Abstract
The author attributes the chancel screen gable from the Trogir Town Museum, discovered in the pavement of the vestibule of the destroyed pre-Romanesque hexaconchal church of St Mary at Trogir to the Trogir stonecarvers’ workshop. The arguments for such an attribution are found in the visual and stylistic analysis of the gable and in the analogies with other similar fragments of pre-Romanesque reliefs which have already been attributed to the same workshop. This demonstrates a similar concept in the layout on the gables from Trogir and Bijaći, while more obvious stylistic parallels for the Trogir gable are found on the chancel screen arches and architraves from Pađene, Brnaze, Malo polje of Trogir and Otres, but also those from Krković and Ostrovica. In addition, two fragmented reliefs which have been inserted as spolia in east wall of the parish church of St George at Pađene near Knin are also attributed to the same workshop. These fragments have been measured and photographed in more detail for the first time for this paper. The analysis of their decoration has resulted in the conclusion that these fragments belonged to a widely distributed type of chancel screen pilasters, with a somewhat more complex decoration consisting of a dense interlaced mesh of three-strand bands. Finally, the gable from the Trogir Town Museum, and other stylistically similar relief from Trogir, have been brought into a stronger connection with the church of St Mary, and its original liturgical furnishings in particular. Following from such a conclusion, as well as the fact that the same workshop produced liturgical installations in another hexaconchal church at Brnaze near Sinj, the author dates both structures to the period when the workshop was active (the first quarter of the ninth century), and places the construction of almost all Dalmatian hexaconchs in a relatively short time frame from the end of the eighth century to mid-ninth century.
Highlights
Detalji ornamenata s pilastara pripisanih Trogirskoj klesarskoj radioniciDetails of the ornaments from the pilastres attributed to the Trogir stonecarvers’ workshop njihov likovni ukras, niti im je prepoznata radionička pripadnost, a o njihovoj izvornoj funkciji tek je iznesena pretpostavka da su pripadali donjem dijelu oltarne ograde
The author attributes the chancel screen gable from the Trogir Town Museum, discovered in the pavement of the vestibule of the destroyed pre-Romanesque hexaconchal church of St Mary at Trogir to the Trogir stonecarvers’ workshop. The arguments for such an attribution are found in the visual and stylistic analysis of the gable and in the analogies with other similar fragments of preRomanesque reliefs which have already been attributed to the same workshop
This demonstrates a similar concept in the layout on the gables from Trogir and Bijaći, while more obvious stylistic parallels for the Trogir gable are found on the chancel screen arches and architraves from Pađene, Brnaze, Malo polje of Trogir and Otres, and those from Krković and Ostrovica
Summary
Details of the ornaments from the pilastres attributed to the Trogir stonecarvers’ workshop njihov likovni ukras, niti im je prepoznata radionička pripadnost, a o njihovoj izvornoj funkciji tek je iznesena pretpostavka da su pripadali donjem dijelu oltarne ograde. Stoga se može reći da tri morinjska i dva pađenska ulomka svjedoče o postojanju još jednog, nešto šireg tipa pilastra oltarne ograde sa složenijim prepletom troprutih vrpci koji u ovoj klesarskoj radionici do sada nije bio pouzdano utvrđen. 9. Tlocrt crkve Sv. Marije i ulomci liturgijskih instalacija Trogirske klesarske radionice iz Trogira Ground-plan of Trogir St. Mary’s church and the fragments of its litturgical installations by the Trogir stonecarvers’ workshop korištenje zabata, jer su nam se od njega sačuvala tri manja fragmenta.[28] Budući da je šesteroliste u Pridragi i Kašiću opremila ista klesarska radionica koja se u literaturi naziva Klesarskom radionicom iz doba kneza Trpimira,[29] može se zaključiti da je najkasnije u vrijeme vladavine toga hrvatskog vojvode, dakle sredinom 9. Jurja u Škabrnji) treba datirati u relativno kratak vremenski period od kraja 8. do sredine 9. stoljeća,[31] pa je u tom kontekstu datiranje heksakonhosa u Trogiru i Brnazama u vrijeme djelovanja Trogirske klesarske radionice potpuno u skladu s prethodno navedenom tvrdnjom
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