PP-21.1.1: Difference between revisions

Revision as of 15:38, 5 February 2025

Basic data

ID	PP-21.1.1
Diocese	Poreč-Pula
Deanery	Rovinj-Kanfanar Deanery
Parish	Svetvinčenat
Building	Navještenja BDM (Svetvinčenat)
Building type	church
Coordinates	45° 5' 16.61" N, 13° 52' 57.33" E
Position in building	back side of the main altar
Original location
Earliest date	1670-01-01
Latest date	1670-01-01
Previous edition	Vučić Šneperger 1995: 339, n. 13; Kudiš 2007: 288, n. 4; Marković, Matejčić, Tulić 2017: 238-239.

Description

State of preservation	not damaged
Material	marble
Shape	quadrangular
Field width	590
Field height	455
Carrier width	3120
Carrier height	6100
Carrier depth	0
Decoration	Inscription is engraved on the back of the main altar of the parish church.
Language(s)	Latin
Prosodic form
Lettering style	capitals
Minimum letter height:	48
Maximum letter height:	30
Number of lines:	7

Interpretive transcription and translation

Interpretive transcription:	HERMOLAI · GRIMANI / RELIGIOSA · MVNIF(ICENTIA) / ECCL(ESIAM) · HANC · (CHRIST)I^a) · SPON~~ATA(M)^b) / AN(N)VIS · DOTAVIT · REDITIB(VS) / PLVRIMIS · DITAVIT · MVNERIB(VS) / HVIVSQ(UE) · ARAE / PIA · DECORAVIT · ERECTIONE ·~~
Translation (hr)	Pobožna darežljivost Ermolaa Grimanija obdarila je ovu crkvu, predanu Kristu, godišnjim prihodima, obogatla je mnogim darovima te je uresila pobožnim podizanjem ovog oltara.
Translation (en)	Religious generosity of Ermolao Grimani, endowed this church, pledged to Christ, with annual income, enriched it with many gifts, and decorated with pious erection of this altar.

Other

Notes	The altar is placed in a protruding apse. In the central part of the altar is a painting made by Girolamo Pellegrini (1624 - after 1700) with a scene of the Annunciation. The altar is flanked with Corinthian columns that support a semicircular pediment with a central protruding console. The rear part of the altar is made of stone blocks, on which there are two donor inscriptions. The inscription on the south side is transcribed here. Kudiš believes that the altar was modeled after the one of Our Lady of the Rosary from the Paduan church of St. Anthony, work of Baldassare Longhena (1598 - 1682), and Tulić also agrees. He adds similarities with the main altar of the Franciscan church in Zadar and with the former main altar of the church of San Daniele di Castello in Venice, but also similarities with the altars of Giuseppe Sardi and Alessandro and Paolo Tremignon. Arched passages left and right were added to the altar in the mid-18th century. This altar is considered to be the most significant 17th-century altarists work in the Diocese of Poreč and Pula. The text is centared. The first line (name) is larger than the rest. The letters are straight, but not entirely regular. 'A' has a bent pointed crossbar. 'I' has a dot. Boris Vučić Šneperger published the text with a transcription: HERMOLAI * GRIMANI RELIGIOSA * MUNIF* ECCL * HANC * XP'I * SPONATA AN'VIS * DOTAVIT * REDITIB PLVRIMIS * DITAVIT * MUNERIB HVIVS Q'XARAE * PIA * DECORAVIT * ERECTIONE - in: Crkva sv. Marijina navještenja u Svetvinčentu. Prostor : znanstveni časopis za arhitekturu i urbanizam, Vol. 3 No. 2(10), 1995, p. 339 footnote 13. Nina Kudiš published the text with an interpretative transcription made by Nenad Labus: HERMOLAI GRIMANI/ RELIGIOSA MVNIF(ITIENTIA)/ ECCL(ESIAE) HANC XP(IST)I SPONATA (SUE SPONTAE)/ ANVIS DOTAVIT REDITIB(US)/ PLVRIMIS DITAVIT MVNERIB(US)/ HVIVSQ(UE) ARAE/ PIA DECORAVIT ERECTIONE. - in: UNA PROPOSTA PER GIROLAMO PELLEGRINI A SANVINCENTI IN ISTRIA. Un'identita': custodi dell'arte e della memoria, ARTE (Documento), Quaderni 12, 2007, p. 288 footnote 14. Davor Tulić published a scheda with a transcription: HERMOLAI. GRIMANI/ RELIGIOSA MUNIF./ ECCL. HANC. XPI. SPONATA./ ANVES. DOTAVIT. REDITIB./ PLVRIMIS. DITAVIT. MVNERIB./ HVIVSQ. ARAE./ PIA. DECORAVIT ERECTIONE. He reads the name of the donator as Almorò Grimani. - in: Umjetnička baština istarske crkve - Kiparstvo 2 / Patrimonio artistico della chiesa istriana - Scultura 2, 2017, p. 238-239.
Critical apparatus	^a) XPI ^b) Abbreviating sign not visible.
Responsible user	Sunčica Mustač
Timestamp	2024-12-02 01:33:50 AM
Bare text

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Diplomatic transcription

HERMOLAİ · GRİMANİ

RELİGİOSA · MVNİF ·

ECCL · HANC · XPİ · SPONATA

AN̅VİS · DOTAVİT · REDİTİB ·

FLVRİMİS · DİTAVİT · MVNERİB

HVİVSQ · ARÆ ·

PİA · DECORAVİT · ERECTIONE·

@@ Line 1: / Line 1: @@
-{{Opis natpisa|PP-21.1.1|Poreč-Pula|Rovinj-Kanfanar Deanery|Svetvinčenat|Navještenja BDM (Svetvinčenat)|church|45.0879460321799, 13.882592956504824|back side of the main altar||1670-01-01|1670-01-01|[[Citeref::Marković, Matejčić, Tulić 2017]]: 238-239.|not damaged||quadrangular|590|455|3120|6100|0|Transcription is engraved on the back of the main altar of the Parrish church. The altar is placed in a protruding apse. In the central part of the altar is a painting made by Girolamo Pellegrini (1624 - after 1700) with a scene of the Annunciation. The altar is flanked with Corinthian columns that support a semicircular pediment with a central protruding console. The rear part of the altar is made of stone blocks, on which there are two donor inscriptions. The inscription on the south side is transcribed here. Kudiš believes that the altar was modeled after the one of Our Lady of the Rosary from the Paduan church of St. Anthony, work of Baldassare Longhena (1598 - 1682), and Tulić also agrees. He adds similarities with the main altar of the Franciscan church in Zadar and with the former main altar of the church of San Daniele di Castello in Venice, but also similarities with the altars of Giuseppe Sardi and Alessandro and Paolo Tremignon.
+{{Opis natpisa|PP-21.1.1|Poreč-Pula|Rovinj-Kanfanar Deanery|Svetvinčenat|Navještenja BDM (Svetvinčenat)|church|45.0879460321799, 13.882592956504824|back side of the main altar||1670-01-01|1670-01-01|Vučić Šneperger 1995: 339, n. 13; Kudiš 2007: 288, n. 4; [[Citeref::Marković, Matejčić, Tulić 2017]]: 238-239.|not damaged|marble|quadrangular|590|455|3120|6100|0|Inscription is engraved on the back of the main altar of the parish church.|Latin||capitals|48|30|7|HERMOLAI &#183; GRIMANI / RELIGIOSA &#183; MVNIF(ICENTIA) / ECCL(ESIAM) &#183; HANC &#183; (CHRIST)I<sup>a)</sup> &#183; SPON<S>ATA(M)<sup>b)</sup> / AN(N)VIS &#183; DOTAVIT &#183; REDITIB(VS) / PLVRIMIS &#183; DITAVIT &#183; MVNERIB(VS) / HVIVSQ(UE) &#183; AR<u>AE</u> / PIA &#183; DECORAVIT &#183; ERECTIONE &#183;|Pobožna darežljivost Ermolaa Grimanija obdarila je ovu crkvu, predanu Kristu, godišnjim prihodima, obogatla je mnogim darovima te je uresila pobožnim podizanjem ovog oltara.|Religious generosity of Ermolao Grimani, endowed this church, pledged to Christ, with annual income, enriched it with many gifts, and decorated with pious erection of this altar.|The altar is placed in a protruding apse. In the central part of the altar is a painting made by Girolamo Pellegrini (1624 - after 1700) with a scene of the Annunciation. The altar is flanked with Corinthian columns that support a semicircular pediment with a central protruding console. The rear part of the altar is made of stone blocks, on which there are two donor inscriptions. The inscription on the south side is transcribed here. Kudiš believes that the altar was modeled after the one of Our Lady of the Rosary from the Paduan church of St. Anthony, work of Baldassare Longhena (1598 - 1682), and Tulić also agrees. He adds similarities with the main altar of the Franciscan church in Zadar and with the former main altar of the church of San Daniele di Castello in Venice, but also similarities with the altars of Giuseppe Sardi and Alessandro and Paolo Tremignon.
-Arched passages left and right were added to the altar in the mid-18th century. This altar is considered to be the most significant 17th-century altarists work in the Diocese of Poreč and Pula.|Latin||capitals|48|30|7|HERMOLAI GRIMANI / RELIGIOSA MUNIF(ICENTIA) / ECCL(ESIAE) HANC CHRISTI SPONATA / ANUIS DOTAVIT REDITIB(US) / PLURIMIS DITAVIT MUNERIB(US) / HUIUSQ(UE) ARAE / PIA DECORAVIT ERECTIONE|Hermolai (Ermolao) Grimani, vođen vjerskom darežljivošću, obdario je ovu crkvu povezanu s Kristom godišnjim prihodima, obogatio je mnogim darovima te joj pobožno podigao i ukrasio oltar.|Hermolai (Ermolao) Grimani, guided by religious generosity, annually endowed this church, conected to Christ, with income, enriched it with many gifts, and piously erected and decorated its altar.|Boris Vučić Šneperger published the text with a transcription:
+Arched passages left and right were added to the altar in the mid-18th century. This altar is considered to be the most significant 17th-century altarists work in the Diocese of Poreč and Pula.
+The text is centared. The first line (name) is larger than the rest. The letters are straight, but not entirely regular.
+'A' has a bent pointed crossbar. 'I' has a dot.
+Boris Vučić Šneperger published the text with a transcription:
 HERMOLAI * GRIMANI
 RELIGIOSA * MUNIF*
@@ Line 14: / Line 20: @@
 Davor Tulić published a scheda with a transcription: HERMOLAI. GRIMANI/ RELIGIOSA MUNIF./ ECCL. HANC. XPI. SPONATA./ ANVES. DOTAVIT. REDITIB./ PLVRIMIS. DITAVIT. MVNERIB./ HVIVSQ. ARAE./ PIA. DECORAVIT ERECTIONE. He reads the name of the donator as Almorò Grimani.
-- in: Umjetnička baština istarske crkve - Kiparstvo 2 / Patrimonio artistico della chiesa istriana - Scultura 2, 2017, p. 238-239.|Svetvincenat crkva Navještenja Marijinog 21.1.1-1.jpg, 21.1.1-2.jpg, 21.1.1-3.jpg||Sunčica Mustač|2024-12-02 01:33:50 AM
+- in: Umjetnička baština istarske crkve - Kiparstvo 2 / Patrimonio artistico della chiesa istriana - Scultura 2, 2017, p. 238-239.|Svetvincenat crkva Navještenja Marijinog 21.1.1-1.jpg, 21.1.1-2.jpg, 21.1.1-3.jpg|<sup>a)</sup> XPI
+<sup>b)</sup> Abbreviating sign not visible.|Sunčica Mustač|2024-12-02 01:33:50 AM
 }}
 <div class="center-text">HERMOLAİ · GRİMANİ</div>