurate drawing by Đuro Basler of the overlap between the footprint of the old church and monastery and the new church.

No damage to the church was recorded during the 1992-1995 war in Bosnia and Herzegovina(26).

In 2000 the wooden hut to the west of the church erected for pilgrims between the two world wars collapse. The timbers were used in 2001 to construct a temporary carport north-east of the church for the vehicles used by the monastery.

            In 2001 a project to lay out the site of the Olovo shrine was completed.

            In 2006 a survey of the church was carried out, and sensors were installed in the vertical cracks in the side walls of the church to record structural movements and changes to the size of the cracks.

The Olovo church of Our Lady is still a place of pilgrimage where the faithful gather every 14 and 15 August, on the Feast of St Rocco, a saint invoked for protection against the plague. The two days are marked by a religious procession from the church of Our Lady in Gornje Olovo to the church of St Rocco in Bakići(27), popularly known as Gospoina, from Gospa, Our Lady.

2. Description of the property

The church is a single-aisled basilica in the Neo-Romanesque style, built of reinforced concrete faced with rustic stone blocks. The church has a deep round-ended sanctuary to the north, a central nave, and a narthex(28) with choir above and two side towers at the south, entrance end, with an entrance portico on the outside. The church has a gabled roof covering the entire building with the exception of the central section, which has a hipped roof.

In terms of stylistic features, materials and orientation, as well as its deep round-ended sanctuary, the church is comparable with St Joseph’s church in Sarajevo, also designed by the same architect(29).

The overall footprint of the church is 29.11 x 16.95 m, and its height to the ridge of the hipped roof is 18.96 m. It consists of the ground-floor level, the upper storey of the choir gallery, and the second and third stages of the side towers, with rooms for pilgrims. The towers measure 4.75 x 4.20 m on the outside, and are 13.12 m in height.

Inside, the church is barrel-vaulted with a span of 6.25 m, except in the nave, which has a ribbed cross vault with a span of 7.83 m.

The entrance portico, measuring 6.25 x 2.10 m, has a prominent gabled roof with the ridge at a height of 12.87 m.  The roof rests on massive stone walls 80 cm thick. The entrance to the portico is through a prominent arched opening in the axis of the church, which runs south-north(30).

A double-valved door of 1.76 x 2.68 m leads into the narthex, which measures 6.25 x 6.16 m, with two central 55 x 55 cm stone piers supporting the arc-fronted choir of 6.25 x 4.73 m(31). Light enters the narthex through two arched side windows of 1.20 x 3.10 m glazed with stained glass.

The two flanking towers each measure 4.25 x 3.20, with wooden doors of 94 x 215 cm into the narthex. The east tower contains the tomb of Fr. Lujo Zloušić, who rebuilt the Olovo shrine, and the west tower(32) houses a confessional and steps 88 cm in width leading to the first stage of the tower, opening onto the choir and through it to the room on the first stage of the east tower, above the tomb.

Both pilgrims’ rooms on the first stage contain wooden stairs 70 cm in width leading up to more pilgrims’ rooms on the second and third stages of the towers.

The narthex opens onto the central section or nave of the church, which is square in plan, with sides of 7.83 m(33), and is fitted with wooden pews. The nave is lit by three windows on each side, measuring 0.75 x 2.65 and 0.75 x 3.65 m, glazed with stained glass.

The deep round-ended sanctuary consists of the altar space, roughly square in plan with sides of 6.25 x 6.20 m, and the semicircular apse with a diameter of 6.25 m. The apse has a flat roof concealing a semi-calotte.

Two steps running the full width of the nave lead up to the altar space, which forms a continuation of the nave. The altar space contains a stone altar slab of 2.80 x 0.90 x 0.17 m, mounted at a height of 1.15 m console-style on an off-centre stone pillar of 0.32 x 0.45 in section.

Behind the altar slab, in the same axis lying roughly south-north, is a stone plinth raised by about 20 cm and measuring 3.30 x 2.10 m, on which the altar stands. Overall, the altar measures 2.80 x 1.40 with a height of 1.10 m; the stećak found near the church, which measures 190 x 90 x 95 cm, is in the middle of the altar. Light enters the altar space through arched side windows, one on each side, of 1.20 x 3.10 m glazed with stained glass.

The altar space is separated from the apse by a solid stone wall 60 cm thick, with side openings of 86 x 210 cm, without doors. Above, in the central axis of the church, are three arched windows glazed with stained glass, measuring 0.60 x 1.50 m and 0.60 x 1.25 m. The apse floor is 40 cm lower than that of the altar space, and has a wooden door of 0.95 x 2.25 m in the axis of the church at the north-westernmost end, leading to the outside. To each side is an arched window of 80 x 240 cm.

A study of the façade reveals the influence of Pařik’s teacher Hansen and his “Byzantinism” in the composition not only of the façades but of the volumes and details(34).

The south façade is a symmetrical composition with a central portico under a gabled roof and flanking towers with hipped roofs(35). A central wooden portal with a semicircular overlight, framed in Brač stone, leads into the interior of the church; above the portal are three arched niches(36). The central niche contains the figure of Queen Katarina in mosaic. The portal is flanked by framed stone plaques of 90 x 80 cm with inscriptions. The inscription on the plaque to the west of the portal reads:

BLESSED KATARINA

QUEEN OF BOSNIA, TERTIARY OF ST FRANCIS,

DAUGHTER OF HERCEG STJEPAN:

WITH HER OWN HANDS SHE EMBROIDERED THE CHURCH VESTMENTS

IN THE ROYAL COURT IN SUTJESKA.

SHE BROUGHT THE PEOPLE AROUND KRALJEVA SUTJESKA

A NEW, BETTER DISTAFF AND TRAINED

TO THE VILLAGE WOMEN AND GIRLS IN HANDICRAFTS.

THIS IS WHY TO THIS DAY, 500 YEARS ON,

THE CATHOLIC PEASANT WOMEN AROUND

KRALJEVSKA SUTEJSKA WEAR

A BLACK SCARF ON THEIR HEADS

FOR GOOD QUEEN KATARINA.

The inscription on the plaque to the east of the portal reads:

ON 10 APRIL 1445 HERCEG STJEPAN MADE HIS PEACE

WITH DUBROVNIK, WITH HIS WIFE JELENA, WITH HIS

SON VLADISLAV AND HIS SON-IN-LAW, THE

KING OF BOSNIA. THIS RECONCILIATION

GAVE GREAT PLEASURE TO BOTH

SONS-IN-LAW AND BOTH HIS DAUGHTERS,

KATARINA (WIFE OF THE LAST KING BUT ONE

OF BOSNIA STJEPAN TOMA) AND MARIJA

(WIFE OF IVAN CRNOJEVIĆ, LORD OF MONTENEGRO)

SENT GIFTS TO OUR LADY’S CHURCH IN

OLOVO.

(Luccari: Ann. Di Ragusa, 168)

The east and west façades are the side façades, with three central arched windows through which light enters the nave, and one on each side for the narthex and the sanctuary respectively. To the north is the apse and to the south the portico with the church bells above, in the towers, behind arched openings of 1.00 x 1.30 m. The east tower has a narrow arched window of 80 x 330 cm on the first stage, where instead the west tower has a single-valved standard-sized door(37).

The north façade is a symmetrical composition with a central apse, above which are the three windows of the sanctuary.

The basic structural system of the church (exterior and interior bearing walls, piers and bearing beams) is of reinforced concrete, faced on the outside with stone and plastered on the inside.  The outside walls of the church are 60, 69 and 80 cm thick overall, and those of the round-ended apse are 55 cm thick. The walls of the flanking towers are 50 cm thick. The apex of the ribbed cross vault over the central section of the church is 15.40 m above floor level, and the apex of the barrel vault over the rest of the church is at 10.50 m. The ceiling height is considerably lower in the apse, ranging from 4.00 to 5.80 m. The ceiling height of the narthex below the choir is 6.35 m. The ground floor of the towers has a ceiling height of 3.62 m, the first stage of 2.47 m, the second stage of 2.37 m and the third stage of 2.85 m.

The church roof is timber-framed and clad with galvanized iron, except for the flanking towers, which are tiled.

The steps in the towers are wooden, except for those between the ground and first stage of the west tower, which are of concrete. The floor of the church is paved with flagstones, while the floors of the choir and upper stages of the towers are wooden. The altar is of stone, and the exterior portals, interior doors and pews are wooden. The window frames are metal.

Twenty metres south-east of the entrance to the church of Our Lady, in the forecourt, is the Black Stone, a rectangular block of 50 x 35 cm with a height of 60 cm. The stone is the remains in situ of the left-hand (south-east) door jamb of the original 14th century church(38). Beside it, where the right-hand door jamb would have been, is another stone of a similar colour and shape, measuring 35 x 25 cm with a height of 40 cm, which was placed there at a later date(39).

East of the church, on the same plot, is a temporary wooden structure used as a garage. To the south, at a distance of 40 m, outside the plot, is the parish hall built in the 1960s, with a footprint of 14.00 x 9.00 m and of two storeys plus loft.

Stained glass and collection of icons by Slavko Šohaj

The designs of the stained glass windows and the fourteen icons in the nave of the church were produced between 1984 and 1986 by the Croatian artist Slavko Šohaj (Zagreb, 8 June 1908 – Zagreb, 1 March.2003), who studied at the Royal Academy of Arts and Crafts in Zagreb from 1926 to 1931 under professors Becić and Babić. After leaving the Academy he studied in Paris from 1931 to 1932 on a scholarship from the French government; there he was strongly influenced by early Cubism, Expressionism and Fauvism, artistic trends which he consistently applied to the icons of the Olovo church(40). 

The icons, which are of various sizes, are of the fourteen Stations of the Cross, each with the tortured figure of Christ central to the composition. To make the viewer feel Christ’s suffering the artist used cool shades of blue, green and red, from the palest to the darkest shades. The icons are in tempera on canvas. The other figures in the various scenes of the Way of the Cross are wholly abstract.

The icons on the north wall, from west to east, are:

1. Pilate condemning Jesus to death – 112 x 72 cm

2. Jesus is given his cross – 67 x 67 cm

3. Jesus falls for the first time – 112 x 121 cm

4. Jesus meets his mother – 52 x 52 cm

5. Simon of Cyrene carries the cross – 67 x 67 cm

6. Veronica wipes the face of Jesus – 52 x 52 cm

7. Jesus falls for the second time – 112 x 72 cm

8. Jesus comforts the daughters of Jerusalem – 67 x 67 cm

9. Jesus falls for the third time – 112 x 72 cm

The icons on the south wall, from east to west, are:

1. Jesus is stripped of his garments and scourged – 67 x 67 cm

2. Jesus is nailed to the cross – 62 x 52 cm

3. Jesus dies on the cross – 7=82 x 52 cm

4. Pietà: Jesus is removed from the cross and laid in Mary’s lap – 67 x 67 cm

5. Jesus is laid in the tomb – 82 x 52 cm(41)  

During the renovation of the church which began in 1983 the windows were replaced by thirteen stained-glass windows, four of which are separate and nine of which form three triptychs.  Slavko Šohaj received guidelines for the selection of motifs from Fr. Luka Markešić, who was the trustee of the shrine at the time. The choice was dictated by the fact that the Olovo church is a shrine to the Virgin Mary(42).

Stained glass windows in the north wall, from east to west(43):

1. Jesus with Joseph and Mary

2. The church of Our Lady of Olovo with people in traditional costume outside (part of a triptych)

3. Mary enthroned with Jesus in her arms (part of a triptych)

4. Mary receiving the Holy Spirit with the apostles (part of a triptych)

5. Mary trampling the serpent, presbytery

Stained glass windows in the north wall, from east to west:

1. Mary visits Elizabeth

2. Scene from Revelations, Mary with a moon at her feet (part of a triptych)

3. Scene from Revelations, Mary garbed in the sun (part of a triptych)

4. Scene from Revelations, Mary surrounded by twelve stars (part of a triptych)

5. Mary victorious over death, presbytery

Triptych in the apse

The motif of the triptych in the apse is Queen of the Heavens and Earth. The central stained-glass window portrays Mary crowned, with to the right a stained-glass window of an angel, the symbol of heaven, and to the left one the figure of a man with a spade – the symbol of earth.

Stećak in the altar and altar painting

Using spolia – incorporating parts of old buildings or monuments into a new building – has been a feature of European history, and hence of Bosnia and Herzegovina, since ancient times. Many churches both mediaeval and modern, mosques and secular edifices have stećci or the remains of Antique buildings in their foundations(44).

Olovo is a town with an extremely complex heritage, so it is no wonder that a stećak from one of Olovo’s many necropolises was used as the dominant feature of the very plain altar in the Olovo church.  In his 1971 catalogue and topographical overview of stećak tombstones, Šefik Bešlagić refers to fourteen necropolises in Olovo Municipality; Jelaške, Kamensko, Moguš, Drecelj Donji, Križevići, Boganovići, Kozjaci, Olovo, Musići, Dolovi, Slavanj, Krivajevići, Bakići, Dugandžići. The ornament on the stećak is in relief: a double spiral band forming a frame around six rosettes in two symmetrical rows and a crescent moon. The stećak is 177 cm long, about 47 cm wide and 84 cm high, and is fixed to the altar with concrete.

The altar painting of Our Lady of the shrine in Olovo, in oils on canvas, dates from the first half of the 18th century. It is 205 cm high and 135 cm wide. Our Lady of Olovo was passed on to the shrine in Olovo at the request of Fr Jozo Andrić, Provincial of Bosnia Argentina, to the Provincial of Croatia, Michal Troh. The painting came to Bosnia from Ilok in 1920, but until 1964 was housed in the Franciscan monastery at Bistrik in Sarajevo, before finally being taken to Olovo. It is a work by an artist of limited abilities, with features of Italian baroque art from the post-Tridentine iconographic programme, and depicts two angels in the act of lifting a tondo with the figures of the Virgin and the infant Jesus into heaven.

According to Mladen Barbarić, the altar painting of Our Lady of Olovo is a copy of a vanished miracle-working icon. It was created on the basis of the recollections of Baron Ivan Brnjaković, a native of Olovo living in Ilok. In 1732 Baron Brnjaković had a chapel built in Ilok where he raised an altar to the Assumption of the Virgin Mary(45). Apart from layers of dust and soot that have dulled the colours, the painting is in good condition for its age.

Other movable heritage

Gabrijel Jurkić (Livno, 24 March 1886 – 25 February 1974), one of Bosnia and Herzegovina’s leading Symbolist and Secessionist artists(46), painted an icon of the Miracle-Working Image of Our Lady of Olovo for the church of the Virgin. Judging from a description of the icon that has not survived, the painting dates from 1954(47). It portrays the Virgin seated on a throne with Jesus in her lap, her arms crossed, with two small angels lowering a crown onto her head. She is wrapped in a blue cloak, which along with golden yellow and red, dominates the scene. In the background to her right is a scene of the Annunciation, and to her left the Nativity of Christ. The artist set aside his own personal artistic expression in favour of the standards of classical composition. The icon, measuring 65 x 48 cm, is in oils on spruce (Picea omorika) board.

A censer is a metal vessel fixed to the floor or wall or hanging from three chains, in which embers are placed so as to burn incense or other aromatic substances in honour of some person or divinity or to mask unpleasant smells(48). The Olovo censer, which is of copper, is in the form of a simple baroque censer with architectural ornaments. The base bears a text in Latin: GREGORIUS /  MASNOVICH / FRAIER.

The wooden statue of the Virgin Mary, measuring 107 x 40 cm and dating from the latter half of the 19th century, is the work of the Ferdinand Stuflesser woodcarving workshop in Austria [date?].  Mary is portrayed in prayer, with a slain dragon at her feet – the symbol of evil and planet earth. She is wrapped in a blue cloak decorated with a golden yellow floral design. The sculpture is painted with oil paint.

3. Legal status to date

The church of Our Lady in Olovo is listed by the Institute for the Protection of Monuments of the Federal Ministry of Culture and Sport under the heading “Monastery of St Mary (Our Lady of Olovo) with church”, but is not on the register of cultural monuments(49). 

4. Research and conservation-restoration works

–      2001-2002 – a project was designed by architects Rajko Mandić and Stjepan Roš(50) to lay out the entire area of the Olovo shrine. The project included making good the footpath of the Way of the Cross, building a retaining wall on the steep slope below the church to the north-east, and various minor structures for the purpose of religious worship, such as an outdoor altar, confessional and ossuary. The project also included the extension of the parish hall built in the 1970s, which is outside the plot where the church stands, and a small car park outside the hall, allowing for the removal of the temporary car port by the church.

–      May 2006 – architect Admer Bolić of the Kriva Rijeka d.o.o. design house in Olovo, produced an architectural drawing of the church of Our Lady and a diagram of the damage to the property(51). On 24 May experts from Trieste(52) installed 12 sensors to monitor the spread of the vertical cracks on the side walls of the church. Since then, trained friars from the Olovo monastery have been filing the technical data obtained from the sensors on an almost daily basis.

–      Latter half of 2009 – drainage of the foundations around the church was installed by Kriva Rijeka d.o.o. of Olovo, under the direction of engineer Alija Smajić.

5. Current condition of the property

The church of Our Lady in Olovo is in poor structural condition, with large vertical cracks in the side walls, clearly indicating serious structural disruption caused by subsidence or disturbance to the structure of the foundations. The condition of the property has been stabilized to some extent by the installation of drainage channels, but is still such as to require urgent measures to prevent the cracks in the walls from spreading.

6. Specific risks

            Risk of structural collapse.

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

C.         Artistic and aesthetic value

C. i.       quality of workmanship

C.ii.       quality of materials

C.iii.      proportions

C. v.      value of details

C.vi.      value of construction

D.         Clarity (documentary, scientific and educational value)

D.iii.      work of a major artist or builder

E.         Symbolic value

E.ii.       religious value

E.iii.      traditional value

E.iv.      relation to rituals or ceremonies

E.v.       significance for the identity of a group of people

G.         Authenticity

G.i.       form and design

G.ii.       material and content

G.iii.      use and function

G.v.      location and setting

I.          Completeness

I.i.         physical coherence

I.iv.       undamaged condition

The following documents form an integral part of this Decision:

–      Ownership documentation

–      Copy of cadastral plan nos. 681 and 682, c.m. Olovo (new survey), title deed no. 1155, plan no. 9; scale 1:1000, issued on 21.12.2009. by the Geodetics Authority of Olovo Municipality, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina;

–      Land Register entry for plot nos. 681 and 682, c.m. Olovo, Land Register entry no. 1154, nar.no. 041-0-Nar-10-002/69 of 08.03.2010, issued by the Land Registry Office of the Municipal Court in Visoko, Federation of Bosnia and Herzegovina, Bosnia and Herzegovina.

–      Documentation on previous protection of the property

–      Letter from the Institute for the Protection of Monuments of the Federal Ministry of Culture and Sport ref. 07-40-4-4-4638-1/09 of 23.12.2009.

–      Photodocumentation

–      Photographs of the church of Our Lady in Olovo taken on 21 December 2009 by architect Adi Ćorović, using Sony DSC – H10 digital camera, and art historian Aida Bucalović, using Canon PowerShot SX10IS digital camera.

–      Technical documentation

–      Documentation of the Roman Catholic parish office in Gornje Olovo, Construction of a house for the caretaker of the Roman Catholic church in Olovo – 21 July 1937, Sarajevo, Olovo: 21 December 2009.

–      Documentation of the Roman Catholic parish office in Gornje Olovo, Basler Đuro. Ground plan of the monastery of St Mary in Olovo based on excavations in 1889 and 1986.

–      Documentation of the Roman Catholic parish office in Gornje Olovo, Pařik Karel. Design for Our Lady of Olovo, Sarajevo 1925.

–      Project Shrine of Our Lady of Olovo designed by architects Rajko Mandić and Stjepan Roš, Sarajevo 2001.

–      Documentation of the Roman Catholic parish office in Gornje Olovo, architect Admer Bolić - Kriva Rijeka d.o.o., Olovo, Architectural drawing of the church of Our Lady of Olovo, 2006.

–      Other documentation

–      Documentation of the Roman Catholic parish office in Gornje Olovo, contract between the Franciscan Provincialate in Sarajevo and Marijan Ilić of Zagreb, 24 November 1984.

–      Documentation of the Roman Catholic parish office in Gornje Olovo, Olovo – Shrine of Our Lady, 1983.

–      Documentation of the Roman Catholic parish office in Gornje Olovo, architects Rajko Mandić and Stjepan Roš – model for the project Shrine of Our Lady of Olovo made by architect Žani Maksimović, 2002.

–      Documentation of the Roman Catholic parish office in Gornje Olovo, Quote for manufacture of metal windows, Livotop artisans’ workshop of Zagreb, 23 July 1984.

Bibliography

During the procedure to designate the monument as a national monument of Bosnia and Herzegovina the following works were consulted: 

1889     Hörman, Kosta. „Olovo“. Sarajevo: Jnl of the National Museum, Jan-Mar 1889

1957     Vego, Marko. Naselja bosanske srednjovjekovne države (Settlements of the Mediaeval Bosnian State). Sarajevo: 1957

1987     Likovna enciklopedija Jugoslavije, 2 K-Rem (Art Encyclopaedia of Yugoslavia, Vol. 2, K-Rem). Zagreb: Miroslav Krleža Yugoslav Lexicographical institute, 1987

1989     Dimitrijević, Branka. Arhitekt K. Paržik – disertacija (Architect Karel Pařik – Dissertation) Sarajevo: Faculty of Architecture of the University of Zagreb, 1989

1990     Karamatić, Dr. Marko, Dr. Andrija Nikić. “Blago Franjevačkih samostana Bosne i Hercegovine” (Treasures of the Franciscan monasteries of Bosnia and Herzegovina). Zagreb: Privredni vjesnik, 1990

1992     Karamatić, Dr. Marko. “Franjevci Bosne Srebrene u vrijeme austrougarske uprave 1878-1914” (Franciscans of Bosnia Argentina during the Austro-Hungarian period 1878-1914). Sarajevo: Svjetlo riječi, 1992

2002     Rauter-Planičić, Biserka. Šohaj, katalog izložbe u Pastoralnom središtu sv. Josip (Šohaj, catalogue of the exhibition in the St Joseph Pastoral Centre). Mostar: Curija Episcopalis, 2002

2006     Leksikon ikonografije liturgike i simbolike zapadnog kršćanstva (Lexicon of the iconography, liturgy and symbols of Western Christianity). Zagreb: Kršćanska sadašnjost, 2006

2008     Various authors. Proceedings of the seminar Tristota obljetnica stradanja samostana i crkve u Olovu (Tercentenary of the destruction of the monastery and church in Olovo).  Sarajevo: Franciscan Seminary, 2008

2008     Živković, Pavo. „Veze Olova i Dubrovnika u srednjem vijeku“ (Links between Olovo and Dubrovnik in mediaeval times), Proceedings of the seminar Tristota obljetnica stradanja samostana i crkve u Olovu (1704-2004) (Tercentenary of the destruction of the monastery and church in Olovo, 1704-2004). Sarajevo: 2008

2008     Decision of the Commission to Preserve National Monuments designating the natural and historic site of the necropolis with stećci, nišans, obelisk and the remains of the church of St Rocco in Bakići Donji, in the village of Bakići Donji, Olovo Municipality, as a national monument at a session held from 9 to 15 September 2008 in Sarajevo

2008     Hadžimuhamedović, Amra.“Grad razgrad“ (The city disintegrated [or deconstructed]. Sarajevo: Sarajevske sveske 21-22(2008): 113-129

2009     http://www.vijaka.com/zupa_vijaka/susjedne_zupe.htm  17 December 2009

2009     http://www.bosnasrebrena.ba/php/modules.php?name=Sections&op=viewarticle&artid=233

17 December 2009

2009     http://www.olovo.ba/olovo/turizam.html 17 December 2009

(1) Hörmann, Kosta, “Olovo”, Sarajevo: GZM, July-Sept 1889, 63

(2) Desanka Kovačević – Kojić, Gradska naselja srednjevjekovne Bosanske države, Sarajevo: Veselin Masleša, 1978, 34

(3) Vego Marko, Naselja bosanske srednjovjekovne države, Sarajevo: 1957, 84.

(4) “It is possible that the monastery evolved from the church, which was built in every settlement near the central square. It was probably founded in the 14th century, being the oldest monastery in Bosnia along with those in Srebrenica, Zvornik and Fojnica.” Hörmann, Kosta, “Olovo”, Sarajevo, GZM, July-Sept 1889, 66.  “Various sources confirm that the monastery evolved from the church, as these quotes reveal: ‘...the Olovans have had a church since time immemorial, and the Franciscans served it from the nearby monasteries, until finally the Franciscans built a monastery by the same church, as related in the Vading chronicle of 1400.  This also confirms that the monastery was already in existence in the latter half of the 14th century.” Ibid, 68.

(5) The foundations of the monasyery were excavated by Kosta Hörmann in 1886 during archaeological investigations initiated by the Austro-Hungarian authorities in Bosnia and Herzegovina. This enabled him to ascertain its true dimensions. Ibid, 69

(6) Ibid, 69

(7) The original key was a unique object shaped like a key but designed to take a lead bullet and a charge of gunpowder to fire it.  The gunpowder charge inside the key could be lit by a fuse introduced into the key through a small hole in the side. The original is in the National Museum in Sarajevo, with a copy in the church itself. http://bs.wikipedia.org/wiki/Crkva_Uznesenja_Marijina_(Olovo)

(8) Lukarević, Dubrovački ljetopis, April 1454 http://www.vijaka.com/zupa_vijaka/susjedne_zupe.htm

(9) Various authors, Ante Šoljić, “Tristota obljetnica stradanja samostana i crkve u Olovu (1704-2004)” – Collected papers from seminar, Sarajevo: Franciscan seminary, 2008, 7

(10) Various authors, Pavao Knezović, “Tristota obljetnica stradanja samostana i crkve u Olovu (1704-2004)” – Zbornik radova sa Znanstvenog skupa. Sarajevo: Franjevačka teologija, 2008, p. 233

(11) Dr. Marko Karamatić, Dr. Andrija Nikić, “Blago Franjevačkih samostana Bosne i Hercegovine,” Zagreb: Privredni vjesnik, 1990., 55.

(12) Dr. Marko Karamatić, Dr. Andrija Nikić, op.cit., 1990, 55 (54? – the reference is repeated twice, with two different page numbers – Trans.)

(13) The black stone is still in situ

“A folk tradition retains the memory of a place of great wealth to which the faithful came to the church precinct each year from all over Bosnia and even from Bulgaria, Serbia and Albania, to pray at a stone of some kind that protruded from the ground, the only surviving remains of the old church. In 1886, 5,000 pilgrims came to Olovo.” Hörmann, Kosta, op.cit, 1889, 66.

(14) Hörmann, Kosta, op.cit, 1889, 66

(15) Documentation of the Roman Catholic parish office in Gornje Olovo. Đuro Basler, Tlocrt Samostana Sv. Marije u Olovu, prema istraživanjima iz 1889. i 1986. godine, Olovo: 21 December 2009.

Letter from the Federal Ministry of Culture and Sport ref. 07-40-4-4638-1/09 of 23 December 2009.

(16) Pařik’s original blueprints date from 1925. Documentation of the Roman Catholic parish office in Gornje Olovo, Karel Pařik, Projekat Gospa olovska, Sarajevo 1925, Olovo: 21 December 2009.

(17) Many features of Pařik’s 1925 design were not built, particularly the church tower and belfry, with a height of 24.25 m to the eaves of the pyramidal roof, the towers to the sides of the sanctuary where the sacristy and a priest’s room, on the first floor were to be, and the entrance portico, which was to enclose the area intended for gatherings of the faithful, with a length of 17.40 m and a width of 23.30 m. In addition, he designed two side porticos intended to run the full length of the church. Documentation of the Roman Catholic parish office in Gornje Olovo, Karel Pařik, Design for Our Lady, Olovo, Sarajevo, 1925. Olovo: 21 December 2009.

(18) Documentation of the Roman Catholic parish office in Gornje Olovo, Gradnja kuće za čuvara Rim. kat. Crkve u Olovu – 21. juli 1937. godine, Sarajevo, Olovo: 21 December 2009.  The documentation found reveals that the site where the church and house stand belonged to Kladanj county and Olovo cadastral municipality.

(19) The idea of incorporating a stećak into the altar came from Fr.Lujo Zloušić. Many stećak tombstones found in the environs of the church in the old days were used as building material for the foundations of nearby houses, so the use of one of them in the altar was intended to protect one of the few remaining stećci still near the church. Account by Fr. Gabrijel Tomić based on a conversation with Fr. Lujo Zloušić in the 1960s, Olovo monastery, Olovo 13 January 2010.

(20) Various authors, Bernardin Matić, “Tristota obljetnica stradanja samostana i crkve u Olovu (1704-2004)” – Zbornik radova sa Znanstvenog skupa, Sarajevo: Franjevačka teologija, 2008, 254

(21) The works were carried out by the entrepreneur Lazo Savić.  Documentation of the Roman Catholic parish office in Gornje Olovo. Josip Dugančić, senior civil engineering technician, Sanacija Crkve Gospe od Olova i platoa oko iste u Olovu, Sarajevo, 15 March 1966. Olovo: 21 December 2009. A panel of experts consisting of Hilmo Mujezinović, structural engineer, and Jozo Tokmakčić, technician, looked into the cause of the cracks in the church, beginning in 1963, and found that there was no structural computation, but that the designer had specified the dimensions of the church on the basis of experience. Various authors, Bernadin Matić, “Tristota obljetnica stradanja samostana i crkve u Olovu (1704-2004)”– Zbornik radova sa Znanstvenog skupa. Sarajevo: Franjevačka teologija, 2008, 253

(22) Account by Fr. Gabrijel Tomić, Olovo monastery, Olovo 13 January 2010.

(23) Dr. Marko Karamatić, Dr. Andrija Nikić, “Blago Franjevačkih samostana Bosne i Hercegovine”, Zagreb: Privredni vjesnik, 1990, 55-57

(24) Documentation of the Roman Catholic parish office in Gornje Olovo, Olovo – Gospino Svetište, 1983, Olovo: 21 December 2009.

(25) Documentation of the Roman Catholic parish office in Gornje Olovo, Ugovor  između Franjevačkog provincijalata u Sarajevu i Marijana Ilića iz Zagreba od 24. novembra 1984. godine, Olovo: 21 December 2009.

(26) http://www.olovo.ba/olovo/turizam.html

(27) Decision of the Commission to Preserve National Monuments designating the natural and historic site of the necropolis with stećci, nišans, obelisk and the remains of the church of St Rocco in Bakići Donji, in the village of Bakići Donji, Olovo Municipality, as a national monument at a session held from 9 to 15 September 2008 in Sarajevo

(28)  The narthex and nave are interconnected and are on the same level.  The sanctuary is at a higher level than the nave, with steps leading to it.

(29) The historic building of the church of St Joseph in Marijin dvor in Sarajevo was designated as a national monument of Bosnia and Herzegovina at the 35th session of the Commission to Preserve National Monuments held in Sarajevo from 28 March to 2 April 2008. It differs from the church of Our Lady in Olovo in being a triple-aisled basilica, but is similar in form and the use of materials. Karel Pařik designed St Joseph’s church in Sarajevo in 1935, nine years later than the church of Our Lady in Olovo. It is worth noting, however, that the main contractual works on the church of Our Lady in Olovo were not completed until 1936, so it is possible that the church in Sarajevo was designed as the Olovo church was being built, and that their similarities resulted from the designer working on both at the same time.

(30) The opening is 4.80m wide and 9.88m high. The portico can also be entered from the sides through arched openings 1.50 m wide and 3.35 m in height.

(31) The outer arc of the choir has a solid stone parapet 1.00 m in height running the full length of the arc. The south wall above the entrance doorway of the church has three arched niches of 0.75 x 2.65 and 0.75 x 3.65 m..

(32) The south-west tower is dedicated to Fr. Matija Divković, d. 1631 in Olovo - http://www.bosnasrebrena.ba/php/modules.php?name=Sections&op=viewarticle&artid=233

(33) The nave is about 150 cm wider than the narthex and sanctuary, in which this church is similar in plan to the church of St Joseph in Sarajevo.

(34) The same feature is to be seen on an earlier design of Pařik’s for St Joseph’s church in Sarajevo and a later design for the church in Teslić.

The historical path of influences and those who transmitted them is something of a curiosity: the Dane Theophil Hansen brought to the architecture of Vienna in the mid 19th century the influence of Byzantine art, which was embraced by his pupil, the Czech Karel Pařik, who applied these ideas when working in Bosnia and Herzegovina. Branka Dimitrijević, Arhitekt K. Paržik – disertacija, Sarajevo: Faculty of Architecture of the University of Zagreb, 1989, 345 and 346.

Hansen explained his leanings towards Byzantine architecture by the fact that this was the style used to build every church in the East, and that it is therefore authentically Christian. The great advantage of this style is that it is well suited to the materials available to us, particularly brick. Branka Dimitrijević, op.cit.,1989, 26.

The Greco-Byzantine influences on Theophil Hansen can be seen primarily in the specific “Byzantine” decoration and shape of the windows. The same influences can also be seen in the layout of some churches.  A typical example is the Chapel in Lemberg Lavov (1855-1859), of which the ground plan is a crux immissa, but the shapes of the dome and of the corner turrets distance it from the Byzantine style. Branka Dimitrijević, op.cit., 1989, 26.

Karel Pařik developed his architectural poetics under the influence of Hansen’s theories, as can be seen in the shaping of details and decoration. Following Hansen’s lead, he experimented with various formal approaches and different materials (reinforced concrete, instead of the brick to which Hansen remained true), thereby evolving his own distinctive style in which the influence of his great teacher Theophil Hansen can nonetheless be recognized.

(35) Both towers have a single-valved door with overlight measuring 80 x 250 cm overall, with arched windows of 80 x 330 cm above. The west (left-hand) tower bears a stone plaque of 70 x 40 cm with an inscription reading:

TO THE FATHER OF BOSNIAN LITERATURE

FR MATO DIVKOVIĆ

* 1563 Jelaške † 21.VIII.1631. OLOVO

CHRISTIAN DOCTRINE V MNETGIEH

1611

(36) The side niches measure 0.75 x 2.65 m and the central ones 0.75 x 3.65 m.

(37) The presence of a door in the façade at first-floor level is evidence that not all the works provided for in Pařik’s design were carried out. The intention was for the side tower and wide entrance portico to be linked at first-floor level, which was never carried out

(38) The stone was not originally this colour, but has been blackened by years of candles being lit by pilgrims around the only visible remains of the original church. http://www.vijaka.com/zupa_vijaka/susjedne_zupe.htm

(39) The discovery of the Black Stone was made during the archaeological excavations led by Đuro Basler of the National museum in Sarajevo between 1986 and 1989, based on the 1886 investigations. The findings of the excavations resulted in an accurate drawing of the foundations of the original historic complex. It was found that the original church and monastery constituted a single building, with overall dimensions of 36.65 x 13.40 m. To the south-west was the church, separated from the monastery by a longitudinal wall to the north-east. The entrance to the original church and monastery was to the south-east, with the altar and Franciscan tombs to the south-west, and a semicircular niche for the painting of Our Lady to the north-west. Here too, on the site of the monastery, was a jutty of 7.50 x 5.90 m consisting of two rooms. The north-west part of the archaeological remains of the monastery coincided with the narthex, towers and part of the nave of the present-day church of Our Lady. During the excavations, near the Black Stone by the threshold of the original church, another stone was found which was later relocated to the site of the other door jamb of the original church.

(40) Biserka Rauter-Planičić, “Šohaj”, katalog  izložbe u Pastoralnom središtu sv. Josip, Mostar: Curija Episcopalis, 2002, 7

(41) Leksikon ikonografije liturgike i simbolike zapadnog kršćanstva, Zagreb: Kršćanska sadašnjost, 2006,  390

(42) The stained glass windows were made by Marijan Ilić of Zagreb, as revealed by the Contract for making the stained glass windows for the church of the shrine of Our Lady in Olovo dated 24 November 1984.

(43) Translator’s note: both headings are identical in the original, though presumably one of them should relate to the south wall.

(44) Hadžimuhamedović, Amra, “Grad razgrad”, Sarajevske sveske 21-22 (2008): 113-129

(45) Various authors, Stjepan Duvnjak, “Tristota obljetnica stradanja samostana i crkve u Olovu (1704-2004)” – Collected papers from seminar, Sarajevo: Franciscan Seminary, 2008, 115-129

(46) Likovna enciklopedija Jugoslavije, tom 1 A-J, Zagreb: Miroslav Krleža Yugoslav Lexicographical Institute, 1987, 715

(47) Various authors, Stjepan Duvnjak, “Tristota obljetnica stradanja samostana i crkve u Olovu (1704-2004)” – Collected papers from seminar, Sarajevo: Franciscan Seminary, 2008, 124

(48) Leksikon ikonografije liturgike i simbolike zapadnog kršćanstva, Zagreb: Kršćanska sadašnjost, 2006,  343

(49) Letter from the Institute for the Protection of Monuments of the Federal Ministry of Culture and Sport ref. 07-40-4-4-4638-1/09 of 23.12.2009.

(50) A model of the design, housed in the entrance area of the church of Our Lady, was made by architect Žani Maksimović in December 2002.

(51) Documentation of the Roman Catholic parish office in Gornje Olovo, architect Admer Bolić - Kriva Rijeka d.o.o, Olovo, Arhitektonski snimak Crkve Gospe olovske, Olovo: 2006.

(52) The sensors were installed by assistant professors at the Faculty of Civil Engineering in Trieste Dario Almezberger and Antonio Rizzo, civil engine