Page 30 - Studia Universitatis Hereditati, vol. 3(2) (2015). Koper: Založba Univerze na Primorskem/University of Primorska Press.
P. 30
to provide a thorough mapping of historical tion of local stone leads back to prehistory and
stone trading paths and masons . It would be a the similarities of its first built structures that
recognizable route that links geology and cul- form the basis of the subsequent development. A
tural heritage in its concrete historic links (his- strong network of the stonemasons’ craft in the
toric paths and routes of stonemasons, trade, ...) Adriatic is known ever since the Roman times
as well as through contextual links (architectur- (from Istria down to Dalmatia) (FIGURE 1), in
al influences etc.). In the first phase, it would in- the Early Medieval period (with Istrian stone be-
volve countries and partner institutions that par- ing used in Ravenna), but especially with the ex-
ticipated in the above-mentioned projects, these pansion of the Venetian Republic of Serenissima.
are: Slovenia, Croatia, Bosnia and Herzegovina, It was since the early 14th century that the Seren-
Montenegro, Italy, and potentially also Albania sissima sent its stonemasons in Istria and Dal-
and Greece. In a second phase, other countries matia to exploit its natural stone resources, so
where the stone (primarily limestone) from the the stonemasons’ production developed strong-
Adriatic basin was exported, would join. ly in the 15th century. To give a prominent exam-
studia universitatis her editati, letnik 3 (2015), številk a 2 30ple, we may look at the oeuvre of the renaissance
stonemason capomastro Juraj Dalmatinac (or Gi-
hereditati orgio Dalmata, Giorgio da Sebenico), one of the
most prominent artists of the 15th century Vene-
tian Republic, famous as the author of the mar-
vellous cathedral of St. James in Šibenik (in cen-
tral Dalmatia, Croatia), but also for a number of
works in Venice itself. Juraj Dalmatinac was also
in charge for the exploitation in the quarry on
the island of St. Hieronymus (part of archipela-
go of Brijuni) and its transport to Ancona. Sim-
ilarly, the 16th century master Jacopo Sansovino,
among other author of the magnificent Libre-
ria Marciana (in front of St. Mark’s cathedral)
in Venice also used the stone from Brijuni (FIG-
URE 2) and sites around Rovinj in Istria.
Fig.1: Former Roman quarry on the Dalmatian island of Fig.2: Former quarry at Brijuni, transformed into a park.
Brač. Photo: Andrej Preložnik 2015. Photo: Neža Čebron Lipovec 2016
The theme of the route relates to the his- The outstanding transregional meaning of
toric exploitation and use of limestone which the stonemasons‘ productions on smaller scale
triggered a centuries-old craftsmanship that de- of Slovenian and Italian Kras/Carso was well-
veloped also through the exchange along the
Eastern Adriatic coast as well as across the Adri-
atic sea to the Apennine Peninsula. Exploita-
stone trading paths and masons . It would be a the similarities of its first built structures that
recognizable route that links geology and cul- form the basis of the subsequent development. A
tural heritage in its concrete historic links (his- strong network of the stonemasons’ craft in the
toric paths and routes of stonemasons, trade, ...) Adriatic is known ever since the Roman times
as well as through contextual links (architectur- (from Istria down to Dalmatia) (FIGURE 1), in
al influences etc.). In the first phase, it would in- the Early Medieval period (with Istrian stone be-
volve countries and partner institutions that par- ing used in Ravenna), but especially with the ex-
ticipated in the above-mentioned projects, these pansion of the Venetian Republic of Serenissima.
are: Slovenia, Croatia, Bosnia and Herzegovina, It was since the early 14th century that the Seren-
Montenegro, Italy, and potentially also Albania sissima sent its stonemasons in Istria and Dal-
and Greece. In a second phase, other countries matia to exploit its natural stone resources, so
where the stone (primarily limestone) from the the stonemasons’ production developed strong-
Adriatic basin was exported, would join. ly in the 15th century. To give a prominent exam-
studia universitatis her editati, letnik 3 (2015), številk a 2 30ple, we may look at the oeuvre of the renaissance
stonemason capomastro Juraj Dalmatinac (or Gi-
hereditati orgio Dalmata, Giorgio da Sebenico), one of the
most prominent artists of the 15th century Vene-
tian Republic, famous as the author of the mar-
vellous cathedral of St. James in Šibenik (in cen-
tral Dalmatia, Croatia), but also for a number of
works in Venice itself. Juraj Dalmatinac was also
in charge for the exploitation in the quarry on
the island of St. Hieronymus (part of archipela-
go of Brijuni) and its transport to Ancona. Sim-
ilarly, the 16th century master Jacopo Sansovino,
among other author of the magnificent Libre-
ria Marciana (in front of St. Mark’s cathedral)
in Venice also used the stone from Brijuni (FIG-
URE 2) and sites around Rovinj in Istria.
Fig.1: Former Roman quarry on the Dalmatian island of Fig.2: Former quarry at Brijuni, transformed into a park.
Brač. Photo: Andrej Preložnik 2015. Photo: Neža Čebron Lipovec 2016
The theme of the route relates to the his- The outstanding transregional meaning of
toric exploitation and use of limestone which the stonemasons‘ productions on smaller scale
triggered a centuries-old craftsmanship that de- of Slovenian and Italian Kras/Carso was well-
veloped also through the exchange along the
Eastern Adriatic coast as well as across the Adri-
atic sea to the Apennine Peninsula. Exploita-
