Glavni oltar u crkvi Male braće u Dubrovniku i njegov predložak u Anconi te crtica za slikara Antonija Belluccija i kipara Giuseppea Mariju Mazzu

Abstract

Mramorni glavni oltar u franjevačkoj crkvi Male braće u Dubrovniku pripada najvažnijim ostvarenjima barokne altaristike u Hrvatskoj. Podignuli su ga 1712. – 1713. majstori Celio i Giovanni Toschini. Oltar dosad nije bio kontekstualiziran s obzirom na naručitelja, specifičnu tiplogiju te izrazit scenografski smještaj u crkvi. Sagrađen je zaslugom dubrovačkog franjevca Francesca Caffarellija koji se 1711. vratio u domovinu nakon službe u samostanu San Francesco ad Alto u Anconi. Za njegova su boravka u tom samostanu braća Toschini 1706. – 1707. sagradila glavni oltar kao okvir slavnoj Tizianovoj Pali Gozzi, a u 19. stoljeću preseljen je u crkvu San Domenico u Anconi. Upravo je taj oltar poslužio kao predložak za onaj dubrovački. U drugom se dijelu teksta slikaru Antoniju Bellucciju pripisuje maleno platno s temom Pietà iz privatne zbirke u kojem se može prepoznati model ili uspomena za istoimeno majstorovo djelo naslikano neposredno prije 1694. za oltar Jakoba Schella von Schellenburga u nekadašnjoj franjevačkoj crkvi u Ljubljani. Konačno, kiparu Giuseppeu Mariji Mazzi pripisuje se terakotni kip sv. Grgura pape u Musei Civici u Trevisu u kojem se prepoznaje glineni model plaćen skulptoru 1705., a prema kojem je izliven istoimeni brončani kip na glavnom oltaru u bazilici Il Redentore u Veneciji.

Alternate abstract:

The marble high altar in the Franciscan church of the Friars Minor in Dubrovnik is one of the most important examples of Baroque altar design in Croatia. Built in 1712/13 by the masters Celio and Giovanni Toschini, the altar has not been analysed in terms of its commissioner, its specific typology, or its distinct scenographic placement within the church. It was constructed thanks to the efforts of Dubrovnik’s Franciscan Francesco Caffarelli, who returned to his homeland in 1711 after serving in the monastery of San Francesco ad Alto in Ancona. During his stay there, the Toschini brothers had built the high altar in 1706/07 to frame Titian’s famous Pala Gozzi, which was relocated in the 19th century to the church of San Domenico in Ancona. This altar served as the model for the one in Dubrovnik. In the second part of this paper, a small canvas depicting the Pietà, from a private collection, is attributed to the painter Antonio Bellucci, as it can be identified as either a preparatory study or a memory piece for Belucci’s work with the same subject, completed shortly before 1694 for the altar of Jakob Schell von Schellenburg in the former Franciscan church in Ljubljana. Lastly, the terracotta statue of St Gregory the Pope in the Musei Civici in Treviso is attributed to the sculptor Giuseppe Maria Mazza. This piece is identified as the clay model paid for in 1705, and it served as the model for the bronze statue of the same figure on the high altar of the basilica of Il Redentore in Venice.