ARCHITECT FRIEDRICH SCHMIDT AND THE CATHEDRAL IN ĐAKOVO

Završni rad bavi se intervencijama arhitekta historicizma Friedricha Schmidta na neoromaničkoj katedralnoj crkvi u Đakovu, čija gradnja je započela 1866. na inicijativu biskupa Josipa Jurja Strossmayera. Romanika, iako prevladavajući, nije jedini zastupljeni umjetnički stil izgradnje, jer katedrala sjedinjuje i neogotičke i neobizantske elemente. Nakon smrti Karla Rӧsnera, 1870. Schmidt je preuzeo ulogu glavnog arhitekta te na istoj ostao do 1882. kada je katedrala posvećena. U tom razdoblju Schmidt je dovršio poslove svog prethodnika Karla Rӧsnera te je uz mnoge suradnike, prvenstveno arhitekta Hermana Bolléa, stvorio projekte koji su opravdali Strossmayerov izbor. Budući da se kroz svoj četverogodišnji rad Rӧsner gotovo u cijelosti pobrinuo za vanjski izgled katedrale, Schmidt je većim dijelom (iako ne isključivo) intervenirao u njezinu unutrašnjost, stvarajući projekte za arhitektonsku dekoraciju i unutrašnju opremu koja je, izuzev orgulja i lustera, oštećenih požarom, i danas u cijelosti očuvana.This final paper deals with interventions made by Historicist architect Friedrich Schmidt on the Neo-Romanesque Đakovo Cathedral, whose construction was initiated by Bishop Josip Juraj Strossmayer in 1866. Despite being predominant, the Romanesque architectural style is not the only prevalent architectural style here as the cathedral features and unites Neo-Gothic and Neo-Byzantine elements. After Karl Rösner's death, Schmidt became the chief architect in 1870. He continued working on it until 1882 when the cathedral was consecrated. During this period Schmidt finished the work of his predecessor and initiated a lot of projects with the help of a lot of associates and colleagues, particularly architect Herman Bolle, thus justifying the choice made by Strossmayer. Since Rösner did almost the entire exterior of the cathedral in the 4-year period during which he worked on it, Schmidt takes credit mainly ( although not exclusively) for its interior carrying out projects aimed at its architectural decorations, interior furnishings and equipment, which have been completely preserved up to this day, with the exception of the fire-damaged pipe organ and chandeliers