Haris Andrea szerk.: Koldulórendi építészet a középkori Magyarországon Tanulmányok (Művészettörténet - műemlékvédelem 7. Országos Műemlékvédelmi Hivatal,)

Diana Vukičević – Samaržija: Mittelalterliche Kirchen der Bettelorden in Kroatien

Mediaeval Mendicant Churches in Croatia Diana Vukicevic-Samarzija Geographically, Croatia can be divided into Dalmatia and Northern Croatia. Several times during the country's history, this geographical division corresponded to its political division. The Gothic style was manifested differently in the two parts of the country. In Nothern Croatia, it was primarily the Franciscan and the Dominican Orders which played an important role in the spread of the High and the Late Gothic style. In Dalmatia, these oders played an even greater role: throughout the period they were the representatives of this style. The earliest representative of the High Gothic style in Northern Croatia, the Church of the Holy Spirit belonging to the Franciscan Order, was built in Slavonska Pozega (Pozsega) during the late 13th century. Further examples of the same style continued to be built right until the first decade of the 16th century in Ilok (Újlak), Zagreb (Zágráb), Remetinec (Remetinc), Sarengrad (Atya) and Nasice (Nekcse). (See, for example, Slavonski Kobas). The Early Gothic style arrived in Northern Croatia through the mediation of the Cistercian Order sometime between 1205 and 1211. The Cathedral of Zagreb is perhaps the most prominent representative of this style. Because of its French origins, this style reveals different characteristics from the High Gothic style, which was propagated by the Franciscans. With regard to their plan and spatial arrangement, the High Gothic churches in Northern Croatia are basically classified as having an apse, plane ceiling in the aisleless nave, and vaulted chancel. All these features can be traced back to the monastic churches. The typical lay out of the Franciscan Churches of Central Europe are substituted here by an aisleless construction with polygonal apse, supported by buttresses. This version is characterized by its chancel being both lower and narrower than the nave. In Slavon territory the chancel is markedly short, while in Northern Croatia it is usually long like elsewhere in Central Europe. This characteristic applies to the entire period and generally influenced religious architecture as a whole. The lesser ornamented buildings of the Franciscans occasionally featured interesting stone carvings; these could always be traced back to the individual requirements of the feudal lords commissioning the work. (See the church at Ilok.) This work of plastic art, similarly to the plan of the church, suggests of distant Central-European influence. All the church buildings are related to the same style and the same circle of artists, although aesthetically these works of art can be regarded as being provincial. In Slavonia all the monastic churches were built from bricks. By contrast, the churches in Northwestern Croatia were built from broken stone, with the exception of the Church at Remetinec (Remetinc), which was built from ashlar. In Dalmatia and in the Istrian Peninsula the Franciscans and the Dominicans remained the propagators of the Gothic style all along, right until the middle of the 15th century. On the basis of their plan and spatial arrangement, we can distinguish two types of building. a. Aisleless church building with an elongated rectangular nave, with a roof without ceiling, thus visible from the nave and with two smaller side-chancels on