Još o romaničkoj skulpturi s dubrovačke katedrale

Abstract

The article analyses and discusses the numerous sculptural fragments which belonged to the monumental and tragically destroyed Romanesque Cathedral of the Assumption of the Virgin at Dubrovnik. Although neglected and waiting to be thoroughly catalogued, our current knowledge about this material does provide a fuller picture about their chronology and the Apulian master carvers who made them. The article focuses on the archival information about these masters and outlines direct formal analogies with the sculptures from the other side of the Adriatic. Particular attention is given to the work of protomagister Eustasius of Trani who was active in the early twelfth century, while emphasizing the work of his fellow Apulian Pasquo di Pietro as a potential protagonist in the maturation of the Romanesque style on both sides of the southern Adriatic up until the late duecento. Following the comparative analysis of the sculptural material from Dubrovnik, the article examines the work of sculptor Simeonus Ragusinus in Barletta and ends with a conclusion about the similarities between the visual culture of south Dalmatia and that of Apulia, as two peripheral regions of Western art.