Status of monument -> National monument
Published
in the “Official Gazette of BiH”, no. 72/11.
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 on 11 March 2011
the Commission adopted a
D E C I S I O N
I
The architectural ensemble of the Church of
SS Cyril and Methodius with the Seminary in Sarajevo is hereby designated as a National Monument
of Bosnia and Herzegovina (hereinafter: the National Monument).
The
National Monument consists of the seminary with a collection of art works and
the church with five altars, church furnishings and a collection of icons.
The
National Monument is located on a site designated as cadastral plot no. 2163,
cadastral municipality Sarajevo III, title deed no. 129 (new survey),
corresponding to c.p 56, c.m. Sarajevo XLIII, Land Register entry no. 54 (old
survey), Municipality Stari Grad, Sarajevo, 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
setting up signboards with basic details of the monument and the Decision to
proclaim the property a National Monument.
III
To
ensure the on-going protection of the National Monument on the area defined in
Clause 1 para. 3 of this Decision, the following protection measures are hereby stipulated:
–
all works are prohibited other than research
and conservation and restoration works, routine maintenance works, works designed
to ensure the sustainable use of the property, and works designed to display
the monument, subject to 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);
– the
conservation-restoration works must be based on the detailed survey of the
properties and include a methodological approach designed to preserve the
historical qualities of the property;
– the original
appearance of the properties shall be retained as regards the treatment of
architectural details, the colour of the walls, the murals, the treatment of
the façades, the structure of the buildings and the pitch and cladding of the
roofs. Changes to their stylistic features by the removal or addition of
decorative elements and architectural details (stone and other mouldings, door
lintels, string courses, cornices etc.) are prohibited;
– a
geomechanical examination of the soil and statics analysis of the bell tower of
the church shall be conducted;
–
an investigation shall be conducted into the
causes of penetration of atmospheric and capillary damp into the interior of
the church through the roof of the dome and the south exterior wall, and a plan
for remedial works shall be drawn up using the same materials and techniques
wherever possible.
The
following protection measures are hereby
stipulated for the movable property referred to in Clause 1 para. 2 of this
Decision (hereinafter: the movable heritage):
–
the Government of the Federation shall
provide suitable physical and technical conditions for the safe-keeping of the
movable heritage;
– all
interventions on the movable heritage shall be carried out by a qualified
person in line with a study approved by the federal ministry responsible for
culture (hereinafter: the ministry responsible for culture) and under the
expert supervision of the heritage protection authority;
– 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 responsible for culture;
–
supervision of the implementation of the
protection measures pertaining to the movable heritage shall be exercised by
the ministry responsible for culture.
IV
The
removal of the movable heritage items referred to in Clause 1 para. 2 of this
Decision (hereinafter: the movable heritage) from Bosnia and Herzegovina is
prohibited.
By way
of exception to the provisions of paragraph 1 of this Clause, the temporary
removal from Bosnia and Herzegovina of the movable heritage for the purposes of
display or conservation shall be permitted if it is established that
conservation works cannot be carried out in Bosnia and Herzegovina 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 Federal Ministry responsible for regional
planning, the Federation heritage protection authority, the Governor of the
Central Bank of Bosnia and Herzegovina, 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
On the
date of adoption of this Decision, the National Monument shall be deleted from
the Provisional List of National Monuments of Bosnia and Herzegovina (Official
Gazette of BiH no. 33/02, Official Gazette of Republika Srpska no. 79/02,
Official Gazette of the Federation of BiH no. 59/02, and Official Gazette of
Brčko District BiH no. 4/03), where it featured under serial no. 509.
XI
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: 07.3-2.3-77/11-9
11 March 2011
Sarajevo
Chair of the Commission
Amra Hadžimuhamedović
E l u c i d a t i o n
I – INTRODUCTION
Pursuant
to Article 2, paragraph 1 of the Law on the Implementation of the Decisions of
the Commission to Preserve National Monuments, established pursuant to Annex 8
of the General Framework Agreement for Peace in Bosnia and Herzegovina, a
“National Monument” is an item of public property proclaimed by the Commission
to Preserve National Monuments to be a National Monument pursuant to Articles V
and VI of Annex 8 of the General Framework Agreement for Peace in Bosnia and
Herzegovina and property entered on the Provisional List of National Monuments
of Bosnia and Herzegovina (Official Gazette of BiH no. 33/02) until the
Commission reaches a final decision on its status, as to which there is no time
limit and regardless of whether a petition for the property in question has
been submitted or not.
The
Commission to Preserve National Monuments issued a decision to add the
architectural ensemble of the Church of
SS Cyril and Methodius with the Seminary in Sarajevo the Provisional List
of National Monuments under the heading “Church
and Seminary of the Vrhbosnia Theological College,” serial no. 509.
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 SS Cyril and Methodius with the Seminary in Sarajevo is a fine
building dating from the Austro-Hungarian period. Since 1893 it has housed the
first seminary in Bosnia and Herzegovina. The ensemble also includes a church
with a ground plan in the form of a Greek cross. The interior of the church
includes five altars from the Ferdinand Stufflesser workshop with sculptures
and altar paintings by Josip Kirkler, wall decorations and frescoes by Ivana
Kobilca, Oton Iveković, Anastas Bocarić and Karl Richter. A collection of
valuable paintings with scenes from the lives of saints from the Society of
Jesus is on display in the corridors of the seminary. The architectural
ensemble is in good condition, and the extensive damage to the dome resulting
from shelling during the 1992-1995 war in Bosnia and Herzegovina has largely
been repaired.
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 of the property
and the current owner and occupant.
– 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.
–
A letter ref. 02-35-267/08-1 of 31.10.2008
requesting documentation and views on the designation of the Church of SS Cyril
and Methodius with the Seminary in Sarajevo was sent to the Institute for the
Protection of Monuments of the Federal Ministry of Culture and Sport, the
Archives of BiH, the Construction Authority of Sarajevo Canton, the Institute
for the Protection of the Cultural, Historical and Natural Heritage of Sarajevo
Canton, the Planning Authority of Sarajevo Canton, and the Vrhbosna
Archbishopric.
The
findings based on the review of the above documentation and the condition of
the site are as follows:
1. Details of the property
Location
The
architectural ensemble of the Church of SS Cyril and Methodius with the
Seminary in Sarajevo is in Josipa Stadlera Street, on the corner with Muse
Ćazima Ćatića Street. About thirty metres further down Josipa Stadlera Street
is the Music Academy(1), and the Cathedral is 140 metres away(2).
The
National Monument is located on a site designated as cadastral plot no. 2163,
cadastral municipality Sarajevo III (new survey), corresponding to c.p 56, c.m.
Sarajevo XLIII (old survey), title deed no. 129, Land Register entry no. 54,
Municipality Stari Grad, Sarajevo, Federation of Bosnia and Herzegovina, Bosnia
and Herzegovina.
Historical information
The
Church of SS Cyril and Methodius with the Seminary in Sarajevo “is an
outstanding testimony to the Austro-Hungarian period in Bosnia and Herzegovina
and a valuable monument in artistic terms. It is also distinguished by the
choice of stylistic features from the historicist period and the emergence of
the Secession at the turn of the century.”(3) Bosnia
and Herzegovina had no diocesan priests at the beginning of the
Austro-Hungarian period, which was a major obstacle to the establishment of a
diocesan hierarchy, a matter debated by the Vatican in 1879. By 1880 the Holy
See was requesting the Provincial Government of Bosnia and Herzegovina to open
a provincial seminary(4). With a view to restoring the diocese, Dr
Josip Stadler(5) was appointed as archbishop and charged with
building a cathedral, chapter house and seminary. The construction of the
entire complex took from 1892 to 1896, to an 1891 design by Josip Vancaš(6). The
ensemble is an outstanding testimony to the Austro-Hungarian period in Bosnia
and Herzegovina and is of considerable artistic value. Among its distinguishing
features is the selection of stylistic forms from the historicist period and
the emerging Secessionist style at the turn of the 19th and 20th centuries(7).
By 1
September 1893 part of the building, designed to house a school, was completed,
and Jesuit teachers and students moved from Travnik to Sarajevo(8). The
completed west wing, intended for the seminary, was temporarily divided into
two, with the Jesuit teachers housed on the first floor and classes held on the
second floor, where the ceremonial hall was turned into a chapel. In 1895 the
east wing was completed, followed in 1896 by the church, sandwiched between the
two wings of the seminary. Its consecration on 8 September 1896 was attended by
Bishop Strossmayer of Đakovo, who dedicated his cathedral church to the unity
of the Church. Following his example, Stadler, whom Pope Leo XIII had charged
in 1895 with reuniting the Catholic and Orthodox Churches, dedicated the
seminary church to the apostles Cyril and Methodius. Josip Vancaš was
responsible for supervising the building works, through his assistant Vymlatil,
and Ivan Holz, who had also built the Travnik seminary, was the works
contractor. The total building costs came to 259,420 florins, most of which
came from donations and contributions, with a lesser amount from the Provincial
Government(9).
The
Vrhbosna seminary was the first modern Catholic higher education establishment
in Bosnia and Herzegovina, operating without a break throughout the
Austro-Hungarian period, the inter-war period and World War II up to 1994, when
the German military command requisitioned part of the building, turning it into
a hospital. The seminary did not reopen after World War II; instead, the
premises were occupied by the Partisans’ medical and sanitation battalion. On
Christmas Day, 25 December 1946, the seminary was officially closed down when
the Republic Ministry of Education refused to issue it with a permit to
continue operating. The medical battalion vacated the premises in 1947, but its
place was taken by another team from the Yugoslav army. This in turn moved out
that same year, and the west wing of the seminary became the offices of the
students’ halls of residence. In the 1950s a residential property was built on
Muse Ćazima Ćatića Street, abutting onto the northern end of the west wing of
the Seminary. No account was taken of the stylistic features of the historic
ensemble, and the side entrance to the west wing was partly blocked as a
result. Since then, access to the inner courtyard to the north has been through
a passageway in the newly-erected property.
The
west wing was nationalized in 1959; the east wing remained formally the
property of the Sarajevo archbishopric, but was used by the state as student
accommodation(10).
In 1969
the east wing was vacated and returned to the Sarajevo archbishopric. On
completion of the refurbishment of the wing, the seminarists of the four
bishoprics of Bosnia and Herzegovina (Sarajevo, Banja Luka, Mostar and Trebinje)
were invited to gather in Sarajevo on 22 November 1996, and classes began just
three days later.
The
seminary operated only in the east wing until 1973, when the state vacated the
west wing and returned it to the Sarajevo bishopric by allowing the buy-back of
nationalized property. During this period the seminary was extended and
enlarged, which somewhat compromised the authenticity of the ensemble, and
routine maintenance works were also carried out(11). The
northern end of the east wing was enlarged, and now has five storeys (G+4). The
west entrance to the west wing, which led from Muse Ćazima Ćatića Street(12) to the
ground-floor chapel, was closed off. The high-ceilinged chapel was divided by a
horizontal slab to form two storeys, with the ground floor converted into a
hall now known as Pope Paul VI Hall, and the upper storey continuing in use as
a chapel. The kitchen on the north side facing the inner courtyard was partly
enlarged and adapted at the same time. Both the kitchen and the students’ dining
room to the west and the teachers’ dining room to the east were fitted with
modern equipment, as they remain today.
The
seminary remained in operation without a break from then until April 1992, when
classes were suspended on the outbreak of war.
The seminary
remained closed during the 1992-1995 war in Bosnia and Herzegovina(13). The
church and the seminary were shelled on several occasions during the war,
resulting in damage to the dome of the church and the façades. The basement was
turned into a large shelter where residents of the entire quarter took refuge
during the shelling.
In
January 1994 the dome took a direct hit and the stained glass over the High
Altar of the church was destroyed(14).
Conservation-restoration
works were carried out on the damaged façades and dome in 1996, along with some
remedial works on the interior walls damaged by damp entering the building. An
additional storey and attic were added to the west wing, to house the offices
of organizations associated with the Seminary and to provide storage space(15). An
attic storey was also added to the east wing, where a lift was installed(16).
Pope
John Paul II visited the seminary in April 1997(17).
The
north inner courtyard was refurbished in 2001, when a garage and retaining wall
were built(18), and the passageway leading to Muse Ćazima
Ćatića Street was fitted with a metal gate(19).
In 2009
building works began on a priests’ house east of the architectural complex for
the Vrhbosna Archbishopric, preceded by the removal of the retaining stone wall
on the east side(20).
2. Description of the property
The
architectural ensemble of the Church of SS Cyril and Methodius with the
Seminary in Sarajevo consists of four functionally separate groups: the central
seminary church, flanked by two wings lying north-south (the east wing for
teachers, the west for students), each with a basement and four storeys(21), and a
single-storey kitchen to the north. The overall footprint of the ensemble
measures 55.80 x 54.70 m.
The
principles of the Renaissance style that were commonly used for public
buildings were also applied to this architectural ensemble. “A formal analysis
reveals its multiple, highly balanced nature: first, the symmetrical triple
composition of the axis of the church and flanking wings, creating a powerful
image of scales. The left and right wings themselves are perfectly balanced. This
articulates the Renaissance system of numbers, 3 x 3, three storeys and three
ranks of openings, creating a doubly symmetrical composition along with the
‘point of symmetry,’ the place where the horizontal and vertical symmetrals and
axes intersect.”(22)
The
wings of the seminary interconnect with the church and with each other
by transverse corridors at ground- and first-floor level on the north side. The
west wing houses the classrooms, and also provides student accommodation, while
the east wing houses the library and teacher accommodation. To the north is a
refectory and kitchen.
“The
south-east front forms a symmetrical composition; the side wings of the
seminary and library are strictly Renaissance in form, while the domed church
between them reveals a tendency to go beyond this style to the dynamism of the
Baroque.”(23) The entrance to the church is in the middle,
flanked by the main entrances to the east and west wings at ground-floor level.
Directly below the entrance to the west wing is the entrance to the basement. The
back doors to the west and east wings are to the north, along with that of the
kitchen, facing onto the inner courtyard, from which a passageway leads onto
Muse Ćazima Ćatića Street. To the east of the ensemble is an additional side
entrance.
The
main building in the group is the Church of SS Cyril and Methodius, modelled by
Vancaš on St Peter’s in Rome, as revealed not only in plan but also in
elevation and, in particular, in the design of the dome.
The
church forms a Greek cross in plan measuring 21.50 x 21.50 m, with the
extension of the narthex on the entrance front. It is 40.00 m in overall height
to the apex of the dome. As seen from the south, the church consists of a narthex
with a choir gallery above, the central space below the dome and the
arms of the cross. The sanctuary is at the northern end; to the side
are sacristies with oratoria above.
The entrance
to the church from the street is to the south, but it can also be entered from
the north, where the transverse corridor linking the east and west wings of the
seminary is located(24). The main entrance consists of a
massive double-valved door of 170 x 230 cm opening into the narthex. The
narthex measures 11.35 x 4.20 m; above it is the choir gallery, resting on two
stone columns set 2.45 m apart(25). The narthex also includes a vestibule of
200 x 215 cm, which serves as a storm porch. To the north of the vestibule is a
double-valved door, and to the sides are confessionals. To the east is a wooden
partition with a door leading from the narthex to the choir gallery via a
spiral staircase 90 cm in width.
Beyond
the narthex is the south arm of the cross, measuring 8.10 x 3.00 m. The central
space at the intersection of the arms of the cross is domed, with an
interior height above floor level of 25.00 m(26). The
dome rests on a circular drum with a diameter of 10.50 m, resting on four
arches themselves resting on equally substantial square piers with sides of
2.60 m. The mid section of the drum consists of a painted band with a height of
3.50 m divided by double pilasters into eight sections, above and in the axes
of which are the supporting arches of the dome, with between them eight windows
of 200 x 310 cm.
The
choir gallery matches the narthex below in size, but is effectively larger in
that it loses no space to the confessionals which occupy the south-west and
south-east corners of the narthex. It has a wooden floor, and a central raised
wooden platform on the south side for the organ. Light enters the choir from
the south through a semicircular window with a radius of 300 cm. The wooden
choir railing to the north is 1.10 m high. On the east and west sides of the
choir are double-valved doors of 150 x 220 cm giving directly onto the first
floor of the east and west wings of the seminary.
The east
and west wings of the seminary are rectangular in plan, and lie
south-north. The interior layout is identical in both: a central corridor
running lengthwise, flanked by classrooms, libraries, accommodation for the
students and teachers, and other premises. The wings are interconnected by a
transverse corridor in the north wing, where there is a well-equipped modern
kitchen. The east-west corridor is between the kitchen to the north and the
church to the south. The wings of the seminary are separated from the church by
walls and a pair of light wells, but form a single architectural entity
together with the north wing and the church.
The
west wing of the seminary, measuring 17.25 x 54.70 m, is on the corner of
Josipa Stadlera and Muse Ćazima Ćatića Streets, with the main entrance to the
south, in the long axis of the wing. A twin flight of stone steps 130 cm in
width with a wrought iron balustrade abutting onto the south front(27) leads
to the arched wooden double-valved door of 170 x 300 cm, glazed at the top. This
opens into a vestibule 1.90 m long, from which stone steps lead to a long
corridor 2.60 m wide and 52.00 m long, at the northern end of which is a rear
entrance(28). To the east and west of the corridor are
classrooms and other premises, all of the same width, 6.10 m.
To the
west, the first rooms are the porter’s lodge, which is 3.25 m long, and a
classroom 5.90 m in width. Next is a hall 7.00 m in length, interconnecting
with a “universal hall”(29) 12.33 m in length(30). The
raised stage at the north end is 4.72 m long. Finally, there are another two
classrooms at the northernmost end of the corridor, 6.00 and 6.45 m in length
respectively. To the east are classrooms, a toilet block and cloakroom 8.80 m
in length(31), and a stairwell of 6.10 x 5.30 m with a
triple-flight stone staircase 1.70 m in width. By the stairwell is the
transverse corridor of the west wing, which is 2.10 m wide and leads through
the north wing to the east wing. The transverse corridor of the west wing joins
the same corridor of the north wing, which is 19.76 m long and separated by a
wall from the church to the south.
The north
wing between the east and west wings is roughly rectangular in plan,
measuring 19.76 x 23.23 m. To the north are the kitchen premises of 8.64 x
20.63 m overall, opening onto the inner courtyard and consisting of the kitchen
proper of 8.64 x 6.94, a larder to the south of 5.10 x 5.57 m leading into a
storeroom in the basement, and a servants’ dining room of 5.57 x 3.39 m. To the
west of the kitchen is the students’ dining room, measuring 11.62 x 5.14 m and
connecting with a room belonging to the west wing, measuring 6.30 x 8.58 m. To
the east is the main dining room, used both for receptions and by the teaching
staff, measuring 11.62 x 4.68 m.
The
east wing measures 17.05 x 38.95 m, and contains not only accommodation for the
seminary teachers but also a library and reading room, common rooms and other
premises. The main entrance is to the south, facing onto Josipa Stadlera
Street, and is of the same size and form as the entrance to the west wing. It
opens onto a vestibule leading into a corridor 23.00 m long and of the same
width as the corridor in the west wing, with a back door at the north end – an
arched wooden door with a fanlight, measuring 180 x 340 cm. To the east is a
library with a reception area, reading room, stack room and gallery. To the
west are classrooms 4.50 m in width, a lift, and a double-flight stone
staircase 1.70 m in width off which are a storeroom and a chapel of 6.10 x 4.50
m(32).
To the
north is the transverse corridor of the east wing, 2.30 m wide and 16.30 m
long, joining the transverse corridor of the north wing at the west end, and
with a double-valved arched wooden door of 180 x 340 cm at the east end. To the
north of this corridor is a ground-floor section of the east wing with interior
measurements of 16.30 x 9.70 m, housing common rooms opening onto the courtyard
to the north.
The
layout of the upper storeys of both the east and the west wing is similar to
that of the ground floor. The basic layout of the first floor of the west wing
echoes that of the ground floor except that the rooms over the ground-floor
classrooms are used as students’ dormitories or suites. Over the universal hall
is the great chapel(33), of the same size as the hall and with a
sanctuary and altar at the south end, and to the north a sacristy of 6.10 x
2.95 m with a standard single-valved door to the chapel. To the south-east is a
passageway 1.30 m wide and 6.10 m linking the west wing and the choir gallery
of the church(34).
The
west wing is linked with the east wing at first-floor level by a transverse
corridor in the north wing, of the same size as the one on the ground floor. To
the south of this corridor are the entrances to the oratoria, which are used as
filing rooms, to the north are offices 5.50 m in width, and to the east the
double-valved door of 130 x 230 cm leading into the east wing.
The
layout of the first floor of the east wing echoes that of the ground floor,
with corridors running lengthwise and crosswise with rooms off.
To the
south of the east wing are the teachers’ bedrooms, while at the northernmost
end are the nuns’ bedrooms. The northernmost end of the east wing is two
storeys higher than the southern end, on account of the mezzanine storeys
linked by metal or reinforced staircases with the longitudinal corridors of the
first and second floors.
The
second floor of the two wings is very similar in layout and use to the first
floor, except that the area above the chapel in the west wing is occupied by
dormitories. At the northern end is a flat terrace of 20.63 x 8.20 m(35), accessible
only from the west wing through a glazed double-valved door of 150 x 280 cm. The
layout of the second floor of the east wing is almost identical to that of the
storey below.
The
third floor of the west wing differs from the storey below in that at the
southern end is a flat terrace of 16.80 x 12.60 m, two steps higher than the
central corridor, as are the rooms to the west. Unlike the other storeys, this
one has no toilet block. Above it is an attic storey with store rooms and rooms
housing various functional necessities for the operation of the seminary.
To the
south of the east wing is a flat third-floor terrace of 9.70 x7.90 m, and to
the north a conference room of 6.10 x 9.00 m. At the northern end of the east
wing, intended as sleeping quarters for the nuns, is another, fourth storey(36).
Two
staircases lead down from the ground floor to the basement beneath the west and
north wings. The layout is similar to that of the ground floor: the main
entrance to the basement is on the south side of the west wing through a
double-valved door of 150 x 220 cm opening onto a corridor, flanked on either
side by rooms used for various purposes. To the west is an office 3.25 m wide,
a classroom 5.90 m wide, and a coffee-shop occupying the space taken up by the
universal hall on the ground floor. To the east is a public library, a toilet
block and a music room. The area beneath the kitchen in the north wing is
occupied by a laundry room, the basement storeroom of the kitchen and a
corridor.
Stylistically,
the architectural ensemble of the Church of SS Cyril and Methodius with the
Seminary may be described as a neo-Renaissance creation with Baroque elements,
particularly on the south façade. The south, east and west façades are
articulated by string courses increasing in size from bottom to top; to the
north are rear façades facing onto the inner courtyard.
The south
façade, which is elaborately decorated with mouldings and sculptures, is
dominated by the dome on its drum. The façade terminates in a cornice and balustraded
attic storey. The high drum, the elongated arc of the dome, the tall lantern,
and the ribbing on the dome all add to the verticality and dynamism of the
church as against the static, horizontally articulated wings. The axis of the
south façade is dominated by the massive wooden door of the church, measuring
170 x 290 cm and surmounted by a tympanum, above which is a semicircular
fanlight with a radius of 3.10 m. In the axis above this is a bell tower(37) with
three bells, flanked by statues of SS Peter and Paul. The façade also features
bas-reliefs of St Ignatius Loyola and St Francis Xavier, with below them
bas-reliefs of SS Cyril and Methodius(38). The dome is to the north in the axis of the
bell tower; it is 40.00 m high and has a diameter of 16.00 m, crowned by a
lantern 5.00 m in height not counting the metal cross. The dome rests on a drum
with a total height of 10.00 m with round-headed windows of 170 x 420 cm(39).
The
east and west sections of the south front are very similar in composition:
central portals(40) of 170 x 300 with semicircular fanlights
over, flanked by two-light windows of 180 x 300 cm also with semicircular
overlights. The first and second floors each have six two-light windows of 90 x
240 cm with a 1 metre high balustrade above and, in the background, the gables
walls of the third floor.
Formally,
the west and east façades form an extension of the flanking
sections of the south front. Both have round-headed windows of 130 x 270 cm at
ground-floor level, rectangular windows of 130 x 240 cm with tympanums over at
first-floor level, and two-light windows framed by pilasters at second-floor
level, similar to those of the south front at the same level.
The
west façade, facing Muse Ćazima Ćatića Street, is a roughly symmetrical
composition with a central risalit articulated at ground- and first-floor level
into three by pilasters 70 cm in width and with a substantial string course
between the first and second floors. At ground-floor level is a central
three-light window of 200 x 110 cm with a separate semicircular overlight with
a diameter of 200 cm; this arrangement is repeated on either side, except that
there the three-light windows are blind. At first-floor level are three pairs
of round-headed single-light windows of 90 x 230 cm, and at second-floor level
are six two-light windows.
The
risalit is flanked at ground-, first- and second-floor level by six two-light
windows on each side(41). The façade terminates in a substantial
cornice above which is the longitudinal wall of the third floor.
The
windows of the east façade are of the same shape and size as those of the west,
but the fenestration differs in its simpler composition, lacking the central
risalit. At ground-floor level has a rank of ten round-headed windows and an
entrance portal of 150 x 236 cm, while the first and second floor each have
eight rectangular windows.
The
northernmost end differs from the rest of the east façade in the number of
storeys, with the windows of four storeys above the ground floor. The ground
floor has three windows of the same shape and size as those on the rest of the
façade, with above, three ranks each of one three-light and two two-light
windows of 140 x 120 cm and 100 x 120 cm respectively.
To the north
are the rear façades facing onto the inner courtyard. The central
section contains the entrance to the north wind and the kitchen and dining-room
windows, together with those of the corridor and other rooms on the first
floor. To the east is the back door to the east wing, with above it four ranks
each of six windows. The windows on the west side are blind; here too is the
back door to the west wing, partly concealed by the mixed-use building dating
from the 20th century which abuts onto the western end of the north façade.
As
regards the materials and construction of the building, good
quality materials of the kind known in the late 19th century were used and the
execution was equal to the European standards of the day.
The
footings and foundation walls were dry-stone built, to prevent rising damp. For
the same reason, a substantial layer of stone was laid under the floors of the
basement and ground floor. The exterior and interior bearing walls consist of
brick and stone. The ceiling structure above the basement and ground floor
consists of steel cross-girders with brick vaulting between; the ceiling
structure of the upper storeys consists of wooden joists. The gabled roofs of
the east and west wings and the dome are all timber-framed. The east and west
wings are clad with tiles and sheet metal flashings; the church roof, including
the dome, is clad with galvanized iron. The north wing has a flat roof, most of
which is unsuitable for walking on, while the southern ends of the east and
west wings have flat roofs forming terraces.
The
extensions to the east and west wings were constructed of reinforced concrete,
and the roofs are clad with the same material as the rest of the wings.
The
entrance portals are fitted with wooden doors, except for the back door from
the courtyard into the kitchen, which is PVC, and the north door to the west
wing, which is wooden but not original. All the original windows of the east,
west and north wings have been replaced by white PVC windows, but the church
still has its original wooden windows and the original metal frames of the drum
windows.
The
socle is faced with stone slabs of varying heights, reflecting the sloping
site, and the rest of the façades are rendered.
The
exterior flights of steps and interior staircases are of stone, with wrought
iron balustrades and wooden handrails. The staircases in the extension are of
reinforced concrete or steel.
The
floors of the corridors in the east and west wing have been replaced by modern
stone tiles; the classrooms and dormitories have parquet floors. The north
wing, with the kitchen and dining rooms, also has modern stone or ceramic tile
floors.
Most of
the floor of the church is paved with polychrome terracotta tiles, with steel
grids 90 cm wide in the transverse and longitudinal axes. The piers inside the
church are faced with stone, and the walls are painted. The choir gallery is
wooden, as is the staircase from the church to the gallery. The overlights
above the main entrance to the church and above the altar are steel-framed; the
remaining windows and the doors are wooden.
The
longitudinal bearing walls are 60, 75 and 80 cm thick at ground-floor level;
other walls are 50 cm thick (in the kitchen), 45, 30, 25 and 12 cm thick.
The
ceiling height from 260 to 300 cm in the basement ranges, 450 to 466 cm on the
ground floor, 450 cm on the first and second floors, 280 cm on the third floor,
and a maximum headroom of 285 cm in the attic of the west wing. The interstorey
construction is 50 cm thick.
The
ceilings of the first, second, third and fourth floors of the extension to the
north of the east wing are 3.00 m high.
Altars
The
five wooden altars of the Church of SS Cyril and Methodius were made in 1896 in
the Tyrolean studio of Ferdinand Stufflesser(42) (St.
Urlich, 1855-1926, Ortisei, Tyrol) in the neo-Renaissance style. The
Renaissance produced architectural altars with several recognizable
architectural features: pillars, arches, niches, aedicules and so on(43). These
altars, of carved wood, are richly decorated with floral motifs (acanthus
leaves, garlands), angels’ heads and volutes. All the mouldings are gilded,
against a pale green background with touches of blue and red. The altars have a
total of eight wooden statues and three pallae.
High Altar
The
High Altar is in the apse at the west end of the church. Measuring 2.90 x 1.35
m, with a height of 95 cm, it is three steps above the floor of the nave(44). It is
in the form of a triumphal arch, and is dedicated to SS Peter and Paul. Visually,
it is in three registers, of which the first is the mensa, decorated with five
square panels of carved, gilded floral ornaments. The second is a repetition of
the form and decoration of the mensa, with somewhat narrower decorative panels
dominated by the central tabernacle. Four of the sixteen decorative wooden panels
are carved; the remainder are painted in oils with stylized flowers and vines. The
tabernacle represents the entrance to the sanctuary; on it is a ciborium with a
crucifix.
The
third and dominant register is the altar painting, with the figures of Cyril
and Methodius in a magnificent aedicule(45) with Corinthian columns and a segmental
entablature containing a tondo with the figure of Christ. To the right of the
altar painting is a niche with a wooden statue of St Peter holding a book
(approx 100 cm in height) and to the left one of St Paul with a sword (approx.
100 cm in height). The niches are in the early Renaissance style (cf. Andrea
del Verrocchio, Christ and St. Thomas, 1465-1483), with the arch in the form of
a shell.
The
altar painting is the work of the Austrian artist Josip Krikler(46). The
composition is in portrait format, terminating in an arch. St Methodius, who is
holding a large cross in his right hand, with his left hand drawing the
congregation’s attention to it, and St Cyril, who is pointing to the Slavonic
lettering in the Gospel, are portrayed against a gold background.
Side altars
At
the end of the east and west arms of the transepts are side altars roughly 650
cm high and 320 cm wide, set two steps above the floor of the nave(47). The
right-hand walls of the transepts also contain wall niches with subsidiary
altars roughly 400 cm high and 200 cm wide.
The
north and south side altars are identical in morphology and include all the
features of the high altar, differing only as regards their iconographic
programme. The first register consists of the mensa, decorated with five square
panels, the middle one of which features the Lamb, the remaining four being
painted with stylized leaves and fleur de
lis. The second register of the south altar, dedicated to St Aloysius of
Gonzaga, differs from the north altar to St Joseph in its iconographic
programme. The central motif of the south altar is the tabernacle, and of the
north is a painting of St Teresa(48) by Gabrijel Jurkić (Livno, 24.03.1886 –
25.02.1974)(49). The second register is also decorated by
five rectangular panels with floral designs. The third register is an aedicule
with a neo-Baroque entablature, resting on twin Corinthian columns. The
painting on the south altar is of St Aloysius of Gonzaga, standing serenely on
a cloud holding a crucifix. To the right of the painting is a wooden statue of
St Antony of Padua with the Christ Child, and to the left one of St François de
Sales. The painting on the north altar, which is identical in composition and
details to the one on the south altar, is of St Joseph with Christ in his arms.
To the right of the painting is a wooden status of St Anne, and to the left one
of St Joachim.
Both
altar paintings are in the early Renaissance manner, echoing that of the
painting of SS Cyril and Methodius on the High Altar. All that was known at the
time this decision was being drafted is that they were the work of Ivana
Kobilca and Oton Iveković; no details of their respective contributions to the
creation of these works were available. The statues on both altars are 120 cm
in height. A dove occupies the middle of the entablature above each altar, and
above the altar paintings is the head of an angel.
The
subsidiary altars in the niches are named after the sculptures that are their
principal feature. They are set in a wooden niche on a pseudo-sarcophagus. The
north transept contains the Altar of the Sacred Heart of Mary, and the south
transept the Altar of the Sacred Heart of Jesus. The sarcophagus is articulated
by twisted columns between which are panels with floral ornaments and a central
stylized Greek cross.
The
arched niche of the Altar of the Sacred Heart of Jesus has been fitted with an
obtrusive modern light fitting that is greatly detrimental to the appearance of
the altar.
Pulpit
To the
west of the sanctuary, by the massive north-west pier of the drum of the dome,
are the stone steps 85 cm wide up to the pulpit. The pulpit is pentagonal in
plan, inscribed in a circle with a diameter of 130cm, and is approx. 630 cm in
height.
This is
an elaborate pulpit with a baldachin of the type usually seen in the exuberant
interiors of Baroque churches. The baldachin and pedestal are decorated with
floral and geometric ornaments, and the square panels on the sides of the
pulpit contain tondi with the figures of Christ, his right hand in a gesture of
benediction and an open book in his left, and two bishops to Christ’s right and
left. The panels are separated by columns with grape and vine-leaf motifs and
voluted capitals.
Murals
Work on
the decoration of the church began in 1896 and was completed in 1900(50). The
interior of the church was elaborately decorated along the lines of most Jesuit
churches. Oton Iveković (Klanjec, 17 April 1896 – Zagreb, 4 July 1939)(51) painted
the two monumental frescoes with scenes from the lives of the saints to whom
the church is dedicated: Cyril and Methodius attending upon Prince Rastislav of
Great Moravia, in the arch above the Altar of St Aloysius of Gonzaga in the
south transept, and Cyril and Methodius received by Pope Adrian II, above the
Altar of St Joseph in the north transept. Iveković painted tondi in the
pendentives with figures of the evangelists, and eight scenes from the life of
Christ on the cornice of the drum. Ivana Kobilca (Ljubljana, 20 July1861 – 4
July 1926)(52) painted a fresco in the arch above the Altar
of the Sacred Heart of Mary in the north transept, Devotees of the Virgin
praying to St Mary Queen of the Heavens, and another above the altar of the Sacred
Heart of Jesus in the south transept, a composition of the Union of the
Churches. With Michelangelo’s Creation as her model, she also painted the
figure of God the Father at the top of the dome, with a bold use of
foreshortening. In addition to these historical scenes, the walls of the church
were also decorated with floral and geometric ornaments by Anastas Bocarić
(Budva 1 January 1864 – Perast, 1944)(53) and Karl Richter.(54)
Murals in the transepts
Oton
Iveković’s frescoes of Cyril and Methodius attending upon Prince Rastislav of
Great Moravia, inscribed below in Latin script “Ratislav, Prince of Moravia,
and his people welcoming Cyril and Methodius in Velehrad”), and in the arch
above the Altar of St Aloysius of Gonzaga in the south transept, and Cyril and
Methodius received by Pope Adrian II, inscribed below in Latin script “Cyril
and Methodius defending the Old Slavonic liturgy to Pope Adrian II, who
approved it, are in the neo-Classicist Nazarene style, reflecting the spirit of
academic art. In Građansko slikarstvo u
Bosni i Hercegovini u XIX veku, Ljubica Mladenović describes both
compositions as “conceived monumentally, with symmetrically deployed masses,
elaborate costumes and light colours.”(55) The composition is in landscape format, and the
inscriptions below the frescoes remove any doubt concerning the iconography of
the scenes.
Ivana
Kobilca’s frescoes bear the same stylistic features as those of Iveković, and
were commissioned by Archbishop Štadler. “In the Devotees of the Virgin praying
to St Mary Queen of the Heavens, [the Virgin] is in the conventional red robe
and blue mantle, floating on clouds with the infant Christ in her arms, with
below her two symmetrically arrayed groups of figures of bishops and members of
the Order of Jesuits. The composition of the Union of the Churches depicts the
Ecumenical Patriarch and the Pope donating a model of the church to the Sacred
Heart of Jesus, personified in Christ floating on clouds with his heart on his
breast, its rays illuminating the universe, and surrounded by St Clare and St
Dominic.”(56)
Murals in the pendentives, drum and dome
Oton
Iveković painted tondi in the pendentives with the busts of the evangelists,
and eight scenes from the life of Christ in the drum (the register on which the
dome rests). The scenes are in the neo-Classicist tradition and reflect the
spirit of Nazarene art. The evangelists Matthew, Mark, Luke and John are
portrayed with their symbols beside or behind their left shoulder (all winged:
a winged man or angel for Matthew, a winged lion for Mark, a winged ox for Luke
and an eagle for John). The background is golden-yellow, in imitation of the
texture of mosaics. The large organ and choir gallery and the small side
galleries are painted with another four tondi with the busts of saints, priests
and historical figures. All eight tondi have a diameter of 125 cm.
“The
iconography of Christ in the 19th century created not one new, widely accepted
and standard formula. Works were based on postulates no longer guided by living
theological thought, but mainly by pious sensibility, and have become
increasingly degraded in the theme that has been dominant since the 19th
century. In 19th century iconography, scenes from the life of Christ are
permeated by idealization in programmatic attempts at retrospective history,
particularly evident in the art of the Pre-Raphaelites and Nazarenes.”(57) The
life of Christ, usually depicted in twelve scenes, mainly taken from the
Christological cycles(58), is reduced here to just eight scenes. Seven
of the usual scenes have been left out altogether (Baptism, Transfiguration,
the Raising of Lazarus, the Entry into Jerusalem, the Ascension, Pentecost,
Death of the Virgin) and replaced by other scenes from the Christological
cycles. The liberties taken by the artist make an iconographic analysis of some
of the scenes rather difficult. The following scenes can be made out, from the
Annunciation to the Resurrection:
1. The
Annunciation. The Virgin Mary is portrayed seated in a room, lit by pale rays
of light. The Angel Gabriel, shown in profile, is handing her a stem of lilies.
The composition is in landscape format, traditional and iconographically
readable.
2. The
Visitation. Mary visits Elizabeth. As tradition demands, the scene is in
the open air, outside Elizabeth’s house. Elizabeth is shown kneeling to the
Virgin.
3. The
Nativity. This scene, in a somewhat freer artistic vocabulary (colour is
treated with greater freedom, forms are schematic), clearly shows the setting
of the stable and the figures of St Joseph and Mary with Jesus in her lap. Behind
Mary is an ox, and to her right a man in a blue robe, back to the viewer. Three
men are making gifts to the Child, suggesting the scene of the Adoration of the
Magi.
4. The
Presentation in the Temple. Simeon hands the infant Jesus back to the
Virgin, who takes him in her lap, kneeling. St Joseph stands by Simeon’s right
shoulder and a woman to his left. The inscription below the scene reads
IVEKOVIĆ A.D. 1896
5. The
Disputation. The fresco depicts the moment when the Virgin and St Joseph
find the twelve-year-old Christ standing with Jewish elders, who are listening
attentively to what he has to say.
6. Healing
the sick. Christ is portrayed in a similar pose, right hand reaching out to
a kneeling man before him, in the scene of the Raising of Lazarus, but since
Lazarus does not feature here, everything else suggests the scene of healing a
deaf and dumb man.
7. Jesus
meets his Mother. Here Iveković merges three of the Stations of the Cross. As
well as the scene of Jesus meeting his Mother, which remains the principal
scene, Christ is also shown falling under the Cross (three of the fourteen
Stations of the Cross concern Jesus falling under the Cross). St Joseph is
shown beside Mary. To the left of the composition is the scene of Simon of
Cyrene carrying the Cross. Simon is surrounded by three Roman soldiers.
8. The
Resurrection. The scene is dominated by the figure of Christ bathed in
light, floating in contrapose, holding a banner with a red cross. To the right
of the grave are the Myrrhbearers (the three Marys), and to the left two
sleeping guards.(59)
The
rectangular panels with the scenes from the life of Christ are separated by
twin columns.
The
figure of God the Father at the top of the dome was modelled by Ivana Kobilca
on Michelangelo’s Creation in the Sistine Chapel. It is executed with a bold
use of foreshortening, and is the artist’s most successful work in the Church
of SS Cyril and Methodius. The figure of God is in a circle symbolizing the sun
with eight rays descending from the apex to the base of the dome. The circle
and rays are composed of squares of varying sizes. The dominant colours are
turquoise-blue and golden-yellow, which have faded over time.
Infill (floral and geometric ornaments on the walls and ceilings)
Every
blank space on the walls and ceilings is decorated with stylized floral
ornaments, except for the dome and drum, which are mainly decorated with
geometric ornaments. The ceiling decorations are polychrome, the wall
decorations mainly in shades of grey. The background of each altar is red,
giving the illusion of drapes in the case of the High Altar.
Church furnishings
The
pews, four identical confessionals, and a cupboard in the sacristy survive from
the time the church was consecrated. The furniture is of respectable quality
(in the case of the sacristy cupboard, with subtle incrustation) and in good
condition, contributing to the overall impression of the church interior.
Organ
The
organ was built in the workshop of Gebruder Rieger in Jagerndorf / Krnovo in
the Czech Republic. It was installed in the Church of SS Cyril and Methodius in
1904. Specification: pneumatic, two manuals and a pedal board, fifteen unison
stops. The Gebruder Rieger workshop has been in existence since 1873, operating
since World War II under the name Rieger-Kloss, headquartered in Austria and
the Czech Republic. So far 3,500 organs for churches all over the world have
been built in this workshop, which has won many awards and accolades(60).
ICONS AND PAINTINGS
1. THE VIRGIN
AND CHILD
Artist: Franz
Schmidt
Date: last
decade of the 19th century
Technique:
combination of carving and oil on panel
Size: 20 cm x 16
cm
Inscription/signature: bottom right corner of the icon /Franz Schmidt Wien/
Description: The
icon is in the style of Italo-Cretan artists. In iconographic terms, it
corresponds to the type of the Virgin Elousa (of Mercy), which derives from the
iconography of Eastern Christianity. The Virgin and Child are shown in their
traditional garb with crowns, haloes and golden-yellow background. Their
initials feature in the top left and right corners, in Greek lettering, with
two winged angels below them. The picture is in an elaborate neo-Baroque carved
golden-yellow frame.
FOURTEEN ICONS OF THE STATIONS OF THE CROSS
Artist: anonymous
Date: late 19th
century, neo-Classicism
Technique: oil
on canvas
Size: 65 cm x 39
cm
Description: All
fourteen are in portrait format. The scenes are iconographically traditional
and clear, with all possibility of error eliminated by the inscriptions below
each. The figures are shown in motion, adding to the visual dynamism of the
scenes. The colour palette is mainly red, shades of green and golden yellow.
2(I) Pilate condemns Jesus to death; 3(II) Jesus takes up the cross; 4(III)
Jesus falls the first time; 5(IV) Jesus meets his Mother; 6(V) Simeon carries
the cross; 7(VI) Veronica wipes the face of Jesus; 8(VII) Jesus falls the
second time; 9(VIII) Jesus comforts the women weeping over him; 10(IX) Jesus
falls the third time; 11(X) Jesus is stripped of his garments; 12(XI) Jesus is
nailed to the cross; 13(XII) Jesus dies on the cross; 14(XIII) Jesus is taken
down from the cross; 15(XIV) Jesus is laid in the tomb. The frames of the icons
are in the form of an aedicule surmounted by a cross.
THE SEMINARY’S COLLECTION OF PAINTINGS
The paintings with the figures and scenes
from the lives of saints from the Society of Jesus, martyrs and missionaries
are on display in the first- and second-floor corridors of the seminary. All
are in portrait format, terminating in an arch and mounted in simple wooden
frames. Stylistically, they reflect the principles of neo-Classicist art. Of
the thirty-nine paintings in the collection, twenty-three are the work of Jozef
H Kriklov, four by Kömives K, and twelve are unsigned.
Jozef H. Kriklov
Date: 1892/3
Technique: oil
on canvas
Size: 140 cm x
78 cm
Description: The
compositions are all in portrait format, with the figure of a saint or group of
saints in the middle. Martyrs, most of them missionaries, are portrayed at the
moment of their martyrdom, surrounded by the symbols of their torture,
indicating the territory of their mission (usually by means of the racial or
national features of the other figures in the scene) or by a depiction of their
vision. This group of works by Kriklov could be said to have been produced to a
standard procedure, without much creativity. The inscription giving the name of
the saint or martyr of the Society of Jesus is given at the bottom of each
painting.
1. ANDREAS BOBOLA, martyr
2. CAMILLUS CONSTANTINUS I AUGUSTINUS OTO, martyr
3. MARCUS CRISIN (Marko Križevčanin)
4. IGNACIJE AREVEDO
5. FRANCISCUS DE HIERONYMO
6. EDMUNDUS COMPION
7. MICHAEL CARVALLIUS
8. JOHN OF NEPOMUK
9. FRANCISCUS REGIS
10. PETRUS CLAVER
11. ANTONIUS BALDINACCI, missionary
12. DIDACUS CARVALLIUS
13. STANISLAUS KOSTKA
14. FRANCISCUS PACECO
15. FRANCISCUS KAVERIUS
16. ALPHONSUS RODRIGUEZ
17. PETRUS CONISIUS (unsigned)
18. CAROLUS SPINULA
19. PETRUS FABER
20. LEONARDUS CHIMURA
21. FRANCISCUS BORGIA
22. HIERON DE ANGELIS I ŠIMON TEMPO
23. RODULPHUS AGUAVIVA(61)
Kömives K.
Date: 1935/6
Technique: oil
on canvas
Size: 130/140 cm
x 78 cm
Description: In
terms of style, composition and choice of subjects, there is little to choose between
the works of Kriklov and Kömives in the Seminary’s collection. Kömives; work
differs from that of Kriklov in the emphasis on contours and the use of
chiaroscuro. His signature can clearly be made out on the following works:
24. MARTYRS OF THE EUCHARIST, bottom right corner
25. MARTYR HOYOS, bottom left corner
26. CANADIAN MARTYRS, bottom right corner
27. MARTYRS OF SOUTH AMERICA, bottom left corner
Unsigned paintings
28. ST. JOSEPH
PIGNATELLI
Artist: Austrian
artist(62)
Date: last
decade of the 19th century/early 20th century
Technique: oil
on canvas
Size: 130 cm x
79 cm
Inscription/signature: bottom centre, G.JOSP.PIGNATELLI CONE.SJ.
Description: The
figure of the saint almost completely fills the painting. St. Pignatelli is
portrayed with his head bent towards the crucifix in his right hand; he has a
Bible in his left hand. An office with a desk and chair are suggested in the
background, but there is no sense of space.
29. ROBERT
SOUTHWELL (English martyr)
Artist: Austrian
artist(63)
Date: last decade
of the 19th century/early 20th century
Technique: oil
on canvas
Size: 130 cm x
79 cm
Inscription/signature: bottom right corner, G.Robert Southwell mart.; top centre, JESV
CONVERTE ANGLIAM
Description: The
artist has executed the face with particular care, leaving the body in
silhouette. The colour palette is sombre, in marked contrast with the white
halo and face. The saint is holding a small crucifix in his left hand and a
Bible in his right.
30. ST.
ALOYSIUS
Artist: Alexandar
Seitz(64)
Date: last decade
of the 19th century/early 20th century
Technique: oil
on canvas
Size: 87 cm x 68
cm
Description: St
Aloysius, patron saint of the young, is shown in half profile while at prayer,
clasped hands bent slightly towards an altar with a crucifix. The lily spray on
the altar, symbol of innocence, is Aloysius’ usual attribute. The background,
which is unmodelled, is in contrast to the light-toned clothing of the graceful
St Aloysius. The artist has created the illusion of space by means of the
rectangular altar, the outlines of which disappear into the background.
31. ST JOHN
BERCHMANS(65)
Artist: Austrian
artist(66)
Date: last
decade of the 19th century/early 20th century
Technique: oil
on canvas
Size: 180 cm x
110 cm
Description: The
young saint is shown in half profile kneeling before the Virgin, who is holding
Jesus in her arms. In the background the sky is lit by the colours of the
setting sun. The perspective of rectangular forms such as pews is accurate,
creating the illusion of space.
32. PETER KONZI(67)
Artist: Austrian
artist(68)
Date: last
decade of the 19th century/early 20th century
Technique: oil
on canvas
Size: 200 cm x
104 cm
Description: The
priest or saint Peter Konzi was a figure in the Counter Reformation of Bavarian
origin, who wrote a Counter Reformation manifesto. This painting shows him
standing in dignified pose with a pen and rosary in his right hand, beside a
table of books, and a crucifix to his left. The artist has executed the face,
torso and details on the table with the greatest care. The background and the
lower part of the canvas give the impression of being unfinished. The scene is
one-dimensional, with clumsily executed foreshortening.
33. PETER
CLAVER (patron saint of black slaves)(69)
Artist: Austrian
artist(70)
Date: last
decade of the 19th century/early 20th century
Technique: oil
on canvas
Size: 200 cm x
104 cm
Description: St
Peter Claver is known as the apostle of black slaves in Columbia. He was born
in 1580 to a prosperous Christian family in Verdu, Catalonia. He joined the
Society of Jesus in 1602(71). He is shown here christening a boy. In the
background is a landscape with the sea, suggesting his journeys to remote
places.
34. JOHN OF
NEPOMUK (martyr of the Seal of the Confessional)
Artist: Austrian
artist(72)
Date: last
decade of the 19th century/early 20th century
Technique: oil
on canvas
Size: 220 cm x
106 cm
Description: The
saint is portrayed in priestly robes, standing on a cloud with his forefinger
to his lips, symbolizing his refusal to speak. The heads of angels are depicted
by his left and right shoulders. The background is on two levels: above, the
sky with brownish angels, and below, the panorama of a town, in dark tones,
with a bridge over the River Vltava in which he was drowned.
35. ST. MARKO
KRIŽEVĆANIN
Artist: Austrian
artist(73)
Date: last
decade of the 19th century/early 20th century
Technique: oil
on canvas
Size: 190 cm x
102 cm
Description: The
portrait-format composition consists of two visually equally important levels. Six
small angels in motion are carrying a cloud on which are three figures of
saints, gesticulating.
36. VIRGIN AND
JESUS
Artist: anonymous
Date: last decade
of the 19th century/early 20th century
Technique:
embroidery
Size: 90 cm x 66
cm
Description: The
faces of the Virgin and Jesus are executed with particular accuracy, as is the
chain with a heart-shaped pendant decorating the garments, which are merely
hinted at. Golden yellow, white and red thread were used. The scene is
surrounded by crimson velvet with floral embroidery.
37. ST JOSEPH WITH JESUS
Artist: anonymous
Date: last decade
of the 19th century/early 20th century
Technique: oil
on canvas
Size: 58 cm x 36
cm
Inscription/signature: /Torino/
Description: St
Joseph is portrayed seated on a throne with the infant Jesus on his lap. His
head is bent towards Jesus, who is looking at the viewer. Eight angelic little
faces can be made out at the top edge of the canvas. The colour palette
consists of shades of brown, picked out here and there with green and golden
yellow.
38. THE VIRGIN
WITH JESUS ENTHRONED
Artist: Austrian
artist(74)
Date: last
decade of the 19th century/early 20th century
Technique: oil
on canvas
Size: 191 cm x
139 cm
Description: The
composition is pyramidal – six saints in two groups, right and left of the
Virgin on a raised throne. Two angels hovering above the Virgin are holding a
tondo with the monogram of Christ. Below the throne is a vase of lilies, a
symbol marking the central vertical of the composition not only formally but
also spiritually. The saints are in the robes of various priestly orders. The
illusion of perspective has been successfully achieved by means of various
details of the composition: the floor with chequerboard tiles, the carpet with
a geometric interlace leading to the throne, the illusion of a domed room with
arched windows and a view through them to a landscape with a temple. A
comparison of the artist’s hand of the painting of the Virgin with Jesus
Enthroned and St Antony of Padua preaching to the fish suggests they are by the
same artist.
39. ST ANTONY OF PADUA PREACHING TO THE FISH
Artist: Austrian
artist(75)
Date: last
decade of the 19th century/early 20th century
Technique: oil
on canvas
Size: 140 cm x
119 cm
Description: The
composition is dominated by three verticals by means of which the artist has
created the illusion of space: the sail of a boat above a group of curious
onlookers, occupying the left hand side of the scene; the slender figure of St
Antony of Padua in his Franciscan habit, preaching to the fish; and a small
boat with sails raised forming the last of the three verticals to the extreme
right of the composition. In this composition the artist counters spiritual
serenity (St Antony and the small boat) with secular instability and unease
(the curious group below the sail). Antony of Padua is a Franciscan saint
venerated for his unusual eloquence.
3. Legal status to date
The
architectural ensemble of the Church of
SS Cyril and Methodius with the Seminary in Sarajevo is on the Provisional
List of National Monuments of the Commission to Preserve National Monuments
under serial no. 509.
The
architectural ensemble of the Church of SS Cyril and Methodius with the
Seminary in Sarajevo was listed in the Regional
Plan for BiH, phase B – valorization of natural, cultural and historical assets,
published in August 1980, as a Category I monument under Clause 11 section 10.2
– Individual monuments, Austro-Hungarian period.
The
architectural ensemble of the Church of SS Cyril and Methodius with the
Seminary in Sarajevo is listed by the Institute for the Protection of Monuments
of the Federal Ministry of Culture and Sport under the heading Church of SS
Cyril and Methodius, but is not on the register of cultural monuments(76).
4. Research and conservation-restoration works
On
completion of the two wings of the Seminary and the Church of SS Cyril and
Method, work continued on the interior of the church. The painted decorations
inside the church were carried out between 1897
and 1900.
Frequent
changes of use occurred between 1900 and
the latter half of the 20th century, entailing extensions, the addition of
storeys, adaptations and routine maintenance works, but no systematic
conservation-restoration works were carried out.
In 1992 the Seminary commissioned a design
for a sports hall and library east of the architectural ensemble, but this has
never been built(77).
In 1996, conservation-restoration works
were carried out on the damaged façades and the dome.
The
altars with their statues and paintings, the frescoes and the seminary’s
collection of paintings have not so far been the subject of
conservation-restoration works. In 2009
the Vrhbosna Catholic seminary (Dr Marko Zubak and Don Monsignor Josip Lebo)
launched an initiative to restore the altars with their statues in the
Ferdinand Stufflesser studio where they were originally made.
5. Current condition of the property
The
architectural ensemble of the Church of SS Cyril and Methodius with the
Seminary in Sarajevo is in very good structural condition. Routine maintenance
works are carried out to a high standard, and following
conservation-restoration works on the dome of the church and the façades of the
building and extensive interior refurbishment, it can be said to be in excellent
condition.
The
inside south walls of the church are slightly affected by capillary and
atmospheric damp. Repairs to the joints of the downpipes, which had burst in
winter, have only partly resolved the problem of atmospheric damp, since
atmospheric damp is penetrating into the church despite the works carried out
on the dome.
The
bell tower of the church is leaning off true, probably as the result of
subsidence.
Some of
the less first-floor important rooms on the north side of the ensemble show
signs of damage to the wall surfaces as a result of some penetration of
atmospheric damp, and damp is also visible on the south side of the basement,
caused by the poorly executed hydroinsulation of the exterior stone staircase.
Minor
shell damage can be seen on the inner and east façades of the ensemble.
The
works carried out in the latter half of
the 20th and early 21st century have compromised the authenticity of the
building. An additional storey was added to the northern part of the east wing,
which now has five storeys, the upper storeys of which have lower ceilings than
the original building. The chapel in the west wing was divided into two
storeys, with only the upper storey retaining its original use. The kitchen was
extended at the north-east end, and is now fitted with modern equipment.
An
additional storey and attic were added to the west wing, and an attic to the
east wing, with the exception of the southernmost parts, which are flat-roofed
and serve as a terrace.
Almost
all the wooden windows have been replaced by PVC. The wooden door on the north
side of the east wing, facing the inner courtyard, which was destroyed during
the 1992-1995 war, has been replaced by another of the same form and material. The
railings of the stone steps at the entrance to the west wing have been altered
by the addition of a pair of central stone uprights. All the original floors
except that of the church have been covered with modern flooring materials.
The
worst damage was to the stained glass window over the High Altar. Since there
is a photographic record of this, it will be easier to reconstruct. The
frescoes and murals have been somewhat damaged by the leaking dome, with fading
colours and cracks. The bid for the restoration of the altar submitted by the
Ferdinand Stufflesser laboratory indicates that the altars with statues and
altar paintings are in very good condition.
The
paintings on display in the corridors of the seminary are in very good
condition, with no visible damage.
6. Specific risks
–
penetration of atmospheric and capillary damp,
–
poor geomechanical characteristics of the
soil below the bell tower.
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.iv. composition
C.v. value
of details
D. Clarity
D.iii. work
of a major artist or builder
F. Townscape value
F.ii. meaning
in the townscape
G. Authenticity
G.iii. use
and function
G.v. location
and setting
H. Rarity and
representativity
H. iii. work
of a major artist or builder
I. Completeness
I.i. physical
coherence
I.ii. homogeneity
I.iii. completeness
The following documents form an integral part of this
Decision:
–
Ownership documentation
–
copy of cadastral plan for c.p. no. 2173,
c.m. Sarajevo III (new survey), title deed no. 129, plan no. 6,1; scale 1:1000
(old survey c.p. no. 56, c.m.. Sarajevo XLIII), issued on 07.04.2010 by the
Department of Proprietary Rights, Geodetics and Cadastral Affairs, Stari Grad
Municipality, Sarajevo Canton, Federation of Bosnia and Herzegovina, Bosnia and
Herzegovina.
–
Land Register entry for plot no. 56, c.m.
Sarajevo XLIII, Land Register entry no. 54 (old survey), Nar. br.
065-0-NarII-010-021771 of 19.04.2010, issued by the Land Registry Office of the
Municipal Court in Sarajevo, 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. 07-40-4-4261-1/08
of 05.11.2008.
– Photodocumentation
–
Photographs of the Church of SS Cyril and
Methodius with the Seminary in Sarajevo taken by architect Adi Ćorović on 8
April 2010 using Sony DSC – H10 digital camera and art historian Aida Bucalović
using Sony DSC – H10 digital camera.
– Technical
documentation
–
Original blueprints by Josip Vancaš for the
Church of SS Cyril and Methodius with the Seminary in Sarajevo dated 1892 and
1895 - Jela Božić, Arhitekt Josip pl.
Vancaš, značaj i doprinos arhitekturi Sarajeva u periodu austrougarske uprave,
doctoral dissertation, Sarajevo: Faculty of Architecture, 1989.
– Archives of
the Vrhbosna Archbishopric, Sarajevo, May 2010:
–
Project design for the sports hall and
library, Sarajevo, December 1992.
–
Emir Kalamujić and Husein Tabaković,
architectural technicians, completed condition, Sarajevo, December 1996.
–
Vinko Parić, B.Arch., Working project for the
refurbishment of part of the courtyard – garage boxes and retaining wall –
Vrhbosna Catholic Seminary at no. 5 Štadlera Street, Sarajevo, June 2001.
–
Bid for the restoration of the Altar in
Sarajevo, Petlin: 26 October 2009, Ferdinand Stufflesser Laboratories, Filip
Stufflesser.
Bibliography
During
the procedure to designate the property as a national monument the following
works were consulted:
1978. Mladenović, Ljubica. Građansko slikarstvo u Bosni i Hercegovini u XIX veku (Civic art in
BiH in the 19th century). Sarajevo: Veselin Masleša, 1978.
1984. Vrankić, Petar, Mato Zovkić. Katolička crkva u Sarajevu, vodič za domaće
vjernike i turiste (The Catholic church in Sarajevo, a guide for the local
congregation and tourists). Sarajevo: Archbishop’s ordinariate, 1984.
1987. Likovna
enciklopedija Jugoslavije (Art Encyclopaedia of Yugoslavia), vols. 1 and 2.
Zagreb: Jugoslavenski leksikografski zavod ‘Miroslav Krleža’, 1987.
1988. Spasojević, Borislav. Arhitektura stambenih palata austrougarskog perioda u Sarajevu
(Architecture of mansion blocks of the Austro-Hungarian period in Sarajevo).
Sarajevo: Svjetlost, 1988.
1989. Božić, Jela. Arhitekt Josip pl. Vancaš, značaj i doprinos arhitekturi Sarajeva u
periodu austrougarske uprave (Architect the Hon. Josip Vancaš, significance
and contribution to the architecture of Sarajevo in the Austro-Hungarian
period), doctoral dissertation. Sarajevo: Faculty of Architecture, 1989.
1993. Sudar, Pero, Franjo Topić, Tomo Vukšić. Vrhbosanska katolička Bogoslovija 1890-1990.
Zbornik radova znanstvenoga simpozija održanog u Sarajevu 3. i 4. srpnja 1991.
Prigodom obilježavanja stote obljetnice postojanja Bogoslovije (The Vrhbosna
Catholic Seminary 1890-1990. Collected papers of a symposium held in Sarajevo
on 3 and 4 July 1991 to mark the centenary of the Seminary). Sarajevo/Bol
(Brač): Vrhbosna Theological College, 1993.
2000. Muller, Werner, Gunther Vogel. Atlas arhitekture 1. i 2. (Atlas of
architecture 1 and 2). Zagreb: Golden marketing, 2000.
2001. Hadžimuhamedović, Fehim. Tekst o arhitekturi (A text about
architecture). Sarajevo: Did, 2001.
2004. Krzović, Ibrahim. Arhitektura Secesije u Bosni i Hercegovini (Architecture of the
Secession in BiH). Sarajevo: Kulturno naslijeđe, 2004.
2004. Vrhbosanska
nadbiskupija početkom trećeg tisutljeća (The Vrhbosna Archbishopric at the
start of the third millennium). Zagreb: Archbishop’s ordinariate of the Vrhbosna
vicariate for refugees and displaced persons Sarajevo, 2004.
2006. Ivančević, Radovan. Leksikon ikonografije liturgike i simbolike zapadnog kršćanstva
(Lexicon of the iconography, liturgy and symbols of Western Christianity).
Zagreb: Kršćanska sadašnjost, 2006.
2005. Decision designating the Cathedral (Church
of the Sacred Heart) in Sarajevo as a national monument, adopted at a session
of the Commission to Preserve National Monuments held from 25 to 31 January 2005
in Sarajevo.
2009. Decision designating the Music Academy (St
Augustin Institute) in Sarajevo as a national monument, adopted at a session of
the Commission to Preserve National Monuments held from 8 to 14 September 2009
in Sarajevo.
2009. http://www.ksc-travnik.net/Utemeljitelji 25
June 2009.
(1) Decision
designating the Music Academy (St Augustin Institute) in Sarajevo as a national
monument,
adopted at a session of the Commission to Preserve National Monuments held from
8 to 14 September 2009 in Sarajevo.
(2) Decision
designating the Cathedral (Church of the Sacred Heart) in Sarajevo as a
national monument,
adopted at a session of the Commission to Preserve National Monuments held from
25 to 31 January 2005 in Sarajevo
(3) Fehim Hadžimuhamedović, Tekst o arhitekturi, Sarajevo: Did, 2001, 108.
(4) Jela Božić, Arhitekt Josip pl. Vancaš, značaj i doprinos arhitekturi Sarajeva u
periodu austrougarske uprave – doctoral dissertation,
Sarajevo: Faculty of Architecture, 1989, 165.
(5) For a biography of Dr. Josip Stadler, b. 24
January 1843 in Slavonski Brod, see the decision
designating the Music Academy (St Augustin Institute) in Sarajevo as a national
monument, adopted at a session of the Commission to Preserve National
Monuments held from 8 to 14 September 2009 in Sarajevo
(6) Cf: Božić,165.
(7) Fehim Hadžimuhamedović, Tekst o arhitekturi, Sarajevo: Did, 2001, 108.
(8) http://www.ksc-travnik.net/Utemeljitelji, 25
June 09.
(9) Božić, 165-166.
(10) Pero Sudar, Franjo Topić, Tomo Vukšić, Vrhbosanska katolička Bogoslovija 1890-1990,
Zbornik radova znanstvenoga simpozija održanog u Sarajevu 3. i 4. srpnja 1991, Prigodom
obilježavanja stote obljetnice postojanja Bogoslovije, Sarajevo/Bol Brač:
Vrhbosna theological College, 1993, 3.
(11) Ibid., 4.
(12) Then known as Hajduk Veljkova Street.
(13) The institution resumed operations in the
autumn of 1992 in the Dominican monastery in Bol on the island of Brač, to
which all the students and teachers were transferred.
(14) Vrhbosanska
nadbiskupija početkom trećeg tisućljeća, Zagreb: Archbishopric ordinariate, Vrhbosna
vicariate for refugees and displaced persons, Sarajevo, 2004, 1198.
(15) Emir Kalamujić and Husein Tabaković,
architectural technicians, Izvedeno stanje, Sarajevo: December 1996 – Archives
of the Vrhbosna Archbishopric: May 2010
(16) The library in the basement of the east wing
was also refurbished, and part of the basement on the west side was converted
into a buffet and music room,
(17) Following the visit to Sarajevo and to the
Seminary by Pope John Paul II in April 1997, a plaque commemorating his visit
to the large ground-floor hall was placed over the entrance.
(18) Vinko Parić, BArch. Izvedbeni projekat
uređenja dijela dvorišta – boksovi garaža i potporni zid – Vrhbosanske
katoličke Bogoslovije u Štadlerovoj ulici broj 5. – Sarajevo. Sarajevo: June
2001 – Archives of the Vrhbosna Archbishopric: May 2010
(19) The interior of the teachers’ dining room in
the kitchen complex, facing the inner courtyard, was refurbished at the same
time. [Translator's note: the metal gate is described in the original with a
word that has more than one possible meaning, including “movable,” “mobile,”
“hinged” or possibly “remote controlled.”]
(20) The building was designed by architect Nikola
Masley, and the works contractor and subcontractor were Stipić Grupa d.o.o. and
Ans Drive d.o.o.
(21) To the north there are five storeys in all
plus the basement: ground floor, three upper floors and an attic storey (west
wing) or basement, ground floor and four upper floors (east wing), as a result
of the addition of extra storeys (judging from Josip Vancaš's 1895 blueprints,
the equivalents were basement+ground+2 storeys and basement+ground+2 storeys
facing the inner courtyard).
(22) Hadžimuhamedović, 108-109.
(23) Ibid., 108.
(24) The interior of the church is also connected
to the chapel to the north-east, which forms part of the east wing, and the
light well to the west, between the church and the west wing.
(25) The columns, which are 39 cm in diameter, are
linked by a stone arch, and rest on octagonal bases inscribed in a circle with
a diameter of 55cm.
(26) The dropped ceiling of the dome is much
lower than the apex, a difference in height of about 9.00 m.
(27) The main entrance leads into the ground
floor, which is raised on account of the sloping site. Directly below the main
entrance is the entrance to the basement, measuring 150 x 220 cm, at street
level. Judging from Vancaš’s 1895 blueprints, the position of the entrance to
the basement is original, as is the wooden door itself. In 1996 the twin flights of stone steps were
consolidated, and the railing was altered by the addition of a central stone
upright on both flights of steps.
(28) The original doorway of 180 x 250 cm was
reduced in width in the latter half of the 20th century when the residential
property to the north, abutting onto the west wing, was built
(29) This hall is named after Pope John Paul
II. A stone plaque in the corridor over
the door to the hall bears the inscription: Prigodom pohoda
Sarajevu During his visit to Sarajevo
PAPA IVAN PAVAO II POPE JOHN PAUL II
boravio je u ovoj dvorani stayed in this hall
12. travnja 1997. 12 April 1997
(30) The universal hall is wider to the west than
the other rooms by 90cm.
(31) The cloakroom opens onto a terrace in the
light well separating the west wing from the church.
(32) The only access to the chapel is from the
church; there is no door or other means of entry from the corridor.
(33) The chapel is entered from the corridor
through double doors of 100 x 240 cm with semicircular fanlights over. There
are also four internal windows of 100 x 150 cm with semicircular fanlights over
between the corridor and the chapel.
(34) Five wooden steps of the same width as the
passageway lead down into choir gallery of the church.
(35) The middle of the terrace is taken up by the
gabled roof of 9.60 x 6.20 m over the first-floor offices.
(36) The ceilings are lower in the storey to the
north-east than in the rest of the building.
(37) The bell tower is surmounted by an onion
dome the apex of which is about 24.50 m above the floor of the church. Below
are two round-headed windows of 60 x 140 cm separated by a square stone
pilaster.
(38) Božić, 167.
(39) The drum terminates in a circular
balustrade; the dome above has [four? – trans.] oculi with a diameter of 80 cm.
(40) The ground-floor entrance on the west façade
is reached via a twin flight of steps in the south face of which is a
double-valved door leading into the basement.
(41) The southernmost windows of each storey are
blind.
(42) Founded in 1875.
(43) Cf. Radovan Ivančević, Leksikon ikonografije liturgike i simbolike zapadnog kršćanstva, Zagreb:
Kršćanska sadašnjost, 2006, 465-469.
(44) In front of it in the middle of the
sanctuary is a rectangular wooden table of 90 x 220 cm
(45) “An entire architectural composition in
little, deriving not from the structure of the building or from any particular
function, but serving as a kind of ‘mobile element’ added individually or in
rows in various contexts as a contrast to the smooth surface of a wall or as
part of a group. It is often used in particular as a decorative window
surround, to frame a statue or as a blind niche.” Werner Muller, Gunther Vogel,
Atlas arhitekture 1 i 2, Zagreb:
Golden marketing, Institut građevinarstva Hrvatske, 2000, 210, 423.
(46) Details of the artist were not available at
the time the decision was being drafted.
(47) The wooden door of 85 x 200 cm beside the
west side altar leads into the west light well of 2.30 x 8.80 m.
(48) The picture has a magnificent carved
neo-Baroque frame with floral motifs, topped by a Latin cross.
(49) One of Bosnia and Herzegovina’s most
important symbolist and Secessionist artists. See Likovna enciklopedija Jugoslavije, tom 1 A-J, Zagreb: Jugoslavenski
leksikografski zavod ‘Miroslav Krleža’, 1987, 715
(50) Cf. Božić, 167.
(51) Educated in Zagreb, Vienna and Munich.
Taught drawing in the Zagreb general-programme grammar school and at the School
of Arts and Crafts. Served as president of the Lada Yugoslav artists’
society. Displayed a particular preference
for historical subjects while still a student. Among his best works are scenes
from the actions and fate of the Zrinski and Frankopan families (Oproštaj Zrinskoga i Frankopana od Katarine
Zrinske, Zrinski i Sokolović u Sigetu, Smrt Krste Frankopana pred Varaždinom),
and his genre paintings (Predstraža na
Kordunu, Mrtva straža, Predvečerje, Seoska kola na cesti, U ateljeu, Mlin na
Sutli). See. Likovna enciklopedija
Jugoslavije, tom 1 A-J, 660-661.
(52) Educated in Ljubljana, Munich and Parish.
Became a member of the Société Nationale des Beaux-Arts in 1891. First
significant Slovenian artist and representative of bourgeois Realism. Tried her
hand at all genres, and also worked as an illustrator. Ljeto, Glačalice, Autoportret i portret Fani Kobilice, Bosanac s
guslama and Crvene krizanteme are
regarded as her best works. See Likovna
enciklopedija Jugoslavije, tom 2 K-Ren, Zagreb: Jugoslavenski
leksikografski zavod ‘Miroslav Krleža’, 1987, 65.
(53) Educated in Athens and Thessaloniki. Spent
time in BiH in or around 1896, painting portraits of the bourgeoisie in the
manner of academic realism. See Ibid., 145.
(54) Unlike Jela Božić in her Arhitekt Josip Vancaš, and the
references provided by the Seminary, in Građansko
slikarstvo u Bosni i Hercegovini Ljubica Mladenović refers only to Anastas
Bocarić and Ivana Kobilca as the artists responsible for the frescoes. Cf.
Božić, 167.
(55) Cf: Ljubica Mladenović, Građansko slikarstvo u Bosni i Hercegovini u XIX veku, Sarajevo:
Veselin Masleša, 1978, 53.
(56) Cf:
Ibid., 53.
(57) Ivančević, 379.
(58) Childhood, Mission Period, Miracles, Passion
and Resurrection to Ascension.
(59) Cf.. Ivančević, 229, 318, 371-379, 394.
(60) Marko Stanišić, 100 godina orgulja sjemenišne crkve sv. Ćirila i Metoda, Sarajevo:
Seminary, concert programme, 2004.
(61) Titles taken from the
inscriptions/explanations on the paintings.
(62) Petar Vrankić, Mato Zovkić, Katolička crkva u Sarajevu, vodič za domaće
vjernike i turiste, Sarajevo: Archbishop’s ordinariat, 1984, 60.
(63) Ibid., 60.
(64) Ibid., 60.
(65) Verbal account by Rector Marko Zubak,
21.04.2010.
(66) Vrankić, Zovkić, 60.
(67) Verbal account by Rector Marko Zubak,
21.04.2010.
(68) Vrankić, Zovkić, 60.
(69) Verbal account by Rector Marko Zubak,
21.04.2010.
(70)
Vrankić, Zovkić, 60.
(71) http://www.hbk.hr/index.php?type=svetac&ID=3949, 24.08.2010.
(72) Vrankić, Zovkić, 60.
(73) Vrankić, Zovkić, 60.
(74) Vrankić, Zovkić, 60.
(75) Vrankić, Zovkić, 60.
(76) Letter from the Institute for the Protection
of Monuments of the Federal Ministry of Culture and Sport ref.
07-40-4-4261-1/08 of 05.11.2008.
(77) Unsigned blueprints – Archives of the
Vrhbosna Archbishopric, Sarajevo, May 2010
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