TWO WOODEN ROMANESOUE CRUCIFIXES FROM ISTRIA

Dva od drveta oblikovana te oslikana raspela iz Istre obrađena u tekstu, odlična djela romaničke umjetnosti, nisu dosad bila preciznije valorizirana. Raspelo koje se sada nalazi nad glavnim oltarom katedrale u Puli bilo je posve nepoznato i neregistrirano. Nedavno je uspješno restaurirano, što je i povod njegovu objavjlivanju uz iscrpnu stilsku i estetsku analizu, na osnovi koje ga autor datira u kraj 12. stoljeća, a pretpostavjla pripadnost krugu podalpskih drvorezbarskih radionica, iako zasad nema bliže prepoznatih analogija. Analizirajući drugo raspelo iz istarskog gradića Gračišće, autor uočava osnovne sličnosti, ali i razlike : uokvir očitih morfoloških srodnosti, smatra da je to oslikano drveno raspelo rađeno zasigurno poslije onog u Puli, ali da ga je oblikovao i oslikao neki manje vješt majstor. Zato se može pretpostavit da nije uvezeno, nego da je možda nastalo u domaćoj sredini po ugledu na već postojeći spomenik. Uza sve stilske značajke, to nastanak raspela iz Gračišća vjerojatno pomiče u rano l3. stoljeće.Two wooden and painted crucifixes from Istria, fine examples of Romanesque plastic art, have not been adequately evaluated. The crucifix now placed above the main altar in Pula Cathedral was completely unknown. Recently it has undergone a successful restoration and this has prompted the author to publish a detailed stylistic and aesthetic analysis which dates the crucifix in the late 12th century, probably originating in one of the woodcarving workshops from the sub-Alpine region, although this remains unconfirmed. Analyzing the Crucifix from the small Istrian town of Gračišće, the author notes the simiiarities and differences: due to obvious morphological analogies, the author argues that the Gračišće crucifix was made after the Pula crucifix, but by a less skilled master, and it may therefore be assumed that it was made locally, just like the one in Pula. This indicates that the Gračišće crucifix dates from the early 13th century. This conclusion is supported by the iconographic characteristics of both sculptures, explained in the text with an emphasis on regional traditionalism. The Pula crucifix is described as a late version of the Romanesque portrayal of triumphant Christ, indicated by the dignity of the posture, monumental forms of the crucified body and the fact that Christ was originally crowned. The crown, probably decorated with vitreous paste, was removed at a later point in order to make the crucifix appear more human. The Gračišće sculpture is closer to that type of rendering, showing Christ pastiens, weary on the cross. Certain reticence in showing his torment, stylistically advanced in form yet retaining archaic iconographic motifs, confirms the relationship between the two sculptures in terms of chronology and ideas. In conclusion, it is suggested that both sculptures may have been inspired by small metal crucifixes of great ritual significance, widespread in the Middle Ages in Istria, too, a region open to various cultural inf luences throughout history