This article reveals how in situ material traces of historical events influenced the postwar design of monuments marking authentic sites of the Yugoslav People’s Liberation Struggle (Narodnooslobodilačka borba). Although the hybrid methodology employed for research and documentation of partisan hospital sites since the late 1960s resembles approaches used in historical archaeology, it emerged from distinct historical and political preconditions: the specificities of Yugoslav partisan warfare, the post-Cominform agenda for collecting material evidence, institutionalized practices of documenting authentic sites, and Yugoslav metacultural heritage-protection practices. The present study demonstrates how collective fieldwork conducted at Military Partisan Hospital No. 7 in Drežnica, Croatia, directly informed the innovative memorial complex designed by architect Zdenko Kolacio, exemplifying the integration of archaeological research and architectural design. Through systematic archival analysis and examination of interdisciplinary collaboration among heritage experts, veterans, and local communities, this research argues that Yugoslav heritage practices anticipated key developments in historical archaeology and heritage studies, operating decades before their theoretical articulation in Western scholarship. The collaborative methodologies developed for partisan hospital sites challenge assertions regarding the singularity of Western European “counter monuments,” revealing instead how innovative memorial approaches emerged from specific contexts that prioritized material evidence, community participation, and authentic site preservation. These findings expose the epistemological limitations of scholarship operating within geographically predetermined disciplinary narratives, demonstrating how monument-making functioned as a broader social practice wherein formal features constituted only one among multiple parameters.
U radu je riječ o inženjeru Giovanniju Francescu Rossiniju (1688. – 1764.), napose njegovu izvještaju o obilasku Dalmacije 1749. godine, sačuvanome u Beču. Najprije je obišao sjevernu Dalmaciju, tj. mletačko-habsburško granično područje, a potom i mletačko-osmansku granicu sve do Kleka. Vratio se brodom duž obale, stigavši u Zadar, polaznu točku svojeg putovanja. U izvještaju najprije piše o dalmatinskim konjičkim vojarnama, o malim graničnim utvrdama, zatim o znatnijim naseljima dalmatinskog zaleđa, napokon o obalnim gradovima. Najzanimljiviji i najvredniji dokument, međutim, jest dnevnik njegova putovanja, iz kojega se doznaje mnogo o okolnostima i teškoćama s kojima se susretao, poput loših cesta i jednako takvih vremenskih uvjeta. Njegovi zapisi svjedoče o tome da je bio precizan, savjestan i požrtvovan, što su u svojem osvrtu potvrdili sindici istražitelji, koji su ga i bili uputili u tu misiju. U radu su iskorišteni i dragocjeni podatci o njegovoj karijeri, sadržani u dokumentu iz Archivio di Stato u Veneciji.
U skladu s neogotičkom obnovom, zagrebačka je katedrala dobila novi glavni oltar i sedam bočnih, izrađenih prema nacrtima graditelja katedrale / Dombaumeistera Hermana Bolléa. Novi se oltari podižu kao zaklade nadbiskupa i crkvenih dostojanstvenika, poštujući dijelom dotadašnju tradiciju i prilagođavajući se ikonografiji 19. stoljeća, koja uvodi nove liturgijske propise i kanonizira nove svece. Bolléovi nacrti za glavni oltar iz 1884., oltare sv. Petra i Pavla i sv. Josipa iz 1886., oltare sv. Ladislava i Stjepana i sv. Marije iz 1887., oltar sv. Jeronima iz 1889. i naposljetku oltar sv. Ćirila i Metoda iz 1901. godine, vrlo detaljno i crtački izvrsno izvedeni u tehnici tuša i olovke na papiru, važna su dokumentacija o oltaristici 19. stoljeća. Najvažniji preduvjet za njihovu izradu u Zagrebu stečen je osnutkom Obrtne škole 1882. godine, kao prvoga stručnog učilišta u zanatskim umjetničko-obrtnim vještinama, čiji su nastavnici i majstori izveli stilski ujednačen ansambl od osam žrtvenika.
U članku se raspravlja o pet umjetnina iz razdoblja renesanse koje su u zagrebačkoj katedrali dočekale recentnu poslijepotresnu obnovu. To su slikarski triptih Muke Kristove te četiri drvene klupe. Pruža se pregled dosadašnjih spoznaja o navedenim djelima, uz kritičke komentare i nova opažanja, koja se mahom odnose na hipotezu o obnovama klupa ugradbom dijelova koji su nastali u posljednjoj četvrtini 17. stoljeća, dok se za jednu klupu pretpostavlja da je nastala 1690. godine.
This research paper explores the historical trajectory of the Topolovac estate, located southeast of Sisak, from its earliest mentions in medieval sources to its modern-day status. It presents a comprehensive synthesis of scattered historical data, offering new insights into noble land ownership, economic structures, and spatial transformations. The estate’s origins are linked to the Hungarian noble family Töttös de Bátmonostor et Blinja, whose control over the land in the 14th and 15th centuries marked the beginning of its documented history. Subsequently, land ownership transitions, from the Branković despots and Berislavić family to the Keglević counts, shaped the estate’s legal and administrative frameworks, influencing its function within the feudal system. The military significance of Topolovac, particularly during Ottoman incursions in the 16th century, is examined through historical records referencing fortifications and strategic positioning. In the early modern period, the estate became a key agricultural and economic centre, integrating new infrastructural developments while maintaining traditional feudal structures. The study also addresses the estate’s transformation in the 19th and 20th centuries, highlighting its transition from noble property to state administration and, later, privatization. Furthermore, this research consults cartographic and archival documentation, drawing from historical maps and land surveys to reconstruct the estate’s spatial development. By integrating archival research, historical topography, and conservation perspectives, this paper aims to contribute to the understanding and contextualization of Topolovac, its physical landscape and built heritage within the ongoing preservation and conservation initiatives.
