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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Neven Jovanović;

    The art history term of “Schiavoni” - used for artists born in Croatia, or Dalmatia, and active abroad, mostly in Italy - is completely absent from the Croatian literary history. No such history will, however, dare to omit the category of “Croatian authors outside their homeland”. The paper interprets the theoretical framework that is causing such discrepancy between the disciplines and proposes to consider both artists and writers as intellectuals. In that context, inspired by Antonio Gramsci’s theory of the role of intellectuals in the process of social change, the dynamic relationship between the intellectuals and the Schiavoni community can be fruitfully explored; for example, four intellectuals from the island of Korčula, active in the Schiavoni confraternity of St Jerome in Rome in 1550-1565, can be identified as a small social network strengthened by multiple alliances. Il termine storico-artistico “Schiavoni” - usato per artisti nati in Croazia, o in Dalmazia, e attivi all’estero, soprattutto in Italia - è completamente assente dalla storia letteraria croata. Nessuna storia, tuttavia, oserà omettere la categoria di “autori croati al di fuori della loro patria”. Il saggio interpreta il quadro teorico che causa tale discrepanza tra le discipline e propone di considerare sia gli artisti che gli scrittori come intellettuali. In tale contesto, ispirato dalla teoria di Antonio Gramsci sul ruolo degli intellettuali nel processo di cambiamento sociale, la relazione dinamica tra gli intellettuali e la comunità di Schiavoni può essere proficuamente esplorata; ad esempio, quattro intellettuali dell’isola di Korčula, attivi nella confraternita Schiavoni di San Girolamo a Roma nel 1550-1565, possono essere identificati come un piccolo social network rafforzato da molteplici alleanze. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ODRAZ - Open Reposit...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.13138/2039-...
    Article . 2018
    License: CC BY SA
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ODRAZ - Open Reposit...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.13138/2039-...
      Article . 2018
      License: CC BY SA
      Data sources: Datacite
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Jasenka Gudelj;

    Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective Preface to the Special Issue n. 7/2018: Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Croatian Scientific Bibliography - CROSBI
    Other literature type . Article . 2018
    License: CC BY SA
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Croatian Scientific Bibliography - CROSBI
      Other literature type . Article . 2018
      License: CC BY SA
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ines Ivić;

    The aim of this paper is to provide the general overview of the development of the cult of Saint Jerome in the Eastern Adriatic Coast in the Late Middle Ages. While discussing the cult as the reflection of the growing cult in the Apennine peninsula, I will focus on the local characteristics of the cult - local origin, alleged attribution of Glagolitic letters, humanists’ identification with the saint’s virtues, personal and official veneration – which contributed to Jerome’s denomination as the national saint. Furthermore, the paper reflects upon the political context in which the denomination happened, as well as it introduces new ideas in the interpretation of certain visual representations of the saint. Particularly, the paper discusses the perception of Jerome being the inventor of Glagolitic letters in the 15th century, proposing the idea that the Glagolitic production was perceived as a saintly relic. Lo scopo del presente articolo è quello di fornire un quadro generale sullo sviluppo del culto di San Girolamo, sviluppatosi durante il tardo Medioevo lungo la costa orientale dell’Adriatico. Oltre a trattare l’ipotesi che questo culto non sia altro che un riflesso di quello crescente sulla penisola apenninica, mi concentrerò sui caratteristiche locali, ossia: l’origine locale, la presunta attribuzione di lettere glagolitiche, l’identificazione degli umanisti con le virtù del santo in questione e infine la sua venerazione sia personale che ufficiale, la quale ha reso San Girolamo santo nazionale. L’articolo descrive, inoltre, il contesto politico in cui avviene tale proclamazione, introducendo allo stesso tempo nuove idee sull’interpretazione di alcune rappresentazioni visuali del santo. Si discute in particolare l’ipotesi che Girolamo sia l’inventore dell’alfabeto glagolitico nel XV secolo, proponendo l’idea che la scrittura glagolitica era percepita come una reliquia sacra. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Croatian Scientific Bibliography - CROSBI
    Other literature type . Article . 2018
    License: CC BY SA
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Croatian Scientific Bibliography - CROSBI
      Other literature type . Article . 2018
      License: CC BY SA
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Borić, Laris;

    Paper presents a number of archival data related to grotesque painter and stucco master Ivan Gapić, known in late Roman Cinquecento as Giovanni da Cherso or Giovanni Schiavone. His career has been closely related to the circle of Taddeo and Federico Zuccari in whose botega Gapić may have received his elementary training. Working within closely interrelated artistic networks employed on large-scale decorations of mid- to late 16th century Rome, Gapić remained in close relation with Federico’s artistic circles, sharing several of his commissions, while even Vasari dedicated him few words of appreciation. Coming from the insular town of Cres (Cherso) in northern Adriatic, during whole his Roman career, Gapić was member of St. Jerome’s confraternity for which he also painted a (lost) figure of the patron. Paper will outline this forgotten Schiavone’s career within complex artistic networking of Roman Cinquecento, particularly related to position of associates within greater masters’ orbits. Paintings that should be attributed to Gapić indicate a style that expectedly comes out of Zuccaris’ models, while his stucco works reflect the iconographical and formal impact of Tridentine shift. L’articolo si basa su una sequenza di dati archivistici relativi al pittore di grottesche e maestro di stucco Ivan Gapić, meglio noto nel panorama tardo cinquecentesco romano come Giovanni da Cherso, oppure Giovanni Schiavone. La sua carriera è stata strettamente legata all’appartenenza al circolo di Taddeo e Federico Zuccari, nella cui bottega Gapić ricevette la prima educazione artistica. Ben integrato nei principali laboratori artistici romani e impiegato sovente nelle grandi campagne decorative nella seconda la metà del Cinquecento, Gapić rimase in stretto rapporto con gli ambienti artistici di Federico, e persino Giorgio Vasari gli dedicò parole di apprezzamento. Provenendo dalla città insulare di Cherso nell'Adriatico settentrionale, durante tutta la sua carriera romana, Gapić fu membro della confraternita di San Girolamo, per la quale dipinse anche una perduta figura del patrono. Il contributo ridefinisce questa trascurata carriera dello Schiavone da Cherso, all'interno di una complessa rete artistica del Cinquecento romano, in particolare legata alla posizione degli artisti attivi nell'orbita dei grandi maestri. I dipinti che si attribuiscono a Gapić indicano uno stile che prevedibilmente deriva dai modelli dei fratelli Zuccari, mentre le sue opere in stucco riflettono l'impatto iconografico e formale del cambiamento tridentino. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Croatian Scientific Bibliography - CROSBI
    Other literature type . Article . 2018
    License: CC BY SA
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Croatian Scientific Bibliography - CROSBI
      Other literature type . Article . 2018
      License: CC BY SA
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    Authors: Mård, Frida;

    This essay explores the instances in which human remains were used as material for contemporary artworks. Partly, the aim of the research is to find out why these materials are used and why it is important for the intended purpose of the artist that they do so. Another part of the aim is to investigate the representational layers of the material, and how the use of the material fits into a larger sociological context surrounding what we consider “proper care” of the dead. This is achieved through a thematic interpretive analysis which looks at the representation of the material, disruption of the dead and intention provided by the artists through the theoretical perspectives of Thomas Laqueur, Robert Hertz and Amelia Jones. In the end, the research concludes that the use of human remains as material for artworks is an intentional and imperative choice by the artists, who use the material to make grander statements about predetermined social orders and provide alternative ways of conceiving remains. For this to be done, the disruption of those social orders is a vital act, which is achieved through the disruption of human remains, making the “proper care” of the dead a necessarily neglected process. The fact that these bodies do represent a self, a life which has been previously lived with differing degrees of immediacy, is also required for the previously mentioned disruption to be able to take place. Our inherent insistence to access these represented selves serves to cause discomfort and redirect our attention to the will of the artists, who, in the making of the artwork, either repress or collaborate with the represented selves in order to make the statements which they set out to make. 

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Publikationer från U...arrow_drop_down
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Publikationer från U...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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    Authors: Ruso, Anita;

    The article examines the artworks and architecture of the Ragusan chapel in Dominican church in Genua, dedicated to the Virgin Mary and Saint Blaise, commissioned and maintained by Ragusan merchants and consuls in the Ligurian port. The analysis is based on known documents from Dominican convent archive in Genua and focuses on elements of particular Ragusan identity expressed in visual terms. Moreover, newly discovered archival documents from the Genua and Dubrovnik state archives, enable a better understanding of diplomatic relations between the two republics, therefore shedding new light on the role of the Ragusan “national” chapel in Genua. L’articolo esamina le opere d’arte e l’architettura della cappella dei Ragusei nella chiesa domenicana di Genova, dedicata alla Vergine Maria e a San Biagio, commissionata e gestita dai mercanti ragusani e dai consoli della Repubblica di Ragusa nel porto ligure. L’analisi si basa sui noti documenti d’archivio del convento domenicano di Genova e si concentra sugli elementi particolari dell’identità Ragusea espressa in termini visivi. Inoltre, i documenti d’archivio recentemente scoperti negli Archivi di Stato di Genova e Dubrovnik consentono una migliore comprensione delle relazioni diplomatiche tra le due repubbliche, aiutando a capire meglio il significato e il ruolo della cappella “nazionale” ragusea a Genova. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

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    Croatian Scientific Bibliography - CROSBI
    Other literature type . Article . 2018
    License: CC BY SA
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      Croatian Scientific Bibliography - CROSBI
      Other literature type . Article . 2018
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    Authors: Danko Šourek;

    In 1738 the Illyrian-hungarian College of Bologna published a booklet with Italian verses cintaining episodes of life of the holy Hungarian king Ladislas. It was, in a way, a product of cultural collaboration presented by a College alumnus Baltazar Adam Krčelić - the future Zagreb canon and famous historian - and Bolognese poet Antonio Zaniboni, founder of the Accademia de' Nascosti. The edition was adorned with an engraving by Bolognese artist Sante Manelli, representing the holy ruler on horseback, lacerating a rock with his lance and miraculously unsealing a hidden spring. The iconographical solution, as well as the composition of Manelli's engraving, shows interesting connections with several Central European examples, confirming College's role in bidirectional cultural mediation. Nel 1738 il Collegio illirico-ungarico di Bologna pubblicò un opuscolo in versi in lingua italiana contenente episodi di vita di San Ladislao, re d'Ungheria. In un certo senso si trattava di un prodotto di collaborazione culturale presentato da Baltazar Adam Krčelić, allievo del collegio, futuro canonico di Zagabria e famoso storico, e dal poeta bolognese Antonio Zaniboni, fondatore dell'Accademia de' Nascosti. L'edizione era adornata con un'incisione dell'artista bolognese Sante Manelli, che rappresentava il santo sovrano a cavallo, in atto di percuotere una roccia con la sua lancia, facendo miracolosamente sgorgare una sorgente nascosta. La soluzione iconografica, così come la composizione dell'incisione di Manelli, mostrano interessanti collegamenti con numerosi esempi dell'Europa centrale, confermando il ruolo di mediatore culturale rivestito dal Collegio bolognese. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

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    https://doi.org/10.13138/2039-...
    Article . 2018
    License: CC BY SA
    Data sources: Datacite
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      https://doi.org/10.13138/2039-...
      Article . 2018
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    Authors: Demir, Hakan;

    Bu çalışmamızda morfolojik açıdan zengin dillerde varlık ismi tanıma probleminin çözümüyle ilgilendik. Bu bağlamda, yapay sinir ağlarına dayalı yarı güdümlü öğrenme metodunu kullandık. İlk evrede, hızlı ve güdümsüz bir algoritma kullanarak kelimelerin çok boyutlu sürekli uzaydaki vektör gösterimlerini elde ettik. İkinci evrede ise, kelimelerin bu gösterimleri ile birlikte diğer bazı dil bağımsız öznitelikler de kullanarak varlık ismi tanıma sistemi geliştirdik. Oluşturduğumuz bu sistemi çok çekimli dillerden olan Türkçe ve Çekçe üzerinde denedik ve bu diller üzerinde yayınlanmış en gelişkin sistemlerden daha iyi performanslar elde ettik. Türkçe'de en gelişkin sistemi %2.26 ile, Çekçe'de ise en gelişkin sistemi %1.53 ile geliştirdik. Dile özgü öznitelikler de kullanan bu en gelişkin sistemlerden farklı olarak, çalışmamızda tamamen dilden bağımsız öznitelikler kullandık. Dolayısıyla yaptığımız bu çalışmanın morfolojik açıdan zengin olan diğer dillere de kolaylıkla ve başarıyla uygulanabileceğini düşünüyoruz. In this study, we addressed the Named Entity Recognition (NER) problem for morphologically rich languages by employing a semi-supervised learning approach based on neural networks. We adopted a fast unsupervised method for learning continuous vector representations of words, and used these representations along with language independent features to develop a NER system. We evaluated our system for the highly inflectional Turkish and Czech languages and obtained better F-score performances than the previously published results for these languages. We improved the state-of-the-art F-score by 2.26% for Turkish and 1.53% for Czech. Unlike the previous state-of-the-art systems developed for these languages, our system does not make use of any language dependent features. Therefore, we believe it can easily be applied to other morphologically rich languages. 51

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    Authors: Daniel Premerl;

    The article approaches the iconography of two etchings with Croatian subject matter made by the Bolognese etcher Giuseppe Maria Mitelli in 1684. In the focus is the etching Great Bravery of Croatian soldier (Gran prodezza di soldato croatto). The author concludes, interpreting the explanatory text below the etching, that it depicts an event of the so-called Great Turkish War (1683-1699). The depicted hero belonged to the Croatian Regiment commanded by general James Leslie, and the depicted heroic act occurred, in all probability, during the battle of Virovitica in 1684. Also, the author points out to a model for Mitelli's etching as well as to the literary image of the simultaneous decapitation of both a horseman and a horse in the Croatian literature. In the same year, Mitelli also made the portrait of the Zagreb bishop and the politician Martin Borković. The existence of both etchings is associated with the Illyrian-Hungarian College in Bologna, governed by the Zagreb cathedral Chapter. L'articolo indaga l'iconografia di due incisioni con soggetto croato realizzate dall'incisore bolognese Giuseppe Maria Mitelli nel 1684. Il focus del saggio è l'incisione Gran prodezza di soldato croatto. Interpretando il testo esplicativo sotto l'acquaforte, l'autore ritiene che essa raffiguri un evento della cosiddetta Grande Guerra Turca (1683-1699). L'eroe raffigurato apparteneva al reggimento croato comandato dal generale James Leslie e l'atto eroico raffigurato avvenne, con ogni probabilità, durante la battaglia di Virovitica nel 1684. L'autore individua inoltre un modello per l'incisione di Mitelli e un riferimento a una fonte nella letteratura croata ove compare la decapitazione simultanea di un cavaliere e di un cavallo. Nello stesso anno Mitelli fece anche il ritratto del vescovo di Zagabria e del politico Martin Borković. L'esistenza di entrambe le acqueforti è associata al Collegio illirico-ungarico di Bologna, governato dal Capitolo della cattedrale di Zagabria. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

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    Croatian Scientific Bibliography - CROSBI
    Other literature type . Article . 2018
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      Croatian Scientific Bibliography - CROSBI
      Other literature type . Article . 2018
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    Authors: Tanja Trška;

    The decoration of the sala superiore of the Scuola dei SS. Giorgio e Trifone, executed throughout the final decades of the 16th and the first half of the 17th century, coincided with a period of economic prosperity of the Dalmatian confraternity. The decorative programme of the sala superiore, considered in the light of the scuola’s status of a “small” confraternity (scuola piccola), reflects not only collective aspirations of the Dalmatian community within the vibrant Venetian society, but also individual desires of its members to leave a permanent mark in the history of their confraternity. Subject matter of canvases adorning the sala superiore reveal an eagerness to provide an unambiguous visual connection with the confraternity members’ Dalmatian origin, but their stylistic features remain strongly linked to the Venetian painterly tradition of the 16th and early 17th century. La decorazione della sala superiore della Scuola dei SS. Giorgio e Trifone, eseguita fra gli ultimi decenni del XVI e la prima metà del XVII secolo, coincise con un periodo di prosperità economica della confraternita dalmata. Il programma decorativo della sala superiore, considerato alla luce dello status di scuola "piccola" della confraternita, riflette non solo le aspirazioni collettive della comunità dalmata all'interno della vivace società veneziana, ma anche le aspirazioni individuali dei suoi membri di lasciare un segno permanente nella storia della confraternita. I soggetti delle tele che ornano la sala superiore rivelano l'intento di istituire un inequivocabile collegamento visivo con l'origine dalmata dei membri della confraternita, mentre i loro tratti stilistici rimangono fortemente legati alla tradizione pittorica veneziana del XVI e dell'inizio del XVII secolo. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

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    Croatian Scientific Bibliography - CROSBI
    Other literature type . Article . 2018
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Neven Jovanović;

    The art history term of “Schiavoni” - used for artists born in Croatia, or Dalmatia, and active abroad, mostly in Italy - is completely absent from the Croatian literary history. No such history will, however, dare to omit the category of “Croatian authors outside their homeland”. The paper interprets the theoretical framework that is causing such discrepancy between the disciplines and proposes to consider both artists and writers as intellectuals. In that context, inspired by Antonio Gramsci’s theory of the role of intellectuals in the process of social change, the dynamic relationship between the intellectuals and the Schiavoni community can be fruitfully explored; for example, four intellectuals from the island of Korčula, active in the Schiavoni confraternity of St Jerome in Rome in 1550-1565, can be identified as a small social network strengthened by multiple alliances. Il termine storico-artistico “Schiavoni” - usato per artisti nati in Croazia, o in Dalmazia, e attivi all’estero, soprattutto in Italia - è completamente assente dalla storia letteraria croata. Nessuna storia, tuttavia, oserà omettere la categoria di “autori croati al di fuori della loro patria”. Il saggio interpreta il quadro teorico che causa tale discrepanza tra le discipline e propone di considerare sia gli artisti che gli scrittori come intellettuali. In tale contesto, ispirato dalla teoria di Antonio Gramsci sul ruolo degli intellettuali nel processo di cambiamento sociale, la relazione dinamica tra gli intellettuali e la comunità di Schiavoni può essere proficuamente esplorata; ad esempio, quattro intellettuali dell’isola di Korčula, attivi nella confraternita Schiavoni di San Girolamo a Roma nel 1550-1565, possono essere identificati come un piccolo social network rafforzato da molteplici alleanze. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ODRAZ - Open Reposit...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    https://doi.org/10.13138/2039-...
    Article . 2018
    License: CC BY SA
    Data sources: Datacite
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ ODRAZ - Open Reposit...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      https://doi.org/10.13138/2039-...
      Article . 2018
      License: CC BY SA
      Data sources: Datacite
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Jasenka Gudelj;

    Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective Preface to the Special Issue n. 7/2018: Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Croatian Scientific Bibliography - CROSBI
    Other literature type . Article . 2018
    License: CC BY SA
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Croatian Scientific Bibliography - CROSBI
      Other literature type . Article . 2018
      License: CC BY SA
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Ines Ivić;

    The aim of this paper is to provide the general overview of the development of the cult of Saint Jerome in the Eastern Adriatic Coast in the Late Middle Ages. While discussing the cult as the reflection of the growing cult in the Apennine peninsula, I will focus on the local characteristics of the cult - local origin, alleged attribution of Glagolitic letters, humanists’ identification with the saint’s virtues, personal and official veneration – which contributed to Jerome’s denomination as the national saint. Furthermore, the paper reflects upon the political context in which the denomination happened, as well as it introduces new ideas in the interpretation of certain visual representations of the saint. Particularly, the paper discusses the perception of Jerome being the inventor of Glagolitic letters in the 15th century, proposing the idea that the Glagolitic production was perceived as a saintly relic. Lo scopo del presente articolo è quello di fornire un quadro generale sullo sviluppo del culto di San Girolamo, sviluppatosi durante il tardo Medioevo lungo la costa orientale dell’Adriatico. Oltre a trattare l’ipotesi che questo culto non sia altro che un riflesso di quello crescente sulla penisola apenninica, mi concentrerò sui caratteristiche locali, ossia: l’origine locale, la presunta attribuzione di lettere glagolitiche, l’identificazione degli umanisti con le virtù del santo in questione e infine la sua venerazione sia personale che ufficiale, la quale ha reso San Girolamo santo nazionale. L’articolo descrive, inoltre, il contesto politico in cui avviene tale proclamazione, introducendo allo stesso tempo nuove idee sull’interpretazione di alcune rappresentazioni visuali del santo. Si discute in particolare l’ipotesi che Girolamo sia l’inventore dell’alfabeto glagolitico nel XV secolo, proponendo l’idea che la scrittura glagolitica era percepita come una reliquia sacra. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Croatian Scientific Bibliography - CROSBI
    Other literature type . Article . 2018
    License: CC BY SA
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Croatian Scientific ...arrow_drop_down
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
      Croatian Scientific Bibliography - CROSBI
      Other literature type . Article . 2018
      License: CC BY SA
      image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
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      This Research product is the result of merged Research products in OpenAIRE.

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  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Borić, Laris;

    Paper presents a number of archival data related to grotesque painter and stucco master Ivan Gapić, known in late Roman Cinquecento as Giovanni da Cherso or Giovanni Schiavone. His career has been closely related to the circle of Taddeo and Federico Zuccari in whose botega Gapić may have received his elementary training. Working within closely interrelated artistic networks employed on large-scale decorations of mid- to late 16th century Rome, Gapić remained in close relation with Federico’s artistic circles, sharing several of his commissions, while even Vasari dedicated him few words of appreciation. Coming from the insular town of Cres (Cherso) in northern Adriatic, during whole his Roman career, Gapić was member of St. Jerome’s confraternity for which he also painted a (lost) figure of the patron. Paper will outline this forgotten Schiavone’s career within complex artistic networking of Roman Cinquecento, particularly related to position of associates within greater masters’ orbits. Paintings that should be attributed to Gapić indicate a style that expectedly comes out of Zuccaris’ models, while his stucco works reflect the iconographical and formal impact of Tridentine shift. L’articolo si basa su una sequenza di dati archivistici relativi al pittore di grottesche e maestro di stucco Ivan Gapić, meglio noto nel panorama tardo cinquecentesco romano come Giovanni da Cherso, oppure Giovanni Schiavone. La sua carriera è stata strettamente legata all’appartenenza al circolo di Taddeo e Federico Zuccari, nella cui bottega Gapić ricevette la prima educazione artistica. Ben integrato nei principali laboratori artistici romani e impiegato sovente nelle grandi campagne decorative nella seconda la metà del Cinquecento, Gapić rimase in stretto rapporto con gli ambienti artistici di Federico, e persino Giorgio Vasari gli dedicò parole di apprezzamento. Provenendo dalla città insulare di Cherso nell'Adriatico settentrionale, durante tutta la sua carriera romana, Gapić fu membro della confraternita di San Girolamo, per la quale dipinse anche una perduta figura del patrono. Il contributo ridefinisce questa trascurata carriera dello Schiavone da Cherso, all'interno di una complessa rete artistica del Cinquecento romano, in particolare legata alla posizione degli artisti attivi nell'orbita dei grandi maestri. I dipinti che si attribuiscono a Gapić indicano uno stile che prevedibilmente deriva dai modelli dei fratelli Zuccari, mentre le sue opere in stucco riflettono l'impatto iconografico e formale del cambiamento tridentino. Il Capitale culturale. Studies on the value of cultural heritage, Supplementi (7/2018): Visualizing Past in a Foreign Country: Schiavoni/Illyrian Confraternities and Colleges in Early Modern Italy in comparative perspective

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Il Capitale Cultural...arrow_drop_down
    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/