ISSN 1845-8025

Alka Starac

Izloba Exhibition

From Fragment to ReconstructionOd ulomka do rekonstrukcije

Pula, 2009.

2. nepromijenjeno izdanje Second unchanged edition

ARHEOLOKI MUZEJ ISTRE PULAARCHAEOLOGICAL MUSEUM OF ISTRIA - PULA

78Organizator izlobe / Exhibition organization

Arheoloki muzej Istre / Archaeological Museum of IstriaIzdava kataloga / Catalogue publisher

Arheoloki muzej Istre / Archaeological Museum of IstriaZa organizatora i izdavaa / For the organizer and publisher

Darko KomoUrednik kataloga / Catalogue editor

Alka StaracAutor izlobe i kataloga / Catalogue and Exhibition Author

Alka StaracFotografije / Photography

Alfio Klari, Alka Starac, Romuald ZlatuniGrafika obrada / Graphic designAlfio Klari, Gregor Klari

Postav izlobe / Exhibition set-upArheoloki muzej Istre / Archaeological Museum of Istria

3D vizualizacije / 3D visualizationsStudio Kuan

Prijevod / TranslationMilo Ilgo

Lektor za hrvatski jezik / Language editor CroatianLina Pliko

Korektura / ProofsMilena pigi

Tajnik urednitva / Editorial board secretaryAdriana Gri torga

Oblikovanje plakata, kataloga i pozivnice / Design of poster, catalogue and invitation cardAlfio Klari, Sv. German Pula

Realizacija / PrintSv. German PulaNaklada / No. of copies

1000 kom

Raunalne 3D vizualizacije ostvarene su uz financijsku potporu Ministarstva kulture Republike Hrvatske.The computer 3D visualizations were made possible by financial assistance provided by the Ministry of Culture of the Republic of Croatia.

Zatieno autorskim pravom Arheolokog muzeja Istre. Sva prava zadrana.Copyright by the Archaeological Museum of Istria. All rights reserved.

PredgovorPodruje Istre, ali i samoga grada Pule, izuzetno je bogato broj-nim ouvanim antikim graevinama. Naalost, mnoge su ote-ene, velik ih je broj sauvan samo u tragovima, drevnim nacr-tima i skicama, a podosta ih je netragom nestalo. ak su i dobro ouvane graevine pretrpjele brojne promjene, razgradnje i na-dogradnje koje su ih izmijenile pa je njihov izvoran izgled, osim malobrojnim strunjacima, u pravilu nepoznat.

Razvoj modernih tehnologija omoguio je, uz suradnju s arheo-lozima, stvaranje realnih trodimenzionalnih raunalnih modela koji pruaju strunjacima, ali i iroj javnosti, izuzetno zanimljiv pogled na nestali dio spomenike batine.

Izloba dr. sc. Alke Starac, pod nazivom Od ulomka do rekon-strukcije, na vrlo popularan i zanimljiv nain predstavlja neko-liko antikih graevina iz Pule i Nezakcija. Temeljem brojnih ulomaka, koje su prikupljali narataji istraivaa, starih nacrta i sauvanih ostataka, izraene su trodimenzionalne raunalne rekonstrukcije, koje oivljavaju jedan minuli svijet. Izuzetno je interesantno ponovno, poput drevnih Rimljana, vidjeti sjaj amfi-teatra, naglaenu mistinost nezakcijskih hramova, velianstve-nost osmerokutnog mauzoleja, izgled rimske stambene zgrade i graevine javne namjene za okupljanja i slubene dogaaje u uli-ci Stovagnaga te monumentalnost velikoga rimskog kazalita.

Potrebno je istaknuti da je rije tek o prvome koraku u rekon-strukciji nekad postojeih graevina. Njih je mogue povezati u jednu cjelinu, nadograditi ih te tako virtualno proetati antikom

ForewordThe territory of Istria as well as the town of Pula itself is exceptionally rich when it comes to the number of preserved Roman structures. Notwithstanding that, numerous monuments are damaged, only traces, ancient plans and drawings are all that is left from a substantial number of them, while still others have vanished completely. Even well preserved structures underwent numerous alterations, partial demolitions, or else something was added to them, so much so that they lost their original appearance with which only a handful of experts are nowadays familiar.

The development of modern technologies, together with archaeologists, rendered possible the creation of real-life, three-dimensional virtual models that enable not only experts but also the public at large to gain an extremely interesting insight into the vanished architectonic heritage.

Dr. Alka Staracs exhibition From Fragment to Reconstruction succeeded in the presentation of several Roman structures from Pula and Nesactium in a very popular and interesting manner. A long gone world was re-created on the basis of a large quantity of fragments collected by generations of ex-plorers, ancient plans, and preserved remnants, creating thus three-dimen-sional virtual reconstructions that present it anew. It is indeed fascinating to be able to visualize the splendor of the Amphitheater in all its glory, as did the ancient Romans, to witness the accentuated mysticism of the temples at Nesactium, to behold the grandness of the octagonal mausoleum, to ap-praise the appearances of a Roman residential building and a public build-ing serving for gatherings and formal occasions in Stovagnaga Street, or contemplate the sheer monumentality of the Large Roman Theater.

It is important to stress that this is but a first step in the reconstruction of

Pulom, zaviriti u njene kue, dvorita, hramove i monumental-ne graevine. Ui u grad kroz Porta Aureu, proi kroz Slavoluk Sergijevaca, proetati rimskim ulicama i ponovno vidjeti hra-move na Forumu te Herkulov hram na ulazu u grad. Fascinantno bi bilo napraviti presjek kroz tri tisue godina urbanoga razvoja Pule te rekonstruirati histarski grad, njegovo ruenje i izgrad-nju rimske Pule, prisustvovati izgradnji i razaranjima iz srednjeg vijeka te sagledati revitalizaciju Pule od sredine 19. stoljea do danas. Izlobom dr. sc. Alke Starac, uinjen je prvi i najvaniji korak prema tome cilju.

Ravnatelj AMI-aDarko Komovii kustos

the once existent structures. It is feasible to connect these reconstructions into a single whole, expand them still further, and then take a virtual stroll down the streets of Roman Pula, peeking along the way into its houses, courtyards, temples and monumental buildings. Enter the town through the Porta Aurea, go underneath the Arch of the Sergii, walk the Roman streets and again look at the temples on the Forum and Hercules Temple at the town entrance. It would be nothing short of fascinating to create a cross-section of the three thousand year old urban development of Pula, and reconstruct a Histrian town, its subsequent destruction and the erec-tion of Roman Pula, witness the building activities and devastation that took place in the Middle Ages, and notice the revitalization of Pula from the middle of the 19th century to the present. With this exhibition, Dr. Alka Starac made the first and most important step towards this goal.

Darko KomoSenior CuratorDirector of the Archaeological Museum of Istria

5UVODRaunalne vizualizacije nestalih ili teko oteenih antikih

gra evina u Puli i Nezakciju poniknule su u okrilju viegodinjeg programa restauracije i istraivanja reljefno ukraenih kamenih spomenika u Arheolokome muzeju Istre. Program se razvio u dvojako: s jedne strane, u sustavnu kataloku obradu iji je prvi plod knjiga objavljena 2006. u izdanju Arheolokog muzeja Istre, serija Monografije i katalozi 16, pod naslovom: Reljefni prikazi na rimskim nadgrobnim spomenicima u Arheolokom muzeju Istre u Puli. S druge strane, pri dokumentaciji i prouavanju di-jelova arhitektonske dekoracije pojedinih reprezentativnijih gra-evina poznatog tlocrta, nametnula se misao o pokuaju povezi-vanja tih dijelova u smislenu cjelinu i pokuaju izrade raunalne rekonstrukcije nekad postojeih graevina. Raunalne rekonstrukcije pripremane su s polazitem u dvje-

ma osnovnim skupinama dokumentacije, koje pruaju podat-ke neophodne za izraun veliina i dovoenje u vezu sastavnih elemenata objekta. Prva dokumentacijska skupina obuhvaa povijesne nacrte, tlocrte te opise i izmjerene veliine graevi-ne i pojedinih njenih dijelova. Druga skupina sadri podatke o materijalnim ulomcima arhitektonske dekoracije, koji su na-li svoje mjesto u muzejskoj zbirci. Neki ulomci pronaeni su u arheolokim istraivanjima s vjerodostojnom dokumentacijom, dok za pojedine ulomke, koji bi materijalom, veliinom i stilom mogli pripadati istoj arhitektonskoj cjelini, nije poznato tono mjesto ni vrijeme nalaza. Radi se o dijelovima stupova s bazama i kapitelima, o dijelovima arhitrava, frizova, vijenaca i zabata, kod kojih je prema Vitruvijevim kanonima mogue izrauna-

INTRODUCTION

The virtual presentation of structures that either disappeared or were se-verely damaged, stemming from the period of classical antiquity in Pula and Nesactium, developed at the Archaeological Museum of Istria from within the framework of a program for restoration and research of stone monu-ments decorated in relief, which lasted for a number of years. This program developed in two directions: on one side it pursued a systematic catalogu-ing whose first result was a book published by the Archaeological Museum of Istria in 2006, from the series Monographs and Catalogues 16, titled: Depictions in Relief on Roman Funerary Monuments at the Archaeological Museum of Istria at Pula. On the other, an idea materialized while docu-menting and researching portions of architectural decoration from the more representative structures with a known ground-plan, whereby an attempt should be made not only to connect these parts into a logical whole, but also to try to virtually reconstruct these once existent structures.

These virtual reconstructions were prepared on the basis of two elemen-tary batches of documentation offering the data that is indispensable to cal-culate size, and to correlate the constituent elements of a particular structure. The first batch encompasses historical plans, ground plans, descriptions and measurements of structures and their individual parts. The other contains data regarding material fragments of architectural decoration, which are part of the museum collection. Some of these fragments were discovered in the course of archaeological excavations, and were accompanied with reliable documentation, while still others that according to material, size and style could belong to the same architectural whole, lack information regarding the exact place and time of their discovery. We are talking about column sections with bases and capitals, portions of architraves, friezes, cornices and gables, from which it is possible to calculate the original size of the whole structure, if

6ti izvornu cjelovitu veliinu. Naravno, kako su i jedna i druga skupina dokumentacijskih podataka obino nepotpune uslijed unitenosti graevine, naili smo na niz teko ili nikako rjeivih problema pri interpretaciji prikupljenih podataka. U raznim po-vijesnim pisanim i grafikim izvorima o istoj graevini nerijetko se nalaze neujednaeni brojani i mjerni podaci, a ponekad se javljaju i sasvim pogreni nacrti razvijeni iz netono postavljenih odnosa i veliina. to se tie materijalnih ostataka arhitektonske dekoracije, mogue je provjeriti njihove veliine, ali ne i toan poloaj u sklopu graevine, a nerijetko nije sigurno pripadaju li doista pretpostavljenom objektu.Pri izradi raunalnih rekonstrukcija, razabrali smo da kod ne-

dostajuih dijelova graevina uvijek postoji vei broj moguih rjeenja na irokom planu, poevi od odreenih dimenzija, pre-ko upotrijebljenih materijala do izbora dekoracije. Predloene vizualizacije stoga su samo prvi pokuaj pribliavanja prvobit-nog izgleda drevnih graevina oku XXI. stoljea, u onoj mjeri u kojoj je to bilo trenutano mogue. Daljnjim produbljivanjem spoznaja i otkrivanjem zaboravljenih elemenata, nadogradit e se njihova slika.

we adhere to the criteria established by Vitruvius. During our interpretation of the collected data we, naturally, stumbled upon a whole series of problems whose solutions proved to be extremely difficult or even impossible because both documentation batches proved to be incomplete, as is usually the case due to the level of destruction of the structure in question. When speaking about a particular structure it is often the case that erratic figures and meas-urements are found in various historical sources, both written and graphic, and sometimes even thoroughly inaccurate plans are discovered, which were drawn as a result of wrongly interpreted relations and sizes. As far as ma-terial remnants of architectonic decoration are concerned, it is possible to authenticate their size, but not their exact position within the framework of a structure, and often doubts arise whether they really belonged to the structure in question at all.

During the creation of virtual reconstructions of the missing parts of these structures, we found out that there is always a large number of possible solutions, beginning from certain dimensions and the materials that were used, to the choice of decoration. The suggested visualizations are, conse-quently, merely the first attempt to familiarize the beholders eye in the 21st century with the original appearance of these ancient structures, to the great-est extent possible in present circumstances. Their picture will be certainly gradually enriched as we deepen our perceptions and discover long forgotten elements.

7

9AMFITEATARAmfiteatar je jedna od najbolje sauvanih antikih graevi-

na u Puli1. Meu odabranima za raunalnu rekonstrukciju, naj-cjelovitije je sauvan. Pa ipak, od sutona Rimskog Carstva do danas, pretrpio je intenzivne hotimine razgradnje koje ga da-nas ine bitno drugaijim no to je bio dok je sluio prvobitnoj svrsi. Izgraen je iskljuivo od lokalnoga istarskog kamena va-pnenca2. Vanjski zidni plat ije dvije sredinje osi doseu du-ine od 132,5 m i 105 m, izgraen je od krupnih, bunjasto kle-sanih blokova vezanih eljeznim sponama i olovnom zapunom. Unutranje nosive strukture pod gledalitem zidane su od kle-sanaca malih dimenzija i slabije kvalitete vapnenca, povezanih vapnenom bukom. Od svih ostalih poznatih amfiteatara, pulski se razlikuje po tome to su u vanjski zidni plat ukomponirana etiri pravokutna tornja, malo nia od glavnog tijela amfiteatra i natkrivena kosim krovom od keramikih ploa i kupa. U unu-tranjosti tornjeva nalazile su se izvorno drvene stepenice, koje su kao dodatak uzidanim stepenitima ispod gledalita olaka-vale i ubrzavale protonost ljudi pri ulasku i izlasku iz amfite-atra. U amfiteatar je vodilo 15 radijalno rasporeenih ulaza sa stepenitima koji su se povezivali s koncentrinim vodoravnim hodnicima ispod gledalita. Procjenjuje se da je gledalite mo-glo primiti oko 23.000 ljudi. Sredinje borilite eliptinog obli-ka predstavljalo je ravnu povrinu pokrivenu pijeskom, a ispod njega pruao se po sredinjoj duoj osi amfiteatra dugi hodnik za potrebe pripremanja igara, ukopan u ivu stijenu i pokriven

THE AMPHITHEATER

The Amphitheater is one of the best-preserved Roman structures in Pula1. Among the structures chosen for the virtual reconstruction it was certainly the best preserved one. It should be noted that in the period from the twilight of the Roman Empire to the present day, it, nevertheless, suffered intensive and will-ful devastation, which made it substantially different today in comparison with what it looked like when it was used for its original purpose. The Amphitheater was built using exclusively Istrian limestone2. The outer wall, whose two central axes are 132.5 and 105 meters long respectively, is made of large rectangular blocks of stone that were tied to each other with iron rods inundated with mol-ten lead. The interior supporting structures underneath the tiers of the auditori-um were erected with hewn limestone of lesser dimensions and inferior quality, using calcareous mortar. When comparing the Amphitheater at Pula with every other known amphitheater in the world, it is at once evident that the former differs from the latter because four rectangular towers were incorporated in its external wall, which are slightly lower from the main body of the Amphitheater, and have a slanting roof covered by pottery slabs and roof-tiles. Each of these towers originally housed a wooden staircase that, together with the masoned staircases underneath the auditorium, served to facilitate and quicken the flow of spectators when entering or exiting the Amphitheater. Fifteen radially placed entrances with staircases led into the Amphitheater, which were connected with concentric horizontal corridors underneath the auditorium. It is estimated that the auditorium could receive approximately 23,000 spectators. The central scene of combat that was elliptical in shape consisted of a flat surface covered with sand, and underneath it, alongside the longer axis of the Amphitheater, ran a long corridor used to organize and prepare the games, which was hewn out of

1 MLAKAR, 1996.; KRIZMANI, MARASOVI, 2003.2 CRNKOVI, 2003., 71.

1 MLAKAR, 1996, 2nd ed.; KRIZMANI, MARASOVI, 2003.2 CRNKOVI, 2003, 71.

10

ravnom drvenom konstrukcijom na gredama koje su nosili ka-meni pilastri. Borilite je bilo odvojeno visokim zidom od po-vienog gledalita, koje se u 22 stepenice gledalita uzdizalo u visini dviju etaa do galerije na vrhu. Budui da je podignut na padini brijega, amfiteatar u Puli u svom zapadnom dijelu dosee visinu od 32 metra u etiri etae, povieni temelj s ulazima i tri

solid rock and covered with a level wooden structure that stood on beams sup-ported by stone pilasters. A high wall separated the scene of combat from the el-evated auditorium that in 22 tiers rose to a height of two stories, up to the gallery on the very top. The Amphitheater at Pula, erected on the slope of a hill, reaches a height of 32 meters on its western end, which corresponds to four stories the raised foundations with entrances and three stories, whereas only the two upper

11

kata, a u istonom dijelu nad zemljom se izdiu samo dva gornja kata. Najvii kat pripadao je galeriji ovalnoga prstenastog oblika, natkrivenoj kosim krovom od keramikih ploa i kupa, koja je za razliku od niih katova prema van bila otvorena etvrtastim pro-zorima. Dva donja kata otvorena su polukrunim arkadama. U sluaju loeg vremena, gledalite se natkrivalo platnom pomou

stories rise from ground level on its eastern side. The uppermost story belonged to a gallery with an oval, annular shape, which was equipped with a slanting roof covered with pottery slabs and roof-tiles. The gallery differed from the two lower stories: it had square openings, whereas the lower stories had openings in the form of semi-circular arcades. In the case of bad weather it was possible to cover the auditorium with a tarpaulin, using a system consisting of sets of pulleys and

13

14

sistema kolutova i uadi. Drveni jarboli, nosai uadi za platna, nalazili su se zataknuti u dva reda posebnih, uklesanih otvora u razini najvieg kata, nadvisujui krov galerije. Jarboli su prolazili kroz predviene otvore na kamenom oluku, ugraenom s vanj-ske strane krovita galerije.Danas nedostaje najvei dio kamenih sjedita sa supstrukcija-

ma i unutranjim hodnicima, koji su okruivali ovalno borilite sa svih strana. Otuda proizlaze nesigurnosti oko tonog izgleda galerije na vrhu te poloaja poasne loe. Smjetaj poasne loe pretpostavljen je na najpogodnijem mjestu, na sredini zapadne strane borilita u povienom prizemlju. Odatle se pruao naj-bolji pogled na borilite, a osim toga, zapadna strana gledalita bolje je zaklonjena od sunca. Smjetaj i broj izlaza u gledalite, poloaj krunih vodoravnih hodnika i poprenih hodnika uspo-na, broj stepenica gledalita, razmjerno su lako rekonstruirani matematikim izraunom prema poznatim podacima. U prvoj etai gledalita nalazilo se 20 izlaza u gledalite od kojih su dva vodila u poasnu lou, a u drugoj etai jo 14 izlaza.

ropes. Wooden masts carrying the tarpaulin ropes were embedded in two rows of special, hewn openings located in the same plane as the uppermost story, thus overtopping the roof of the gallery. These masts went through special openings on the stone gutter that was built in on the external side of the gallery roof.

The vast majority of stone seats are missing nowadays, the same being true for the sub-structures and interior corridors that encircled the oval combat scene. And this is the reason for all the uncertainties regarding the exact appear-ance of the gallery on the top, and the position of the box for guests of honor. We assume that the honorary box was located on the most advantageous spot, i.e. in the middle of the western side of the combat scene, on the elevated ground floor. It is from there that one enjoyed the best views over the combat scene, and besides, the western side of the auditorium offers better protection from the sun. It was relatively easy to reconstruct the location and number of entrances into the auditorium, the positions of the circular horizontal corridors and the transversal mounting corridors, and the number of tiers in the auditorium, with the help of mathematical calculations that took into account the known data at our disposal. There were twenty entrances into the first story of the auditorium, two of them leading straight to the honorary box, while fourteen other entrances were located on the second story.

15

17

NEZAKCIJ, FORUMSKI HRAMOVINa forumu rimskog Nezakcija nalazila su se tri hrama, jedan

pored drugog. Sredinji hram, irok 8 m i dug 19 m, bio je naj-vei i po postanku najstariji. Dva simetrina manja hrama irine 7,5 m i duine 16 m bono su smjetena s njegove lijeve i desne strane. Na izvornome mjestu od tih hramova nije ostalo nita osim temeljnih zidova. Prema ulomcima arhitektonske deko-racije otkrivenima tijekom arheolokih istraivanja, mogue je djelomino oivjeti njihovu sliku. Kako su nalazi arhitektonske dekoracije svedeni na velik broj vrlo sitnih ulomaka kaneliranih stupova s bazama i korintskim kapitelima, vijenaca, arhitrava i antefiksa, nije bilo jednostavno rekonstruirati cjelovit izgled hramova. Manjim, bonim hramovima pripisani su sa sigurno-u ulomci vijenaca koji su uokvirivali zabate. Srednjem hramu mogu se pripisati takoer dijelovi vijenaca, jedan kapitel i ulo-mak friza s vegetabilnim viticama koji je nadvisivao arhitrav. Mnoge su pojedinosti u izgledu hramova i danas nepoznanica: nepoznat je, na primjer, sadraj zavjetnih natpisa na proelnim arhitravima. Nema sauvanih dijelova okvira vrata pa je veliina ulaznih vrata pretpostavljena prema klasinom, vitruvijanskom principu. Otvoreno pitanje predstavljaju i timpani u zabatima. Nalazi dvaju fragmentarnih timpana od vapnenca potaknuli su od pronalaska do dananjih dana oprena miljenja o pripad-nosti hramu, hipotetski posveenom boici Eji ili o pripadno-sti nepoznatom mauzoleju3. Jedan timpan nosi reljef globusa ili tita, ukraenoga prepletom i smjetenog izmeu dvaju rogova

NESACTIUM, THE FORUM TEMPLES

Three temples, one beside the other, were located on the forum of Roman Nesactium. The central temple that was 8 m wide and 19 m long was at the same time the biggest and oldest one. Two symmetrical temples of lesser dimensions, measuring 7.5 m in width and 16 m in length, were positioned laterally, on its left and right sides. Nothing was left of these temples on their original location, except for the foundation walls. Based on fragments of architectonic decoration that were unearthed in the course of archaeological explorations, it is possible to at least partially re-create their appearance. It was no simple task to reconstruct the appearance of the temples in full, because the architectonic decoration finds consist mostly of a vast number of very small fragments of fluted columns with bases and Corinthian capitals, cornices, architraves and antefices. The cornice fragments that used to frame the gables can be with certainty ascribed to the smaller, lateral temples. Some cornice fragments can be likewise attributed to the central temple, together with a capital, and a frieze fragment with tendrils that overtopped the architrave. There are many details regarding the appearance of the temples, which are still shrouded in mystery to this day: an example of this are the contents of the votive inscriptions on the front architraves. As there are no preserved parts of the gate frames, it was necessary to calculate the size of the entrance gate based on Vitruvius classical principle. The pediments in the gables still pose an open question. The discovery of two fragmented pediments made of limestone have fueled, from the day of their discovery to the present, adverse opinions regarding their belonging either to a temple, hypothetically dedicated to the deity Eia, or, to an unknown mausoleum3. One of the pediments carries what is either a globe or a shield in relief decorated with an interlace pattern, situated

3 JURKI, 1974., 7; MATIJAI, 1996., 95, 105; ROSADA, 1999., 87 3 JURKI, 1974, 7; MATIJAI, 1996, 95, 105; ROSADA, 1999, 87.

21

izobilja4, a drugi ensku glavu u medaljonu kojeg pridravaju le-tei geniji u paru5. Uslijed oteenja gornjeg dijela timpana, nije poznato jesu li geniji (odnosno eroti) imali krila. Postojanje krila moe se tek pretpostaviti prema leteem poloaju njihovih tijela. Reljefni prikaz nagih djeaka prekrienih nogu ikonografski je blizak prikazima erota s nadgrobnih spomenika alujuih pra-titelja u svijet mrtvih te je ponajvie ta slinost pridonijela pret-postavci o pripadnosti timpana monumentalnom nadgrobnom spomeniku, pretpostavljenom mauzoleju ije postojanje nije meutim utvreno nikakvim drugim injenicama. enska glava s vratom u sredinjem medaljonu, bez vidljive odjee, idealizira-nih crta lica i klasine, izvanvremenske frizure, potaknula je pak

between two cornucopias4, and the other, a female head in a medallion held by a pair of genii in flight5. Due to damage on the upper section of the pediment it is not possible to discern whether the genii (or erotes) were provided with wings. The existence of wings can only be supposed on account of their bodies being in a flying position. A depiction in relief showing nude boys with crossed legs is iconographically closely related to the depictions of erotes on funerary monu-ments the grieving companions on the journey to the world of the dead - and it was this similarity that was for the most part responsible for the supposition that the pediments belonged to a monumental funerary monument, the supposed mausoleum whose existence is, however, not corroborated by any other facts on the ground. The female head and neck in the central medallion, devoid of any visible garments, having idealized facial lines and a timeless classical hairdo, on

4 STICOTTI, 1902., 136, Tav. 2, fig. 3.5 STICOTTI, 1902., 131, Tav. 2, fig. 1; ID., 1905., 203.

4 STICOTTI, 1902, 136, Tav. 2, fig. 3.5 STICOTTI, 1902, 131, Tav. 2, fig. 1; STICOTTI, 1905, 203.

22

pretpostavke da je timpan krasio hram autohtone histarske bo-ice Eje. Okolnosti nalaza jednoga i drugog timpana ne upuu-ju na neposrednu vezu s hramskom trojkom6, te nije iskljuena mogunost da su nakon ruenja graevina, kojima su prvotno pripadali, upotrijebljeni u drugu svrhu. Donja, najdua stranica obaju timpana bila je duga 5 metara, dok im puna visina iznosi 105 cm. Te dimenzije odgovaraju procijenjenoj veliini timpana sredinjeg hrama, s obzirom na proporcionalni odnos dijelova arhitektonske dekoracije krovita7.

the other hand spurred presumptions that the pediment adorned the temple of the autochthonous Istrian deity Eia. The circumstances surrounding the dis-covery of both pediments do not necessarily point to a direct connection with the temple troika6, consequently, we cannot rule out the possibility that they were used for some other purpose after the structures to which they originally belonged were demolished. The lower and longest side of both pediments was 5 m long, the full height amounting to 105 cm. These dimensions correspond to the calculated size of the pediments of the central temple, with respect to the proportional relation of parts of the architectonic decoration of the roof7.

6 Ulomci su pronaeni kod jugozapadnog ugla nezakcijskog foruma, daleko od forum-skih hramova. Mjesto pronalaska opisuje: STICOTTI, 1902., 131. Forum Nezakcija istraen je 2006.: DIN, 2007., 504.

7 FORLATI TAMARO, 1947., Tav. III; MATIJAI, 1995., 131.; ROSADA, 1999., Tav. 1; VITRUV. De arch., 3, 3.

6 The fragments were unearthed at the southwestern corner of the forum at Nesactium, far away from the forum temples. The discovery site is described in: STICOTTI, 1902, 131. The forum at Nesactium was explored in 2006: DIN, 2007, 504.

7 FORLATI TAMARO, 1947, Tav. III; MATIJAI, 1995, 131; ROSADA, 1999, Tav. 1; VITRUVIUS De arch., 3, 3.

25

OSMEROKUTNI MAUZOLEJIspred Dvojnih vrata, u neposrednoj blizini gradskih zidina i

ceste koja je vodila u rimsku koloniju Polu, jo su vidljivi ostaci donjeg dijela velianstvene nadgrobne graevine osmerokutnog tlocrta, promjera 11 metara u podnoju i 9,4 metra u osmero-kutnom dijelu, iskopani 1941.8 Uokolo krunoga stepenastog postolja bilo je rasporeeno 16 glatkih pilastara visine jedan metar koji su ograivali spomenik, vjerojatno sluei kao nosai lanca. Podnoje mauzoleja krunoga je oblika i sastoji se od tri-ju stepenica. Donji dio osmerokutne graevine, visok 142 cm, sastoji se od osam pravokutnih polupilastara spojenih zidovima od pravilno klesanih i zaglaenih krupnih blokova u tehnici opus isodomum. Pri dnu je oivien profilom od jednostavnih ravnih i izvijenih letvica, ukupne visine 23,5 cm. Od dna prve krune stepenice postolja do gornjega ruba krovnog vijenca, mauzolej je bio visok oko 920 cm.Izgubljen je vijenac koji je morao odvajati osmerokutno posto-

lje od sredinjeg dijela objekta, kao i cjelokupni sredinji i gornji dio graevine. Ulomci ouvanih arhitektonskih elemenata ipak doputaju njenu shematsku rekonstrukciju. Uglovi mauzoleja bili su iznad pilastara ojaani korintskim polustupovima visine 5 metara, iji dijelovi nisu sauvani. Iznad njih nalazio se tropo-jasni arhitrav i friz s motivima sfingi, grifona i Prijapa te rasko-ni vijenac s kimom, konzolama pokrivenim akantovim listom, ovulima i antemijem na gornjoj izvijenoj letvici, koji je ouvan u razmjerno velikom broju ulomaka. Usporedbom arhitekton-

THE OCTAGONAL MAUSOLEUM

In front of the Porta Gemina, in the immediate vicinity of the town walls and the road that led to the Roman colony of Pola, the remnants of the lower portion of a magnificent funerary monument with an octagonal ground plan are still vis-ible. Its pedestal has a diameter of 11 meters, the octagonal part has a diameter of 9.4 meters, and it was unearthed in 19418. There were sixteen smooth pilasters positioned around the circular, graded podium, which were one meter high and served to enclose the monument, probably with a chain. The pedestal of the mausoleum is circular in shape and consists of three simple steps. The lower part of the octagonal structure is 142 cm high and consists of eight rectangular pilas-ters connected with walls, made of large, smoothed, rectangular blocks of stone, in the opus isodomum technique. At the base it is edged with a profile made up of simple flat and everted laths with a total height of 23.5 cm. The mausoleum measured approximately 920 cm from the base of the first circular step of the podium to the upper edge of the roof cornice.

The cornice that must have separated the octagonal podium from the central part of the structure was lost, and the same applies to the entire central and upper parts of the structure. The fragments of the preserved architectonic ele-ments, nevertheless, allow its schematic reconstruction. Above the pilasters, the corners of the mausoleum were strengthened with Corinthian semi-columns measuring 5 meters in height, whose elements were not preserved. Located above them was a three-belted architrave, a frieze with motifs of sphinxes, gryphons and Priapuses, and a luxurious cornice with a cyma, consoles covered with an acanthus leaf, ovoli, and an anthemion on the upper everted lath, which was preserved in a relatively large number of fragments. By comparing the ar-chitectonic and figural decorative elements with other monuments that were

8 MIRABELLA ROBERTI, 1949., 265.; SCHRNER, 1995., 69., T. 56, 1.; FISCHER, 1996., 143158. 8 MIRABELLA ROBERTI, 1949, 265; SCHRNER, 1995, 69, T. 56, 1; FISCHER, 1996, 143-158.

27

skih i figuralnih dekorativnih elemenata s drugima, kronoloki pouzdano odreenim spomenicima, dolo se do kronolokog razdoblja prve etvrtine I. st. pos. Kr. kao najvjerojatnijeg razdo-blja izgradnje mauzoleja9. To se zakljuuje prema poloaju ovula izmeu konzola i gornje izvijene letvice na vijencu, akantovim viticama izmeu palmeta antemija na gornjoj izvijenoj letvici vijenca, zgusnutim zupcima i kimi vijenca te prema smirenim krilima sfinge u frizu mitolokih likova.

chronologically positively determined, it was possible to conclude that the mau-soleum was in all probability erected in the period covering the first quarter of the 1st century AD9. This can be deduced from the position of the ovoli between the consoles and the upper everted lath on the cornice, the acanthus tendrils between the anthemion palmettes on the upper everted lath of the cornice, the concentrated dentils, the cornice cyma, and the restful wings of the sphinx in the frieze with mythological figures.

The fragments of the roof cornice of the octagonal structure as well as parts

9 Kastorov hram u Rimu; STRONG, WARD PERKINS, 1962., 19 f., T. 6, a, c.; CAVALIERI MANASSE, 1978., 145.; ORTALLI, 1986., 112; SCRINARI, 1972., 132., nr. 376.; FISCHER, 1996., 156.

9 Castors temple at Rome; STRONG, WARD PERKINS, 1962, 19 f., T. 6, a, c; CAVALIERI MANASSE, 1978, 145; ORTALLI, 1986, 112; SCRINARI, 1972, 132, nr. 376; FISCHER, 1996, 156.

28

Ulomci krovnoga vijenca osmerokutne graevine i dijelovi re-ljefno ukraenog friza, pronaeni pri arheolokom iskopavanju, vani su elementi za rekonstrukciju mauzoleja. Prema veliini, moe se pretpostaviti da je sredinji dio mauzoleja sadravao grobnu komoru. Kako je sauvano samo postolje nadgrobne gra-evine, nema nade da bi se buduim istraivanjima mogli doku-mentirati nepokretni arheoloki ostaci grobne komore. Moglo bi se oekivati iskljuivo nalaze odlomljenih dijelova arhitektonske dekoracije. Ulomak kaneliranoga polustupa s korintskim polu-kapitelom, nepoznatog mjesta nalaza, dimenzijama te izvedbom listova polukapitela odgovara zamiljenoj arhitektonskoj deko-raciji koja je mogla krasiti unutranjost pretpostavljene grobne

of the decorative frieze that were unearthed in the course of archaeological ex-plorations, represent elements that were of great importance for the reconstruc-tion of the mausoleum. Judging by size, the structure might have contained an interior sepulchral chamber. As only the podium of the funerary structure is pre-served, there is no hope that future explorations would permit to document the fixed archaeological remnants of the sepulchral chamber. One could merely ex-pect finds of broken off parts of architectonic decoration. A fragment of a fluted semi-column with a Corinthian semi-capital, whose discovery site is unknown, corresponds with its dimensions and with the way the leaves of the semi-capi-tal were executed, to the conjectured architectonic decoration that could have adorned the interior of the presumed sepulchral chamber. The unusual trap-ezoidal shape of the posterior part of a built-in block that was specially adapted

29

komore. Pretpostavku o pripadnosti osmerokutnom mauzoleju podrava neobian trapezoidan oblik ugradnoga, stranjeg di-jela bloka, koji je prilagoen ba unutranjem prostoru osme-rokutnog tlocrta. Visina polustupa iznosila je 260 cm zajedno s kapitelom, odnosno dvostruko manje od izraunate visine vanj-skih polustupova, to odgovara moguim dimenzijama pretpo-stavljene unutranje komore visine 470 cm. Upitno je rjeenje mauzoleja iznad vijenca. Jedno od mogu-

ih rjeenja ukljuuje krovnu ogradu atiku ukraenu frizom akantovih vitica. Ulomak grede s reljefom akantovih vitica jedan je od problematinih u cjelini mauzoleja. Duina friza u cijelosti je iznosila 280 cm, to je jednako duini jedne stranice osmero-kutnog mauzoleja iznad vijenca. Mjestom nalaza, dimenzijama, kao i kutom zakoenja bone spojne strane koje tono odgovara osmerokutnoj konstrukciji, greda bi trebala nai svoje mjesto u rekonstrukciji mauzoleja. Koje je to mjesto, prilino je upitno, i to iz vie razloga. Ponajprije, mauzoleju nesumnjivo pripadaju nalazi greda s drugaijim reljefnim sustavom, s prikazima na-suprotno orijentiranih mitolokih bia (Sfinga, Prijap, grifoni), simbolikih uvara pokojnikove due. Zatim, dekoracija grede stilski znatno odskae od svih ostalih ukrasnih reljefnih eleme-nata. Greda s frizom akantovih vitica nema analognih primjera datiranih u razdoblje izgradnje mauzoleja, u prvu etvrtinu I. st. pos. Kr., nego tek u drugu polovicu istog stoljea10. Postoje i druge hipotetske mogunosti nadgradnje iznad vi-

jenca, za koje, meutim, nema konkretnih arheolokih potvrda: zupasto krunite kao na rotondama, atika s kipovima ili nado-

to fit an interior area with an octagonal ground plan, supports the presumption that it belonged to the octagonal mausoleum. The height of the semi-column measured 260 cm together with the capital, i.e. two times less than the calculated height of the exterior semi-columns, which corresponds to the possible dimen-sions of the presumed interior chamber measuring 470 cm in height.

The appearance of the structure above the cornice still poses many questions. One of the possible answers comprises a roof enclosure an attic decorated with a frieze of acanthus tendrils. A beam fragment with acanthus tendrils in relief is problematic if we regard the mausoleum in its entirety. The full length of the frieze measured 280 cm, which corresponds to the length of one of the sides of the octagonal mausoleum above the cornice. The discovery site, its di-mensions, and the degree of slant of the lateral junction side that fits exactly in the octagonal structure - these criteria point that the beam should be an inte-gral part of the mausoleum reconstruction. To pinpoint its exact spot within the mausoleum is rather tricky for a number of reasons. To begin with, it is beyond all question that other discovered beams undoubtedly stem from the mauso-leum, beams which have a different decorative pattern in relief, with images of mythological creatures that are the symbolic guardians of the deceaseds soul, fronting each other (Sphinx, Priapus, gryphons). And then it should be noted that the decoration of the beam departs stylistically quite a bit from all other decorative elements in relief. There are no analogous examples of a beam with a frieze of acanthus tendrils, which are dated into the period when the mausoleum was erected, i.e. in the first quarter of the 1st century AD, but only for the period covering the second half of that same century10.

There are other hypothetical possibilities for the superstructure above the cornice, all of which, however, are devoid of any archaeological proof: a dentiled upper section as on rotundas, an attic with statues, or an added smaller sym-

10 SCHRNER, 1995., 69., T. 56, 1. 10 SCHRNER, 1995, 69, T. 56, 1.

30

graeni manji simboliki hram s kipovima. O arhitektonskom rjeenju ovisilo je, naravno, i pitanje krova: ako je krov pokrivao cijelu osmerokutnu konstrukciju kao prema prvoj predloenoj rekonstrukciji, morao je biti izveden u obliku niske osmero-strane piramide od olovnih ploa, s obzirom na veliinu pokri-vene povrine. Ukoliko se iznad osmerokutnog tijela nalazila nadgradnja u obliku manjega hrama krunoga, poligonalnog ili pravokutnog tlocrta, ona je vjerojatno zavravala stoastim ili piramidalnim krovom od kamenih ploa.

bolic temple with statues. The roof was, of course, entirely dependent on the architectural solution taken: if the roof covered the entire octagonal structure, as according to the first suggested reconstruction pattern, then it must have been erected in the shape of a low octagonal pyramid made of lead plates, based on the size of the covered surface. If, however, the octagonal structure was topped with a superstructure in the shape of a smaller temple with a circular, polygonal or rectangular ground plan, it probably ended with a conical or pyramidal roof covered with stone slabs.

33

ULICA PORTA STOVAGNAGA, DVIJE GRAEVINEDjelomino istraeni temelji dviju antikih graevina u ulici

Porta Stovagnaga, neposredno iza pulskoga foruma, nisu dovolj-ni za cjelovitu rekonstrukciju, ponajprije zbog toga jer nedostaju potpune dimenzije u tlocrtu. Vei dio obiju graevina krije se u susjednim katastarskim esticama koje nisu bile predmetom istraivanja. Pa ipak, pristupilo se pokuaju djelomine vizua-lizacije zbog toga to se radi o novim istraivanjima s poznatim stratigrafskim pokazateljima te je bilo mogue odvojiti pojedine graditeljske slojeve jedne od drugih. Rimska zgrada na uglu ulice Porta Stovagnaga i Flaciusove ulice

orijentirana je tako da se podudara s dananjim granicama gra-evinskog bloka11. Prema stratigrafskim pokazateljima, izgradnji te rimske zgrade prethodila je starija graevina iz tree etvrtine I. st. pr. Kr., iz poetnog razdoblja rimske kolonije Pole, koja po-loajem ni orijentacijom nije imala niega zajednikog sa svojom nasljednicom. Graevina koja je postala objektom djelomine hi-potetske raunalne vizualizacije, podignuta je na prijelazu iz I. u II. st. pos. Kr. i uz odreene pregradnje bila je nastanjena do VII. st. Sadravala je peristil, unutranje dvorite oivieno trijemom. Peristil se nalazio gotovo na istome mjestu gdje je tisuu i osam-sto godina kasnije smjeteno unutranje dvorite austrougarske kue. Na vanjskom uglu rimske zgrade nalazio se ugraeni bunar, okrenut ulici. Iz skromnih ostataka temelja dade se razabrati da je fasada okrenuta prema morskoj strani bila ralanjena plitkim

PORTA STOVAGNAGA STREET, TWO STRUCTURES

The partially explored foundations of two Roman structures in Porta Stovagnaga Street, immediately behind the forum at Pula, do not suffice for an all-encompassing reconstruction, primarily because of the incomplete di-mensions of the ground plan. A greater portion of both structures is hidden in the neighboring cadastral plots that were not subjected to exploration. But notwithstanding that, we engaged in efforts to try to partially visualize the structure because we felt that here we were dealing with new explorations with known stratigraphic indicators, and that it was hence possible to separate indi-vidual construction layers from one another.

The Roman edifice on the corner of Porta Stovagnaga and Flacius Streets is oriented and located in a way that corresponds with the present day borders of the construction block11. Stratigraphic indicators show that the erection of this Roman edifice was preceded by a still older structure from the third quarter of the 1st century BC, from the initial period of the Roman colony of Pola, whose position and orientation, however, had nothing in common with the edifice that followed. The structure that became the subject of a partial, hypothetical vir-tual reconstruction, was erected in the transition period from the 1st to the 2nd century AD, and was, with certain alterations, inhabited until the 7th century. It contained a peristyle, an interior courtyard bordered with a portico. The peri-style was situated practically on the exact same spot where, 1,800 years later, an interior courtyard of an Austro-Hungarian house was located. A built-in well facing the street stood on the outer corner of the Roman edifice. From the mod-est remnants of the foundations it is possible to conclude that the faade facing the sea was decorated with shallow lesenes between which stood the gate.

11 STARAC, Tragovima kamenoklesara 2006., 12. 11 STARAC, On the Trail of Stonemasons 2006, 12.

34

lezenama, izmeu kojih su smjetena vrata. Rimska graevina smjetena na suprotnoj strani ulice znatno

je zanimljivija, iako je istraivanjima zahvaen samo mali dio jako unitenih temelja, koji su porueni ispod razine poda prilikom iz-gradnje u XIX. st. Razabire se apsida i bazilikalni tlocrt12. Ti skro-mni ostaci, koji nagovjetavaju graevinu javne namjene za oku-pljanja i slubene dogaaje, dodatno su osvijetljeni pronalaskom serije jonskih stupova u tri dimenzije. Tijela kaneliranih stupova, baze te jedan jonski kapitel, zateeni su u ruevinama graevine s apsidom i sekundarno iskoriteni za podlogu austrougarskih

The Roman edifice located on the opposite side of the street is much more interesting, even though only a small part of the utterly devastated foundations that were destroyed below floor level in the course of construction activities in the 19th century was explored. It was possible to make out an apse and a ground plan typical of a basilica12. These modest remnants that purport the existence of a structure of public importance, serving both for gatherings and official events, were additionally illuminated by a discovery of a series of Ionic columns in three dimensions. The bodies of fluted columns, bases and a single Ionic capital were discovered in the ruins of the structure containing an apse, and were put to secondary use as a support for Austro-Hungarian foundations.

12 STARAC, Tragovima kamenoklesara 2006., 14, 17 12 STARAC, On the Trail of Stonemasons 2006, 14, 17.

36

temelja. Oblikovanje jonskog kapitela i baza pripadnih stupova upuuju na izgradnju apsidalne graevine tijekom prve polovice I. st. pos. Kr.13 Ni jedan element stupa, naalost, nije pronaen na izvornome mjestu, no izvjesno je barem da su svi pripadali istoj graevini. Izmeu stupova nalazile su se drvene ograde o kojima svjedoe utori na tijelima stupova. Uslijed neistraenosti veega dijela graevine i temeljitog ruenja u XIX. st., nije mogue re-konstruirati njenu unutranjost kao ni brojne druge aspekte.

The forming of both the Ionic capital and the bases of their respective columns suggests that they were used to erect an apsidal structure sometime during the first half of the 1st century AD13. Unfortunately, not a single element of the col-umn was discovered in its original location, but notwithstanding that we can at least say that it is beyond a doubt that they all belonged to a single structure. Wooden enclosure elements stood between the columns, which is corroborated by grooves found on the columns. As the bigger part of the structure was never explored, and due to its thorough devastation in the 19th century, we are not in a position to reconstruct either its interiors or its numerous other aspects.

13 STARAC, Tragovima kamenoklesara 2006., 18. 13 STARAC, On the Trail of Sonemasons 2006, 18.

37

VELIKO KAZALITE (MONTE ZARO)Vee od dvaju pulskih rimskih kazalita nalazilo se na sjever-

noj padini brda Monte Zaro, koje u imenu nosi uspomenu na nje-ga14. Danas je uglavnom skriveno ispod austrougarskih zgrada i dananjih ulica. U razdoblju venecijanske vladavine, kazalite je pretrpjelo sistematsko ruenje, sluei kao kamenolom za ve obraene graevinske blokove i mramorne stupove15. Sredinom XVI. st., kada je Sebastiano Serlio posjetio Pulu i izradio prve (i najpotpunije) nacrte i tlocrte velikog kazalita, jo je stajao u visinu velik dio gledalita i scenske zgrade16. Prva i do danas po-sljednja arheoloka istraivanja velikog kazalita proveo je 1908. Anton Gnirs17. Utvren je potpun broj stepenica gledalita, dje-lomino zatrpanog u vrijeme Serliova boravka u Puli. Veliina orkestre definirana je na 25 metara u promjeru. Tom prilikom pronaeni su pojedini ulomci arhitektonske dekoracije, koji su uz opise, nacrte i tlocrte posluili pri pokuaju raunalne rekon-strukcije. Pri rekonstrukciji dijelova graevine za koje nema od-govarajue arheoloke ni grafike dokumentacije, uzeto je kao model znatno bolje ouvano kazalite u Orangeu, koje veliinom i koncepcijom pokazuje dosta konstruktivnih slinosti s velikim kazalitem na Monte Zaru. Kazalite dugo 85 i iroko 120 me-tara u svoje je vrijeme predstavljalo jednu od najimpozantnijih graevina u Puli. Visina je izraunata prema poznatoj duini i i-rini kazalita te prema izraunatoj visini scenske zgrade, a izno-

THE LARGE THEATER (MONTE ZARO)

The larger of the two Roman theaters at Pula stood on the northern slope of a hill named Monte Zaro that in its name carries a memory of it14. Nowadays this theater is for the most part hidden beneath Austro-Hungarian edifices and present day streets. The theater was subject to systematic devastation during the period of Venetian rule, as it served as a stone-quarry providing already hewn blocks of stone and marble columns15. In the middle of the 16th century, when Sebastiano Serlio visited Pola and made the first (and most detailed) plans and ground-plans of the Large Theater, a significant part of not only the auditorium but also of the stage building (scaenaefrons) still stood high above the ground16. Anton Gnirs led the first and hitherto last archaeological excava-tions of the Large Theater in 190817. The full number of tiers in the auditorium that was partially buried under during Serlios stay at Pula, was established. The size of the orchestra was defined as measuring 25 meters in diameter. It was on this occasion that individual fragments of architectonic decoration were unearthed, and they, together with other descriptions, plans and ground plans, were used for the attempted virtual reconstruction. The better preserved theater at Orange, which according to size and conception shows a rather large amount of constructive similarities with the Large Theater on Monte Zaro, was used to reconstruct those parts of the structure for which neither archaeologi-cal nor graphical documentation exists. The theater that was 85 meters long and 120 meters wide, represented in its time one of the most imposing struc-tures in Pula. The height was calculated on the basis of the known length and width of the theater, and in accordance with the calculated height of the stage

14 MIRABELLA ROBERTI 1949, 248; MATIJAI 1994, 131; FISCHER 1996, 168.15 DE FRANCESCHI 1932, 328.16 SERLIO 1584.17 GNIRS 1908, 4989.

14 MIRABELLA ROBERTI, 1949, 248; MATIJAI, 1994, 131; FISCHER, 1996, 168.15 DE FRANCESCHI, 1932, 328.16 SERLIO, 1584.17 GNIRS, 1908, 49-89.

38

39

sila je na najvioj toki fasade 32 metra, jednako kolika je visina najviega tornja amfiteatra u Puli. Rauna se da je moglo primiti ukupno do 5.000 ljudi. Gledalite je konstruirano preteno ukle-savanjem u ivu stijenu brda, a djelomino je lealo na zidanim temeljima klinastog oblika s lukovima. U prednjem dijelu skene i ispod portika teren pada prema muljevitom koritu vodotoka pa je morao biti nasut i podzidan 6 metara dubokim zidom18. Unutar kazalita, visina triju odjeljaka gledalita odgovarala je visini triju postojeih etaa scenske zgrade. Prema klasinom modulu visine 60 cm za jednu stepenicu gledalita, izraunato je da je najnii odjeljak imao 18 stepenica, srednji 15, a najvii 7, ukljuujui natkrivenu galeriju na vrhu. Nije poznato je li ga-lerija, ukraena mramornim oblogama i pokrivena krovom od keramikih ploa (tegulae), bila otvorena lukovima prema unu-tranjosti kazalita. Srednji odjeljak imao je tri ulaza u gledalite

building, and measures 32 meters on the highest point of the faade, which equals the height of the highest tower of the amphitheater at Pula. We reckon that it had a capacity to accept up to 5,000 spectators. The auditorium was for the most part carved from bedrock of the hill, and was only partially lying on masoned wedge-shaped foundations with arches. The terrain drops towards a muddy water channel at the fore section of the stage and underneath the por-tico, and it was therefore necessary not only to fill it but also to erect a 6 meter deep retaining wall18. In the interior of the theater itself, the height of the three sections of the auditorium corresponded to the height of the three existent stories of the stage building. Taking into account the classical model of 60 cm of height for a single tier of the auditorium, we calculated that the lowest sec-tion numbered 18 tiers, the middle one 15, and the highest one 7 tiers, includ-ing the covered gallery at the top. It is not known whether the gallery that was decorated with a lining of marble slabs, and covered with a roofing consisting of pottery slabs (tegulae), was arched on its interior side that opened towards

18 GNIRS 1911, 32. 18 GNIRS 1911, 32.

40

iz unutranjeg hodnika, od kojih je najzapadniji arheoloki do-kumentiran. Prema Serlijevu nacrtu, galerija je s vanjske strane imala lukove, kao i donji katovi gledalita. Pilastri arkada na pr-vom i drugom katu imali su po sredini polustupove. Gledalite je bilo podijeljeno s 5 uspona u 6 sektora. Scenska zgrada visine 32 m imala je krov u tri dijela s kerami-

kim pokrovom. Iako fasada nije sauvana, moe se pretpostaviti da je, kao i kod drugih kazalita, imala u gornjem dijelu nosae za jarbole koji su drali uad za rastezanje platnenog pokrova nad gledalite. Naili smo i na druge nejasnoe pri izradi rau-nalne rekonstrukcije vanjske fasade scenske zgrade, o kojoj po-

the stage. The middle section had three entrances into the auditorium from an interior corridor, the westernmost being the one that is archaeologically doc-umented. According to Serlios drawings, the gallery was on its exterior side equipped with arches, as was the case with the lower stories of the auditorium. The pilasters of the arcades on the first and second stories had semi-columns across the middle. The auditorium was divided with five staircases into six sec-tors.

The stage building that was 32 meters high had a tripartite roof covered with pottery slabs. Even though the faade was not preserved, it can be assumed that it too, like with many other theaters, had on its upper part supports for the masts that held the ropes used to draw out the tarpaulin over the auditorium.

41

During the making of the virtual reconstruction of the outer faade of the stage building, for which the archive documentation available was at least a hundred years old and even more, we stumbled onto many other baffling issues. In front of the faade, along its entire length, a proportionately lower two-story portico was leant against it, which was covered with a roof made of pottery slabs and roof-tiles. Gnirs wrongly interpreted the drawings of Sebastiano Serlio, who was the last person to see and sketch the portico in front of the theater, as was also the case with Cassas a century earlier19. Both of them wrongly believed that Serlios drawing of the three story faade represents the portico, where in actual fact we are dealing with the outer semi-circular wall of the auditorium. The portico in front of the theater consisted of a colonnade made of fluted

stoji iskljuivo arhivska dokumentacija stara od stotinu godina navie. Ispred fasade, cijelom njenom duinom, bio je prislonjen razmjerno nii dvoetani trijem pokriven krovom od kerami-kih ploa i kupa. Gnirs je, kao i Cassas jedno stoljee ranije, po-greno interpretirao crtee Sebastijana Serlija koji je posljednji vidio i skicirao trijem ispred kazalita19. I jedan i drugi pogreno su vjerovali da Serlijev crte fasade u tri etae predstavlja trijem, a zapravo se radilo o vanjskome polukrunom zidu gledalita. Trijem ispred kazalita sastojao se od kolonade kaneliranog stu-povlja u dvije etae, u svakoj po 32 stupa, a duina mu je iznosila 120 metara. Na mjestima ulaza, razmaci izmeu stupova trijema

19 CASSAS, LAVALLE, 1802; GNIRS 1908, 60, nt. 4, biljeka prevoditelja C. De Franceschi. 19 CASSAS, LAVALLE, 1802; GNIRS, 1908, 60, nt. 4, translators note C. De Franceschi.

42

bili su prema klasinom Vitruvijevu kanonu neto vei. Scenska zgrada, od koje danas nije na mjestu vidljivo nita,

predstavlja zaseban problem. Gotovo svi mramorni arhitekton-ski elementi pronaeni u velikom kazalitu potjeu upravo iz scenske zgrade: baze stupova i kapiteli u tri veliine od proko-nekog mramora, tri vrste arhitrava i tri vrste vijenaca od bije-loga grkog mramora. Ukupna visina scenske zgrade kretala se oko 20 metara. Prema Serlijevu tlocrtu, postojala su tri ulaza na scenu, iroka 6 metara i duga najmanje 48 metara. Arheoloka istraivanja poetkom XX. st. potvrdila su broj ulaza, ali i po-kazala neto veu stvarnu udaljenost bonih vrata u odnosu na srednja. U Gnirsovoj dokumentaciji iskoritene su amaterske za-biljeke asnika Schrama i crtei ostataka istonog dijela scen-ske zgrade, nastali pri izgradnji stambene kue (Casa Schram) godine 1875. Prema veliini kazalita i dimenzijama arhitekton-skih elemenata koji su sainjavali scensku zgradu, zakljuujemo

columns in two stories, with 32 columns to each story, and with a total length measuring 120 meters. The interspaces between the columns of the portico were somewhat bigger at the entrances, in accordance with Vitruvius classical canon.

The stage building, of which there is absolutely nothing left on site nowa-days, represents a problem of its own. Almost all of the architectonic elements made of marble unearthed at the Large Theater stem from the stage building: column bases and capitals in three sizes, all made of Prokonnesos marble, three kinds of architraves and three kinds of cornices made of Greek white marble. The total height of the stage building measured approximately 20 meters. In accordance with Serlios ground plan, there were three entrances that led onto the stage that was six meters wide and at least 48 meters long. Archaeological explorations at the beginning of the 20th century corroborated the number of entrances, but they also showed a somewhat larger distance from the lateral gates to the central gate. In his documentation, Gnirs also used the amateur notes that had been compiled by officer Schram as well as the drawings of the

da je imala tri etae, a moe se pretpostaviti da se u srednjem dijelu nalazio istaknuti rizalit na dvije, razmjerno vie etae, po-put kazalita u Orangeu. Sredinji rizalit sadravao je kolosalni mramorni kip cara u nii na katu. Torzo je pronaen u orkestri, na mjestu pada. Svakoj etai pripadala je druga vrsta mramor-nih arhitrava i vijenaca, koji se meusobno razlikuju veliinom i oblikovanjem. Nisu ipak svi dekorativni elementi bili izraeni od mramora; pronaeni su arhitrav s frizom maski i vijenac zaba-ta ukraen maskama, izraeni od vapnenca. Tragovi zlatnoute boje na reljefnoj sredinjoj maski vijenca zabata otkrivaju da su elementi od vapnenca bili obojani ivim bojama. Pri izradi ove prve raunalne rekonstrukcije nije se bilo mogue dosljedno dr-ati ni jednoga postojeeg plana, zbog toga to se meusobno razlikuju. Budua istraivanja i studije doprinijet e izradi de-taljnije i tonije vizualizacije velikog kazalita.

remnants of the eastern section of the stage building, which were created dur-ing the erection of a residential house (Casa Schram) in 1875. In accordance with the size of the theater and the dimensions of the architectonic elements that used to be a part of the stage building, we conclude that the latter must have had three stories, and it is to be further assumed that its central part was raised in relation to the lateral wings, with two relatively higher stories, as is the case with the theater at Orange. The central, elevated section of the struc-ture contained a colossal marble statue of the emperor, which was situated in a niche on the first story. The torso was discovered in the orchestra, on the spot where it fell. Each story had its own characteristic marble architraves and cornices that differ from one another in size and form. That is not to say that all decorative elements were made of marble; an architrave with a frieze consisting of masks, and a gable cornice adorned with masks were unearthed, which were hewn out of limestone. Traces of golden-yellowish paint on the central mask in relief from the gable cornice, indicate that elements made of limestone used to be painted in vivid colors. We were not able to consistently follow any existent plans during the making of this first virtual reconstruction, because they differ from one another. Future exploration and research activities will contribute towards a more detailed and exact visualization of the Large Theater.

48

49

53

LITERATURA

L. F. CASSAS et J. LAVALLE, Voyage pittoresque et historique de lIstrie et de la Dalmatie, Paris, 1802.

C. DE FRANCESCHI, Le colonne polesi della Libreria di S. Marco, Atti e Memorie della Societ Istriana di Archeologia e Storia Patria 44, 1932.

B. CRNKOVI, Izvornost kamena ugraenog u pulsku arenu, Histria Antiqua 9, 2003., 7176.

K. DIN, Results of the Archaeological Researches of the Nesactium in 2006., Histria Antiqua 15, 2007., 501506.

G. FISCHER, Das rmische Pola, Eine archologische Stadtgeschichte, Bayerische Akademie der Wissenschaften, Philosophisch-historische klasse 110, Mnchen 1996.

B. FORLATI TAMARO, Inscriptiones Italiae X/1, Pola et Nesactium, Roma 1947.

A. GNIRS, Lantico teatro di Pola, Atti e Memorie della Societ Istriana di Archeologia e Storia Patria 24, 1908, 4989.

A. GNIRS, Grabungen und Untersuchungen in der Polesana, Jahreshefte des sterreichischen archologischen Instituts 14, 1911, 544.

V. JURKI-GIRARDI, Arte plastica del culto come determinante lesistenza dei culti romani e sincretici nella regione istriana, Atti del Centro di Ricerche Storiche di Rovigno 5, 1974, 733.

A. KRIZMANI, J. i D. MARASOVI, Lanfiteatro nella struttura urbana di Pola. Approccio metodologico allelaborazione scientifica dello studio dello stato originario, Histria Antiqua 9, 2003., 89115.

R. MATIJAI, I teatri romani di Pola tra spettacolo e vita quotidia-na, Antichit Altoadriatiche 41, 1994, 129145.

LITERATURE

L. F. CASSAS et J. LAVALLE, Voyage pittoresque et historique de lIstrie et de la Dalmatie, Paris, 1802.

C. DE FRANCESCHI, Le colonne polesi della Libreria di S. Marco, Atti e Memorie della Societ Istriana di Archeologia e Storia Patria 44, 1932.

B. CRNKOVI, Izvornost kamena ugraenog u pulsku arenu, Histria Antiqua 9, 2003., 71-76.

K. DIN, Results of the Archaeological Researches of the Nesactium in 2006., Histria Antiqua 15, 2007., 501-506.

G. FISCHER, Das rmische Pola, Eine archologische Stadtgeschichte, Bayerische Akademie der Wissenschaften, Philosophisch-historische klasse 110, Mnchen 1996.

B. FORLATI TAMARO, Inscriptiones Italiae X/1, Pola et Nesactium, Roma 1947.

A. GNIRS, Lantico teatro di Pola, Atti e Memorie della Societ Istriana di Archeologia e Storia Patria 24, 1908, 49-89.

A. GNIRS, Grabungen und Untersuchungen in der Polesana, Jahreshefte des sterreichischen archologischen Instituts 14, 1911, 5-44.

V. JURKI-GIRARDI, Arte plastica del culto come determinante lesistenza dei culti romani e sincretici nella regione istriana, Atti del Centro di Ricerche Storiche di Rovigno 5, 1974, 7-33.

A. KRIZMANI, J. I D. MARASOVI, Lanfiteatro nella struttura urbana di Pola. Approccio metodologico allelaborazione scientifica dello studio dello stato originario, Histria Antiqua 9, 2003., 89-115.

R. MATIJAI, I teatri romani di Pola tra spettacolo e vita quotidi-ana, Antichit Altoadriatich 41, 1994, 129-145.

54

R. MATIJAI, Foro e Campidoglio di Nesactium (Nesazio), Antichit Altoadriatiche 42, 1995., 121139.

R. MATIJAI, Kamena arhitektonska dekoracija hramova u Nezak-ciju, Histria Antiqua 2, 1996., 91110.

. MLAKAR, Amfiteatar u Puli, Pula 1996.G. ROSADA, Oppidum Nesactium, Una citt istro-romana, Canova 1999.

S. SERLIO, Tutte lopere darchitettura, Venezia 1584.A. STARAC, Reljefni prikazi na rimskim nadgrobnim spomenicima u Arheolokom muzeju Istre u Puli. Depictions in Relief on Roman Funerary Monuments at the Archaeological Museum of Istria at Pula, Corpus signorum Histriae I, Monografije i katalozi 16, Pula 2006, 13200.

A. STARAC, Tragovima kamenoklesara. Arheoloki nalazi u ulici Stovagnaga. On the Trail of Stonemasons. Archaeological Discoveries in Porta Stovagnaga Street, Monografije i katalozi 17, Arheoloki muzej Istre, Pula 2006, 9155.

P. STICOTTI, Relazione preliminare sugli scavi di Nesazio, Atti e Memorie della Societ Istriana di Archeologia e Storia Patria 18, 1902., 121147.

P. STICOTTI, A proposito di un timpano figurato di Nesazio, Atti e Memorie della Societ Istriana di Archeologia e Storia Patria 22, 1905., 203211.

R. MATIJAI, Foro e Campidoglio di Nesactium (Nesazio), Antichit Altoadriatiche 42, 1995., 121-139.

R. MATIJAI, Kamena arhitektonska dekoracija hramova u Nezak-ciju, Histria Antiqua 2, 1996., 91-110.

. MLAKAR, Amfiteatar u Puli, Pula 1996.2G. ROSADA, Oppidum Nesactium, Una citt istro-romana, Canova 1999.

S. SERLIO, Tutte lopere darchitettura, Venezia 1584A. STARAC, Reljefni prikazi na rimskim nadgrobnim spomenicima u Arheolokom muzeju Istre u Puli. Depictions in Relief on Roman Funerary Monuments at the Archaeological Museum of Istria at Pula, Corpus signorum Histriae I, Monografije i katalozi 16, Pula 2006, 13-200.

A. STARAC, Tragovima kamenoklesara. Arheoloki nalazi u ulici Stovagnaga. On the Trail of Stonemasons. Archaeological Discoveries in Porta Stovagnaga Street, Monografije i katalozi 17, Arheoloki muzej Istre, Pula 2006, 9-155.

P. STICOTTI, Relazione preliminare sugli scavi di Nesazio, Atti e Memorie della Societ Istriana di Archeologia e Storia Patria 18, 1902., 121-147.

P. STICOTTI, A proposito di un timpano figurato di Nesazio, Atti e Memorie della Societ Istriana di Archeologia e Storia Patria 22, 1905., 203-211.

CIP Katalogizacija u publikacijiSveuilina knjinica u Puli

UDK 904:72>(497.5 Pula)652:004.932>(083.824) 004.932.72:904(497.5 Pula)652(083.824)

STARAC, Alka Od ulomka do rekonstrukcije : izloba =From fragment to reconetruction : exhibition /Alka Starac ; . 2. nepromijenjeno izd. Pula :Arheoloki muzej Istre, 2010. (Katalog, ISSN 1845-8025 ; 78)

Katalog izlobe. Tekst usporedo na hrv. i engl.jeziku. Bibliografija. Bibliografske biljekeuz tekst.

ISBN 978-953-6153-63-7

ISBN 978-953-6153-63-7

TURISTIKA ZAJEDNICA PULAEnte per il turismo di PolaTourism Office PulaTourismusverband Pula

ISSN 1845-8025