Croatia Airlines Inflight ljeto 2011

CROATIA PUTNI »ASOPIS n

INFLIGHT MAGAZINE

P U T N I

» A S O P I S

L J E T O

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I N F L I G H T

S U M M E R

VA© VLASTITI PRIMJERAK

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M A G A Z I N E

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YOUR PERSONAL COPY

LJETO n

SUMMER 2011

D. FabijaniÊ

DOBRO DO©LI U ZRAKOPLOV!

Nakladnik/Publisher Croatia Airlines Hrvatska zrakoplovna tvrtka Bani 75b, Buzin 10 010 Zagreb, Croatia tel. +385-1-616-00-66 faks +385-1-616-01-53 E-mail: pr@croatiaairlines.hr URL: www.croatiaairlines.com Direktor/President & C.E.O. SreÊko ŠimunoviÊ Glavna urednica/Editor-in-chief Ksenija Ælof Suradnici glavne urednice/ Editor-in-chief assistants Ana ∆ulumoviÊ i Davor JanuπiÊ Uredniπtvo/Editorial staff Silvana Jakuπ, –uro TomljenoviÊ, Ksenija ÆlofRoman Gebauer, Miljenkbravka Urednik fotografije/Photo editor Damir FabijaniÊ Dizajn/Design Ivana IvankoviÊ PrliÊ, Nenad VujoπeviÊ Prijelom/Layout Nenad VujoπeviÊ Lektorica/Proof reader Mirjana Miholek Prijevod na engleski/ English translation Lancon d.o.o.

Oglaπavanje/Advertising Croatia Airlines Gabrijela Lochert tel. +385-1-616-00-17 E-mail: advertising@croatiaarlines.hr Promocija/Promotion Croatia Airlines tel. +385-1-616-01-26 Priprema/Photolitography

WELCOME ABOARD!

Poštovani put­ni­ci!

Dear passengers,

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I

red nama je najdinamiËniji, a za mnoge i najljepπi dio godine, kad je rijeË o putovanjima.

Stoga smo se pobrinuli da naπim novim letovima poveæemo atraktivna europska odrediπta ne samo s naπim glavnim gradom Zagrebom, nego i s biserima hrvatske obale. VeÊ smo naπim novim letovima povezali Zagreb i Dubrovnik s Istanbulom i Atenom, Hamburg sa Splitom, Rijeku s Londonom, Zadar s Münchenom i Zürichom, Dubrovnik s Venecijom, a od 20. lipnja novost su i letovi izmeu Beograda i Dubrovnika. Osobita nam je Ëast πto smo 5. lipnja naπim zrakoplovom iz Zagreba u Rim prevezli i Svetog Oca Benedikta VI., koji je bio u dvodnenovm posjetu Hrvatskoj.

I u ovom broju našeg Ëasopisa predstavljamo vam, kao i uvijek, zanimljive dijelove naπe zemlje, od sjevera do juga, naπu baπtinu, kulturu, prirodne ljepote …

Najprije vas vodimo u najsjeverniji dio Hrvatske, u ËakoveËki stari grad Zrinski. Zatim Êemo se malo zaustaviti u Hrvatskom zagorju i poigrati zagorskim drvenim igraËkama, toliko jedinstvenima da su upisane i na Unescovu listu nematerijalne svjetske baπtine.

Na vratima glavnoga grada nalazi se zanimljiv prirodni rezervat Crna Mlaka. Ako ste gosti Zagreba, moæda Êete poæeljeti posjetiti taj obliænji kutak prirode. Takoer predstavljamo i zagrebaËku galeriju Mije KovaËiÊa u Ëijemu su stalnom postavu izloæena osebujna i ne- SreÊko ŠimunoviÊ ponovljiva ostvarenja hrvatske naive - radovi naivnog slikara Mije KovaËiÊa.

Poslije Zagreba, vodimo vas na more. Piπemo, primjerice, o istarskoj ljepotici puskoj Areni, zatim o tradicionalnom festivalu kulture, hrane i obiËaja zadarskog kraja, noÊima punog Mjeseca, Dioklecijanovoj palaËi u Splitu i uvijek zanimljivom i prelijepom otoku KorËuli. Posvetili smo dio naπeg lista i 300. obljetnici roenja hrvatskoga genija Ruera BoπkoviÊa, kojemu se njegov rodni Dubrovnik oduæio velikom izloæbom DubrovaËkih muzeja. Predstavljamo vam i naπe novo odrediπte − uvijek zanimljiv i zavodljiv Istanbul, grad na dva kontinenta, izmeu dva mora.

Vjerujemo da Êemo vam sadræajima koje moæete pronaÊi i u ovome ljetnom broju Ëasopisa Croatia vaπe putovanje uËiniti joπ ugodnijim. Zadovoljstvo nam je πto letite naπim zrakoplovom i zahvaljujemo vam na tome. Æelimo vam mnogo lijepih i nezaboravnih trenutaka provedenih u naπoj zemlji. Doite nam opet!

n front of us is the most dynamic, and for many the most beautiful part of the year when it comes to travelling.

That is why we have made sure that our flights connect attractive European destinations not only with our capital city Zagreb, but also with our pearls of the Adriatic coast.

With our new flights we have already connected Zagreb and Dubrovnik with Istanbul and Athens, Hamburg with Split, Rijeka with London, Zadar with Munich and Zurich, Dubrovnik withVenice, and as of 20 June the novelty are flights between Belgrade and Dubrovnik. It is our great honour that on 5 June our aircraft have transported, from Zagreb to Rome, Pope Benedict VI, who was on a two day visit to Croatia.

In this issue of our Inflight magazine we present to you, as always, interesting parts of our country, from the north to the south, our heritage, culture, natural beauty...

First of all we take you to the most northern part of Croatia, to the old city of the Zrinski family in »akovec. Afterwards we will stay a bit in Croatian Zagorje and play a little with the Zagorje wooden toys, which are so unique that they are listed on UNESCO’s list of Non-tangible World Heritage.

At the doors of our capital city is the interesting nature reserve Crna Mlaka. If you are guests in Zagreb maybe you will wish to visit this nearby corner of nature. Also, we present the Zagreb Gallery of Mijo KovaËiÊ in which are the permanent displays of peculiar masterpieces of Croatian Naive art − the works of Naive painter Mijo KovaËiÊ.

After Zagreb, we take you to our sea. We have written about, for example, the beautiful Istrian Arena in Pula, and about the traditional Festival of Culture, Food and Customs in the Zadar region, Nights of the Full Moon, Diocletian’s Palace in Split and the always interesting and beautiful island of KorËula. We have also dedicated part of our magazine to the 300th jubilee anniversary of the birth of the Croatian genius Ruer BoπkoviÊ. His native Dubrovnik pays homage to him with the great exhibition of Dubrovnik museums. We also present you with our new destination − the always interesting and attractive Istanbul, the city on two continents, between two seas.

We believe that with the information you find in this summer issue of Croatia magazine your flight will be even more enjoyable. We are pleased that you have chosen to fly a Croatia Airlines aircraft and we thank you for that.

We wish you many beautiful and unforgettable moments in our country. Please come again.

Zrinski d.d., »akovec Tisak/Print Zrinski d.d., »akovec

ISSN 1330-6278

SreÊko ©imunoviÊ President & C.E.O.

■ SADRÆAJ 6

Razgovor: Viktor ÆmegaË

Te poticajne godine djetinjstva!

Viktor ÆmegaË jedan je od najutjecajnijih hrvatskih intelektualaca na meunarodnoj znanstvenoj sceni.

20 Kontinentalna Hrvatska

Dvorac Zrinski, baŠtina hrabrih

Danas je Stari grad srediπnji memorijalni prostor »akovca i Meimurske æupanije te simbol meimurskog identiteta i tradicije.

Tradicija 34

Zagorske drvene igra»ke

UmijeÊe izrade zagorskih drvenih igraËaka, prepoznatljivih tradicijskih proizvoda, upisano je na Unescovu reprezentativnu listu nematerijalne baπtine ËovjeËanstva.

50 Baština

»udesan svijet s one strane slikarskog stakla

U tihu i mirnu BasariËekovu ulicu, u galeriju Mije KovaËiÊa na zagrebaËkome Gornjem gradu, slijevaju se posjetitelji sa svih strana svijeta.

58 Priroda

Crna Mlaka na vratima metropole

Crna je Mlaka æivi dokaz uspjeπna suæivota Ëovjeka i prirode, velike hrvatske prirodne baπtine u svjetskim razmjerima.

72 Istra

Arena, anti»ka ljepotica

Pulski amfiteatar najveÊi je i najsaËuvaniji spomenik antiËkoga graditeljstva u Hrvatskoj 90 Kvarner

Vrbnik nad morem

Velik dio svoje prepoznatljivosti Vrbnik temelji na glagoljaπkoj baπtini pa ga Ëesto nazivaju kolijevkom hrvatske pismenosti.

102 Festivali

No∆ punog Mjeseca

NoÊ punog Miseca festival je kulture, hrane i obiËaja zadarskog kraja, koji podsjeÊa i na to kako je nekad bilo.

106 Arhitektura

pala»a starija od Splita

Dioklecijanova palaËa u Splitu najznaËajniji je i najbolje oËuvani spomenik kasnorimske arhitekture na svijetu.

114 Otoci

Kor»ula, ljepota koja zbunjuje

KorËulani svjesno nastoje oko sloge i uzajamne podrπke i upravo se u toj vrlini krije njihova snaga i izvor njihova bogatstva.

140 Naša odredišta

Istanbul, metropola na dva kontinenta

Meu stotinjak svjetskih aviokompanija, Ëiji zrakoplovi redovito slijeÊu u istanbulsku zraËnu luku, od ovoga su svibnja i zrakoplovi Croatia Airlinesa.

152 Obljetnice

Ru–er BoŠkovi∆ u rodnom Dubrovniku

Ove godine slavimo 300. obljetnicu roenja hrvatskoga svestranog znanstvenika, jednoga od posljednjih svjetskih polihistora.

162 Dogaaji

Bol, ljetna metropola svjetskih znanstvenika U ljetnom odrediπtu Croatia Airlinesa, Bolu na BraËu, okupila se svjetska znanstvena elita.

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Ljeto/Summer 2011

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■ CONTENTS 6

Interview: Viktor ŽmegaË

Those inspiring childhood years!

Viktor ÆmegaË is one of the most distinguished Croatian intellectuals on the international science scene.

20 Inland Croatia

The Zrinski Castle, the legacy of the brave

Today the Old Town is the central memorial site in »akovec and Meimurje County and it symbolizes the identity and tradition of Meimurje.

34 Tradition

Wooden toys made in Zagorje

The traditional manufacturing of wooden toys, a quintessential traditional product of Croatian Zagorje, has been inscribed on UNESCO’s Representative List of Intangible Cultural Heritage of Humanity.

50 Heritage

A remarkable world from the other side of the glass

In the quiet and peaceful BasariËek Street, at the Mijo KovaËiÊ Gallery in Zagreb’s Upper Town, visitors pour in from all around.

Nature 58

Crna Mlaka at the doors of the city

Crna Mlaka is living proof of the success of the coexistence of man and nature, and the great natural heritage of Croatia on the world level.

72 Istria

Arena, an ancient beauty

The Pula amphitheatre is the largest and best preserved ancient monument in Croatia.

90 Kvarner

Vrbnik above the sea

Vrbnik owes a large part of its recognisable character to the Glagolitic heritage; very often, it is referred to as the cradle of Croatian literacy.

102 Festivals

Night of the Full Moon

The night of the full moon is the traditional festival of culture, cuisine and customs of the Zadar area which reminds of the old days.

106 Architecture

Palace older than Split

Diocletian’s Palace in Split is the most significant and the best preserved monument of late Roman architecture in the world.

114 Islands

Kor»ula, bewildering beauty

KorËulans consciously make an effort regarding unity and mutual support, and this quality is the source of their strength and wealth.

140 Our destinations

Istanbul, the metropolis straddling two continents

As of this May, Croatia Airlines is one of the hundred or so international airlines whose aircraft regularly land at Istanbul’s airport.

152 Anniversaries

Ru–er BoŠkovi∆ in his hometown

This year we celebrate 300 years since the birth of this versatile Croatian scientist, gifted in many disciplines.

162 Events

Bol, summer metropolis for international scientists

In Croatia Airlines’ summer destination, Bol on the island of BraË, the world scientific elite came together.

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Ovo je vaπ vlastiti primjerak

This is your personal copy

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■ RAZGOVOR: Viktor Žmega»

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CROATIA AIRLINES

Piπe/By Zlatko Madžar

Fotografije/Photos Damir FabijaniÊ

INTERVIEW: Viktor Žmega» ■

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Nevjerojatno svestrani povjesniËar kulture prof. dr. Viktor ÆmegaË jedan je od najcjenjenijih hrvatskih intelektualaca na meunarodnoj sceni.

Premda je za njime veÊ punih πest desetljeÊa znanstvenog rada, temom su ovog razgovora tri opseæne nove knjige nastale tijekom proteklih pet godina.

An incredibly versatile historian of culture, Professor Viktor ÆmegaË, Ph.D. is one of the most distinguished Croatian intellectuals on the international scene. With six decades of scientific work already under his belt, the topic of this interview are his three new extensive books which he has been writing over the past five years.

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rofessor emeritus SveuËiliπta u Zagrebu Viktor ÆmegaË (Slatina, 1929.) odgojio je plejadu vrsnih germanista, odræao nebrojena predavanja i objavio niz izvanrednih knjiga prevedenih na strane jezike, od kojih su neke postale nezaobilazni udæbenici na studijima germanistike u Europi (NjemaËka, Italija, Poljska, ©vedska). »lan je uglednih inozemnih akademija, dobitnik uglednih strukovnih priznanja i autor Ëija djela redovito doæivljavaju ponovna izdanja i nove prijevode.

■ Svoj golemi spisateljski opus okrunili ste trima kapitalnim knjigama napisanima u osmom desetljeÊu æivota; pretpostavljam da se tek u poznoj æivotnoj dobi kumulira ono golemo iskustvo koje je nuæno za sintetiËko shvaÊanje znanstvene i kulturoloπke problematike…

- Theodor von Tanne, njemaËki knjiæevnik iz 19. stoljeÊa, rekao je da najbolje knjige nastaju poslije sedamdesete godine æivota.

To je toËno, jer u tijeku desetljeÊa nataloæi se znanje koje je potrebno za sintetiËke knjige, a uz to Ëovjek u mirovini ima viπe vremena.

Osim toga, mene je uvelike pogodila teπka bolest moje supruge; nekad smo mnogo putovali, πto je sada, na æalost, nemoguÊe, pa kao πto je moja jadna Cvijeta prikovana uz krevet, tako sam ja prikovan uz pisaÊi stroj.

BuduÊi da se tijekom πest desetljeÊa nakupio korpus znanja i poznavanja tekstova s razliËitih podruËja - germanistika, muzikologija, sociologija, filozofija, kulturoloπke teme - sve je to tijekom proteklih pet godina sada doπlo do izraæaja u trima opseænim knjigama monografskog obiljeæja, koje je objavila Matica hrvatska. Prva je od njih Povijest njemaËke kulture − od Bacha do Bauhausa (2006.), koja pokuπava pratiti tijekove razvoja njemaËke kulture sa svim njezinim modifikacijama, vaænima s obzirom na to πto je slika o NjemaËkoj u posljednjih dvjesto godina pretrpjela bitnu promjenu. Francuska knjiæevnica Madame de Staël formulirala je u poËetku 19. stoljeÊa onu glasovitu misao da su Nijemci narod pjesnika i mislilaca. Za razliku od nje, prosjeËan Ëovjek danaπnjice NjemaËku prije svega doæivljava kao zemlju gotovo savrπene tehnologije. No takva promjena slike o NjemaËkoj samo je djelomice toËna, jer joπ je i danas posrijedi zemlja koja se moæe podiËiti savrπenstvom gotovo svih umjetniËkih i znanstvenih podruËja. Znamo li da je NjemaËka u 18. i 19. stoljeÊu bila glazbena velesila bez premca, onda samo po sebi postaje jasno zaπto sam u naslov te knjige uvrstio Bachovo ime. No u naslovu je i Bauhaus, kao jedinstvena institucija koja je u poËetnim desetljeÊima proπlog stoljeÊa

svrhovito ujedinila najistaknutije umjetnike iz razliËitih europskih zemalja, πto govori o golemome meunarodnom odjeku njemaËke kulture, i ne samo tehniËke, nego i umjetniËke.

■ Vaπe poznavanje zahtjevne glazbe urodilo je monografijom Majstori europske glazbe - od baroka do sredine 20. stoljeÊa (2009.). Za razliku od Josipa Andreisa, koji je napisao prvu povijest glazbe na hrvatskom jeziku, Vi ste svoju knjigu koncipirali drugaËije?

- Kako je prof. Andreis bio leksikonski iscrpan, ja sam svoju zadaÊu mogao formulirati drukËije. U naznaËenome vremenskom rasponu odabrao sam niz velikih skladatelja, ali samo onih bez kojih ne moæemo pratiti stilske mijene u europskoj glazbi koja je, dakako, najveÊi i najvrjedniji dio svjetske glazbene baπtine. Bach je prvi skladatelj koji je ostavio tako dubok trag u svjetskoj glazbi da nema nijednog skladatelja od ranga Ëak ni u 20. stoljeÊu koji nije tvrdio kako mu je upravo Bach bio apsolutno uporiπte! Posljednja poglavlja te knjige posveÊena su takozvanim klasicima 20. stoljeÊa. I u knjiæevnosti i u likovnoj umjetnosti, pa tako i u glazbi stvaraju se s vremenom oni izbori koje smatramo kanonima; javnost smatra da je odjek pojedinih kompozitora bio tako jak da bez njih viπe ne moæemo zamisliti glazbeni æivot. Eto, tako veÊ i 20. stoljeÊe ima svoj kanon i to prema dvama kriterijima. Prvi je kriterij inovacijska snaga skladatelja, a drugi je kriterij njegov odjek, ne samo kod publike nego i u stvaralaπtvu drugih skladatelja.

■ U svojoj najnovijoj knjizi Proπlost i buduÊnost 20. stoljeÊa (2010.) iscrpno se bavite znanstvenom misli proπlog stoljeÊa, pri Ëemu inzistirate na onim spoznajama koje su i te kako aktualne i u ovome naπem vremenu…

- Najprije Êu objasniti neobiËan naslov knjige.

Proπlost je, dakako, kalendarska kategorija, a buduÊnost je recepcijska kategorija. Poπao sam s namjerom da napiπem knjigu koja Êe pokazati kako je sve πto je naπe vrijeme, aktualni trenutak, nezamislivo bez kulturnih tekovina 20. stoljeÊa. Ovdje sam se usredotoËio na kulturoloπke teme, to znaËi na znanstvena i filozofska djela.

To je knjiga koja je pisana autorski, dakle to nije zbornik nego izbor nastao na temelju autorovih glediπta o bitnim djelima 20. stoljeÊa. Da bi Ëitateljima pruæili uvid u tu knjigu, spomenut Êu samo nekoliko poglavlja.

Na poËetku je poglavlje o Sigmundu Freudu i njegovoj glasovitoj knjizi TumaËenje snova, a takvu strukturu ima cijela knjiga: jedan autor i jedno njegovo djelo. No dodao bih da

u pojedinim poglavljima ne prikazujem samo to djelo iz naslova, jer recepciju odabranih radova kritiËki usporeujem s dosezima drugih autora koji su govorili o srodnim temama. Drugo poglavlje predstavlja glasovit TeËaj opÊe lingvistike πvicarskog jezikoslovca Ferdinanda de Saus-surea, koji je stvorio temelje za suvremeno razmatranje jezika, odnosno jeziËne komunikacije, a njegovu su terminologiju preuzele i druge znanstvene discipline. U knjigu sam uvrstio i disertaciju Apstrakcija i uæivljavanje njemaËkog povjesniËara umjetnosti Wilhelma Worringera, koji je tako vizionarski obuhvatio suvremene likovne teænje, dajuÊi im razumski utemeljen okvir najπirih dimenzija i utjeËuÊi u isti mah Ëak neposredno na stilske programe modernih slikara, na njihovu poetiku. Nekoliko poglavlja posveÊeno je problemima filozofije.

Tu Êu spomenuti Martina Heideggera s njegovim fundamentalnim djelom Bitak i vrijeme te Horkheimerovu i Adornovu knjigu Dijalektika prosvjetiteljstva. Obje knjige zapravo odgovaraju na pitanje πto je Ëovjek i kakav je njegov razvoj. Tu je posrijedi antropoloπka problematika koja je kod Adorna dodatno rasvijetljena i socioloπkim uvidom, a upravo je to jedna od temeljnih tema ove moje knjige.

TreÊi problemski krug naπ je odnos prema tradiciji. Tradicija je u novijoj europskoj kulturnoj povijesti imala takvu ulogu da se bez nje mnoge stvari ne mogu razumjeti; kako se moæemo odnositi prema proπlosti, ili njegovati kulturu sjeÊanja (tako se to danas naziva) ili kulturu zaborava, jer neki teoretiËari kulture polaze od toga da smo mi u 20. i 21. stoljeÊu i u pozitivnome i u negativnom smislu toliko pod utjecajem tradicije da se s tradicijom mnogo lakπe nosimo nego sa suvremenim umjetniËkim izrazima ili znanstvenim tekovinama. Eto, to su te tri teme koje se provlaËe kroz cijelu knjigu o kulturoloπkim dosezima proπlog stoljeÊa, bez obzira na to je li rijeË o veÊ spomenutim autorima ili o Walteru Benjaminu, Albertu Camusu, Simone de Beauvoir, Marshallu McLuhanu, Erichu Frommu itd.

■ Kako je putni Ëasopis Croatia namijenjen hrvatskim ali i inozemnim Ëitateljima, mnogima Êe biti zanimljivo barem poneπto saznati i o Vaπoj dugogodiπnjoj nazoËnosti na europskoj znanstvenoj i kulturnoj sceni…

- Uvijek sam se trudio biti prisutan kako u domovini, tako i u inozemstvu, πto je urodilo plodom. Most je bio njemaËki jezik, koji je takoer moj materinski jezik, posve ravnopravan hrvatskomu, tako da je znatan dio mojih knjiga izvorno napisan na njemaËkom jeziku.

Zavidan odjek tih knjiga u inozemstvu osobito mi je drag, jer to je ujedno uspjeh i naπe hrvat-

ske kulture. Na tome je planu najveÊi pothvat bila moja Povijest njemaËke knjiæevnosti u tri opseæna sveska (1978.-1984.), koju sam napisao zajedno s nekolicinom kolega. Ta je knjiga, kao i moja mala Povijest njemaËke knjiæevnosti, prevedena i na talijanski jezik, a pojedine moje studije prevedene su na poljski, engleski i druge jezike. Najviπe priznanja za svoj znanstveni rad dobio sam, dakako, u NjemaËkoj, πto je po sebi razumljivo zbog moje osobite usredotoËenosti na umjetniËke i znanstvene tekovine upravo njihove kulture.

■ Na kraju ovoga dragocjenog razgovora æeljeli bismo poneπto saznati i o Vaπim intelektualnim poËecima; πto zapravo dugujete svojim roditeljima i atmosferi koja je vladala u roditeljskom domu?

- Roditelji su mi dali neizmjerno mnogo, ali isto tako i djed. U obitelji se podjednako govorilo i hrvatski i njemaËki, tako da sam odrastao ËitajuÊi knjige na oba jezika. U roditeljskom domu muziciralo se i njegovalo mnogo toga πto mi je pomoglo da se uputim u svijet kulture. Ovdje treba upozoriti da su to bila ona vremena koja se danas mogu vidjeti u Muzeju za umjetnost i obrt na izvrsnoj izloæbi Art déco i umjetnost u Hrvatskoj. To su tridesete godine proπlog stoljeÊa u kojima je, uz novine, glavni medij bio radio, na kojemu sam veÊ kao djeËak sluπao zahtjevnu glazbu velikih majstora. Bez tih poticajnih godina djetinjstva ne mogu zamisliti svoj æivot.

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he Professor emeritus of the University of Zagreb Viktor ÆmegaË (Slatina, 1929) has motivated a number of students to become excellent Germanic scholars; he has held countless lectures and published a series of excellent books, many of which have been translated into foreign languages, whereas some have become staple course books for university courses in Germanic studies in Europe (Germany, Italy, Poland, Sweden). He is a member of prominent foreign academies, a recipient of prestigious professional recognitions and awards, and a serious author whose works are regularly reprinted and repeatedly translated into more and more foreign languages.

■ You are in your eighties and you have just crowned your impressive writing oeuvre with three major titles. I suppose that one has to reach a certain age to cumulate the vast experience that is necessary for a comprehensive review of scientific and cultural issues...

- Theodor von Tanne, a 19 th century German writer, said that the best books are written

after one reaches the age of 70. This is true for two reasons: firstly, it takes decades for one to accumulate the knowledge that is necessary to write comprehensive books; secondly, when you are retired, you have more time. Besides, I have been hit hard by my wife’s serious illness; we used to travel a lot. Sadly, this is no longer possible, and I am now tied to the typewriter just like my poor Cvijeta is tied to her bed.

During the six decades of my life I have amassed a body of knowledge and I have become familiar with texts dealing with various areas of learning (Germanic studies, musicology, sociology, philosophy, culturological issues). Over the past five years, all of my accumulated knowledge has come to be expressed in three extensive books of a monographic nature, all published by Matica Hrvatska. The first of the three is the History of German Culture ∑ From Bach to Bauhaus (2006), which attempts to follow the development of German culture with all of its modifications, which are very important in view of the fact that the image and perception of Germany have suffered a major change over the past two hundred years. The French writer, Madame de Staël, formulated a famous thought in the early 19th century and said that Germans are a nation of poets and thinkers. Unlike her, the average man today perceives Germany primarily as a country of almost perfect technology. Yet, the change in the perception of Germany is only partially accurate; we are still looking at a country which boasts perfection in nearly all artistic and scientific spheres. In the 18th and 19th centuries, Germany was the musical super-power; if we know that, it becomes clear why I included Bach’s name in the title of this book. But, there is also the name of Bauhaus in the title, as a unique institution which emerged in the early decades of last century and united the most prominent artists from different European countries, a fact which bears witness to the huge international impact of German culture, not only technical, but also artistic culture.

■ Your familiarity with the most demanding forms of music has resulted in a monograph entitled Masters of European Music ∑ From Baroque to the Mid-20 th Century (2009). Unlike Josip Andreis, the author of the first history of music written in Croatian, your book was conceived differently.

- Since Professor Andreis was exhaustive in his lexicon-type work, I could formulate my task differently. I selected a number of great composers who lived and worked within a CROATIA AIRLINES

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given period of time, but only those without whom it would be impossible to follow the stylistic changes in European music, which is obviously the biggest and most valuable segment of the world musical heritage. Bach was the first composer who made such a deep mark on the world of music. There is no single composer of some standing, not even in the 20 th century, who has not admitted that Bach was their starting point.

The last chapters in the book are dedicated to the so-called 20 th century classics. In literature and in fine arts, as well as in music, as time passes by, what remains are those choices that we consider to be benchmarks; the general public believes that certain composers’ impacts were so powerful that musical life as we know it would not be the same without them. The 20 th century already has its benchmark based on two different criteria. The first criterion is the innovative power of the composer, whereas the second criterion is their impact, not only on the general public but also on the creations of other composers.

■ In your most recent book The Past and Present of the 20 th Century (2010) you deal extensively with the scientific way of thinking of last century and you insist on some notions which are more than topical even in our time...

- Let me start by explaining the peculiar title of the book. Obviously, the past is a calendar category, whereas the future is a reception category. My intention was to write a book which would show that whatever our time and our present moment are, they would be inconceivable without the cultural legacy of the 20 th century. I focused primarily on culturological topics, namely on scientific and philosophical works.

The book is not an almanac but rather an author’s selection based on his views of important works of the 20 th century. In order to provide readers with an insight into the book, let us mention just a few chapters from it. The book starts with a chapter on Sigmund Freud and his famous book entitled The Interpretation of Dreams. The whole book follows the same structure: one author, and one of his works. However, I would like to say that in some of the chapters I do not only review the work highlighted in the title; I also draw a critical comparison between the reception of the selected works and the achievement of others who spoke about similar topics.

The second chapter deals with the Course of General Linguistics by the Swiss linguist Ferdinand de Saussure, who laid foundations for the modern study of languages, or rather 10

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linguistic communication, and whose terminology has since been taken over by other scientific disciplines. My book also includes the dissertation Abstraction and Empathy by German art historian Wilhelm Worringer, who embraced modern artistic aspirations with so much vision that he gave them the widest possible intellectual context and thus he had directly influenced the stylistic programmes of modern painters and their poetics. Let me also mention Martin Heidegger and his fundamental work Being and Time, as well as Horkheimer and Adorn’s book Dialectic of Enlightenment. Actually, both books offer answers to the question as to what is man and how has he developed into the being he is today. These are anthropological issues on which Adorn shed even more light from a sociological perspective, and this is actually one of the main topics of my book.

The third set of issues deals with our attitude towards tradition. In the more recent European history of culture, tradition has played such an important role that it would be impossible to understand many things without understanding tradition; how can we talk about the past or nurture the culture of memory (as this is what it is called today) or the culture of oblivion given that some theoreticians of culture start from the fact that all of us who live in the 20th and 21st centuries are under such a great influence of tradition that we find it much easier to deal with traditions than with contemporary artistic expressions or scientific achievements. These are the three topics that permeate the entire book and basically deal with the culturological achievements of last century, be it the already mentioned authors or Walter Benjamin, Albert Camus, Simone de Beauvoir, Marshall McLuhan, Erich Fromm, etc.

■ The travel magazine Croatia is intended for Croatian and foreign readers alike, and many will be interested to learn at least something about your long presence on the European scientific and cultural scenes...

- I have always tried to be present both in my homeland and abroad, and this has proven to be fruitful. The bridge for me was the German language, which is also my mother tongue, on the same level as Croatian, and the reason why many of my books were originally written in German. I am particularly happy that these books have had an enviable reception abroad because this is also a success for our Croatian culture. In that sense, the biggest undertaking was my own History of German Literature, in three extensive volumes (1978 -1984), which I co-authored with several

colleagues. That book, as well as my short History of German Literature, was translated into Italian, while some of my studies have been translated into Polish, English and some other languages. Most of the recognitions for my scientific work come from Germany, quite understandably given that in my work I have particularly focused on the artistic and scientific heritage of German culture.

■ At the end of this much appreciated interview, we would like to know something about how your intellectual interests started; how much do you owe to your parents and the atmosphere that prevailed in your family home?

- My parents gave me a lot, and so did my grandfather. My family was fully bilingual; Croatian and German were spoken equally so I grew up reading books in both languages. Music was always present in my parents’ house, as were many other things that helped me to embark on the world of culture. It should be noted at this point that I grew up during the era which is currently being so well presented in the Museum of Arts and Crafts at the excellent exhibition Art déco and Art in Croatia. Those were the 30’s of last century in which, along with newspapers, radio was the most popular medium, so already as a young boy I enjoyed challenging music by great composers. I cannot imagine my life without those inspiring childhood years.

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HRVATSKA Republika

To je Hrvatska Re­pu­bli­ka Hrvat­ska smjeπte­na je uz istoË­ne oba­le Ja­dran­skog mo­ra i u nje­go­vu za­le­u. Pro­teæe se od obro­na­ka Al­pa na sje­ve­ro­za­pa­du do Pa­non­ske rav­ni­ce na isto­ku. Povrπina je nje­zi­na kop­na 56.542 Ëe­tvor­na ki­lo­me­tra, a povrπina te­ri­to­rijal-­ nog mo­ra 31.067 Ëe­tvor­nih ki­lo­me­ta­ra. U Hrvat­ skoj æivi, pre­ma po­pi­su iz 2001. go­di­ne, 4,437.460 lju­di. Duæina je mor­ske oba­le 5835 km za­jed­no s oto­ci­ma, oto­Ëi­Êi­ma i gre­be­ni­ma.

CROATIA Republic of

National parks Cro­a­tia has eig­ht na­ti­o­nal par­ks, fo­ur of which are lo­ca­ted in the mo­un­ta­in re­gi­on (Pa­kle­ni­ca, Pli­tvi­ce La­kes, Ri­snjak and Nor­thern Ve­le­bit), and fo­ur in the co­a­stal re­gi­on (Bri­ju­ni, Kor­na­ti, Krka and Mljet).

Be­si­des the­se, cer­ta­in are­as un­der strict na­tu­re pro­tec­ti­on ∑ re­ser­ves, na­tu­ral mo­nu­men­ts and na­tu­ral par­ks ∑ sho­uld be men­ti­o­ned as a na­tu­ral he­ri­ta­ge of spe­ci­al va­lue. They ha­ve all con­tri­bu­

ZEMLJOVID HRVATSKE MAP OF CROATIA Izravne domaÊe linije Direct domestic routes Odrediπta Croatia Airlinesa Croatia Airlines’ destinations stalne / regular sezonske zimske / seasonal in winter

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Oto­ka, oto­Ëi­Êa i gre­be­na ima 1185, a na­se­lje­no je 47 oto­ka.

Sluæbe­ni je­zik je­st hrvat­ski, a pi­smo la­ti­niË­no. Nov-­ Ëa­na je­di­ni­ca - ku­na.

Glav­ni je grad Za­greb (779.145 sta­nov­ni­ka), ko­ji je ujed­no ad­mi­ni­s­tra­tiv­no, kul­tur­no, aka­dem­sko i trgo­vaË­ko sre­diπte zem­lje.

Ustav Re­pu­bli­ke Hrvat­ske iz­gla­san je 22. pro­sin­ca 1990., a me­u­na­rod­no je pri­zna­ta 15. si­jeË­nja 1992. go­di­ne.

This is Croatia The Re­pu­blic of Cro­a­tia li­es along the ea­st co­as­ t of the Adri­a­tic Sea and its hin­ter­land. It stret­ches from the slo­pes of the Al­ps in the nor­th-we­st to the Pan­no­ni­an Pla­in in the ea­st. Its land area is 56,542 km2 and the area of its ter­ri­to­ri­al sea is 31,067 km2. By the 2001 cen­sus, Cro­at­ia’s popu­ la­ti­on is 4,437,460. The len­gth of its sea co­a­st is 5835 km, in­clu­ding islan­ds, islets and re­efs.

The­re are 1185 islan­ds, islets and re­efs, of which 47 islan­ds are in­ha­bi­ted.

The of­fi­ci­al lan­gu­a­ge is Cro­a­ti­an, and the of­fi­ci­al script is La­tin. The cur­ren­cy is the Ku­na.

The ca­pi­tal is Za­greb (779,145 in­ha­bi­tan­ts), which is al­so the co­un­try’s ad­mi­ni­s­tra­ti­ve, cul­tu­ral, aca­ de­mic and eco­no­mic cen­ter.

The Con­sti­tu­ti­on of the Re­pu­blic of Cro­a­tia was adop­ted on 22 De­cem­ber 1990, and the co­untry re­ce­iv­ ed in­ter­na­ti­o­nal re­cog­ni­ti­on on 15 Ja­nu­ary 1992.

Nacionalni parkovi ­­Hrvat­ska ima osam na­ci­on ­ al­nih par­ko­va, od kojih su Ëe­ti­ri u pla­nin­skom po­dru­Ëju (Pa­kle­ni­ca, Pli­tviËka je­ze­ra, Ri­snjak i Sje­ver­ni Ve­le­bit), a Ëe­ti­ri na obal­nom po­dru­Ëju (Bri­ju­ni, Kor­na­ti, Krka i Mljet). Nji­ ma, kao pro­stor oso­bi­to vri­jed­ne pri­rod­ne baπti­ne, tre­ba pri­do­da­ti i po­dru­Ëja pod stro­gom zaπti­tom pri­ro­de, re­zer­va­te, spo­me­ni­ke pri­ro­de, par­ko­ve pri­ ro­de. Zbog svih za­jed­no Hrvat­sku mno­gi sma­tra­ju jed­nim od naj­ljepπih eu­rop­skih vrto­va.

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ted to Cro­at­ia’s be­ing con­si­de­red ­ ­ti­ful gar­dens one of the mo­st be­au of Eu­ro­pe.

Proπlost za sadaπnjost Hrvat­ska obi­lu­je kul­tur­no-po­vi­je­snim spo­me­ ni­ci­ma iz svih ra­zdob­lja, zbog bur­nih po­vi­je­snih zbi­va­nja i pre­pli­ta­nja utje­ca­ja ra­zli­Ëi­tih kul­tu­ra.

Nje­zi­nu oba­lu ka­rak­te­ri­zi­ra­ju utje­ca­ji me­di­te­ran­ ske kul­tu­re, mno­gi an­tiË­ki spo­me­ni­ci, spo­me­ni­ci rim­skog ra­zdob­lja i ra­no­ga sred­njeg vi­je­ka, ro­ma­niË­ko-sa­kral­na baπti­na, te niz oËu­va­nih ka­rak­te­ri­stiË­nih me­di­te­ran­skih ur­ba­nih cje­li­na.

Kon­ti­nen­tal­na Hrvat­ska dio je sred­njo­eu ­ ­rop­sko­ ga kul­tur­nog kru­ga i isti­Ëe se mno­gim pra­po­vi­ je­snim na­la­zi­ma sv­jet­ske vaæno­sti, sta­rim gra­ do­vi­ma, utvrda­ma i dvor­ci­ma ka­sno­ga sred­njeg vi­je­ka i kul­tur­nim spo­me­ni­ci­ma i ar­hi­tek­tu­rom iz ra­zdob­lja ba­ro­ka.

Tri hrvat­ske ur­ba­ne cje­li­ne i dva spo­me­niË­ka kom­plek­sa ima­ju sta­tus spo­me­ni­ka sv­jet­ske kul­tur­ne baπti­ne, ko­ji do­dje­lju­je Une­sco. To su ka­sno­an­tiË­ka Di­ok­ le­ci­ja­no­va pa­la­Ëa, pre­gra­e­na ti­je­kom sto­lje­Êa u sred­njov­je­kov­ni Split, gra­do­vi Du­brov­nik i Tro­gir te Eu­fra­zi­je­va ba­zi­li­ka u Po­re­Ëu i ka­te­dra­la sv. Ja­ko­va u ©ibe­ni­ku.

Na­ci­o­nal­ni park Pli­tviË­ka je­ze­ra, naj­ljepπi i najpozna­ti­ji hrvat­ski na­ci­on ­ al­ni park, ta­ko­er je dio Une­sco­ve Sv­jet­ske baπti­ne.

A past for the present Cro­a­tia is rich in cul­tu­ral and hi­sto­ri­cal monuments from all eras, due to the tur­bu­lent even­ts of hi­story and the in­ter­la­cing of in­flu­en­ces of dif­fe­rent cul­tu­ res. Its co­a­st is cha­rac­te­ri­zed by the in­flu­ences of Me­di­ter­ra­ne­an cul­tu­re, nu­me­ro­us an­ci­ent re­ma­ins, mo­nu­men­ts of the Ro­man era and ear­ly Mid­dle Ages, a Ro­ma­ne­sque chur­ch he­ri­ta­ge and a num­ ber of di­stin­cti­ve Me­di­ter­ra­ne­an ur­ban en­ti­ti­es that ha­ve be­en pre­ser­ved. Inland Cro­a­tia is a part of the Cen­tral Eu­ro­pe­an cul­tu­ral circle and is di­stin­gu­i­shed by nu­me­ro­us

pre­hi­sto­ric fin­din­gs of wor­ld sig­ni­fi­cance, by old tow­ns, for­tre­sses and ca­s­tles da­ting from the la­te Mid­dle Ages, and cul­tu­ral mo­nu­men­ts and ar­chi­tec­tu­re from the Ba­ro­que era.

Three Cro­a­ti­an ci­ti­es and two mo­nu­men­tal com­-ple­xes ha­ve the sta­tus of mo­nu­men­ts of wor­ld cul­tu­ral he­ri­ta­ge ac­cor­ded by UNE­SCO. The­se are the La­te An­ti­que Pa­la­ce of Di­o­cle­ti­an, re­mo­de­led thro­ugh the cen­tu­ri­es in­to the me­ di­e­val city of Split, the ci­ti­es of Du­brov­nik and Tro­gir, the Ba­si­li­ca of Eup­hra­si­us in Po­reË and the Cat­he­dral of St. Jacob in ©ibe­nik.

The na­ti­o­nal park of the Pli­tvi­ce La­kes, Cro­a­tia’s mo­st be­a­u­ti­ful and ce­le­bra­ted na­ti­o­nal park, is al­so a part of UNE­SCO’s wor­ld he­ri­ta­ge.

Hrvatska - turistiËki hit na Sredozemlju Hrvat­ska je po­sljed­njih go­di­na - ocje­nju­ju meu­na­rod­ni tu­ri­stiË­ki znal­ci i sta­ti­sti­Ëa­ri - naj­ve­ Êe tu­ri­stiË­ko izne­na­e­nje te hit odre­di­πte na Sre­do­zem­lju.

Niz us­pjeπnih go­di­na na­stav­lja se ∑ su­gla­sni su ana­li­ti­Ëa­ri tu­ri­stiË­kih pri­li­ka ∑ i u 2009. go­di­ni.

Pre­ma po­da­ci­ma Dræav­nog za­vo­da za sta­ti­sti­ku, hrvat­ska je tu­ri­stiË­ka odre­diπta na oto­ci­ma, u pri­o­ ba­lju te u kon­ti­ne­ntal­nom di­je­lu zem­lje, uk­lju­Ëu­ju­Êi i glav­ni grad Za­greb, u

2010. go­di­ni po­sje­ti­lo oko 11 mi­li­ju­na tu­ri­sta od ko­jih je ino­zem­nih bi­lo oko 9,4 mi­li­ju­na.

Os­tva­re­no je ukup­no oko 56,4 mi­li­ju­na no­Êe­nja.

Pri­tom je broj ino­zem­nih no­Êe­nja bio oko 50,7 mi­li­ju­na. Tra­di­ci­o­nal­no naj­broj­ni­ji go­sti, Ni­jem­ci, prvo su mje­sto za­dræa­li i u 2010. go­di­ni (22,5 %), a njih sli­je­de go­sti iz Slo­ve­ni­je (11,5 %), Italije (9,3 %), Austrije (8,7 %), »e­πke (8,2 %), Polj­ske (5,7 %), Nizozemske (4,4 %)...

Ho­te­li, tu­ri­stiË­ka na­se­lja, kam­po­vi i sve dru­ge vrste smjeπta­ja, kao i mo­der­ni na­ut­iË­ki cen­tri, oprem­lje­ni su u skla­du s me­u­na­rod­nim tu­ri­ stiË­kim stan­dar­di­ma. Bo­ga­ta kul­tur­na po­nu­ da, wel­lne­ss po­nu­da, spor­tsko-re­kre­a­tiv­ni i za­bav­ni sa­dræaji, mno­gi ki­lo­me­tri ure­e­nih pjeπaË­kih sta­za ili pak vin­ske sta­ze, izle­ti ko­ji uk­lju­Ëu­ju ra­z­gle­da­va­nje pri­rod­nih i kul­tur­nih vri­jed­no­sti ili pak pra­vi spoj doæiv­lja­ja i avan­tu­rizma po­ve­Êa­va­ju adre­na­lin...

Hrvat­ska je bli­zu ne sa­mo zbog nje­zi­ne geograf­s ke bli­zi­n e, ne­g o i zbog mreæe zraË­n ih ­ al­nog avi­op ­ ri­je­ lu­ka i kva­li­tet­nih uslu­ga na­ci­on vo­zni­ka Croatia Air­li­ne­sa, kao i dru­gih zraË­nih pri­je­vo­z ni­k a. Na te­m e­lju mreæe au­to­c e­sta i po­lu­a­ut­o­ce­sta, Hrvat­ska je i ce­stom bliæa ne­go ikad. Ako ste pak oda­bra­li od­mor na jed­no­me od mno­gih hrvat­skih oto­ka, pri­je­voz tra­jek­tom ili hi­dro­gli­se­rom s kop­na tra­jat Êe - i kad su po­sri­je­di oni na­ju­da­lje­ni­ji - ma­nje od 2 sa­ta. Ali nji­ho­va lje­po­ta i ne­po­sre­dan do­dir s iskon­skom pri­ro­dom bit Êe ta­ko ne­za­bo­rav­ni kao da ste od sva­kod­ne­vi­ce mi­lja­ma i mi­lja­ma da­le­ko...

Croatia - a Mediterranean tourism success Cro­a­tia has be­en a hit de­sti­na­ti­on and the bigge­st to­u­ri­st sur­pri­se in the Me­di­ter­ra­ne­an in the pa­st few ye­ars, say sta­ti­sti­ci­ans and in­ter­na­ti­o­nal ex­ per­ts in to­u­ri­sm.

To­u­ri­st anal­ysts are agre­ed that a se­ri­es of suc­ce­s­sful ye­ars is due to con­ti­nue in 2010.

Ac­cor­ding to da­ta pro­vi­ded by the Cro­a­ti­an Bu­re­au of Sta­ti­stics, Cro­a­ti­an to­u­ri­st de­sti­na­ ti­ons on the islan­ds, co­a­st and in the in­te­ri­or, in­clu­ding the ca­pi­tal Za­greb 2010 we­re vi­si­ted by nearly 11 million to­u­ri­sts, of whom 9.4 mil­li­on we­re fo­re­ign gu­e­sts.

The to­tal num­ber of over­nig­ht stays was more than 56.4 mil­li­on, of which fo­re­ign vi­si­tors ac­ co­un­ted for 50.7 mil­li­on. The lar­ge­st number of fo­re­ign gu­e­sts ca­me from Ger­many (22,5 %), fol­lo­wed by Slo­ve­nia (11,5 %), Italy (9,3 %), Austria (8,7 %), the Czech Re­pu­blic (8,2 %), Po­land (5,7 %) the Net­her­lan­ds (4,4 %)...

Ho­tels, to­u­ri­st si­tes, cam­ps and ot­her types of ac­com­mo­da­ti­on, as well as mo­dern na­u­ti­cal cen­ters, are equ­ip­ped in li­ne with in­ter­na­ti­o­nal to­u­ri­sm stan­dar­ds. The­re is a rich cul­tu­ral of­fer, to­get­her with wel­lne­ss, spor­ts, re­cre­a­ti­o­nal and en­ter­ta­in­m ent fa­ci­li­ti­e s, many ki­lo­me­ters of

well-kept fo­ot­pat­hs or wi­ne ro­ads, ex­cur­si­ons in­clu­ding sig­ht-se­e­ing of na­tu­ral and cul­tu­ral tre­a­su­res, or the right com­bi­na­ti­on of ex­pe­ri­en­ ce and adven­tu­re to ra­i­se the adre­na­lin le­vel...

Cro­a­tia is clo­se by, not ju­st ge­o­grap­hi­cal­ly, but thanks to its air­port net­work and the high-qu­a­ lity ser­vi­ce of its na­ti­o­nal air com­pany, Cro­a­tia Air­lines, be­si­des ot­her air com­pa­ni­es. The net­ work of ne­wly bu­ilt fre­e­ways and se­mi-fre­e­ways me­ans that Cro­a­tia is ea­si­er to re­ach by ro­ad than ever. If you ha­ve cho­sen to spend yo­ur va­ca­ti­on on one of Cro­a­tia’s many islan­ds, the cro­ssing by fer­r y or hydro­fo­il bo­at will ta­ke you ∑ even for the mo­st re­mo­te islan­ds ∑ le­ss than two ho­urs. Yet the­ir bea­uty and the im­me­di­a­te con­tact with vir­gin na­tu­re will be un­for­get­ta­ble, as if you we­re mi­les and mi­les away from the ever­yday wor­ld...

Novac i naËin plaÊanja Ku­na (kn) je na­ziv nov­Ëa­ne je­di­ni­ce Re­pu­bli­ke Hrvat­ske.

U op­tje­ca­ju su nov­Ëa­ni­ce ku­na i ko­va­ni no­vac ku­ na i li­pa (lp) ∑ sto­ti dio ku­ne. Nov­Ëa­ni­ce su izda­ne u slje­de­Êim apo­e­ni­ma - 5, 10, 20, 50, 100, 200, 500 i 1000 ku­na, a ko­va­ni no­vac - 1, 2 i 5 ku­na, te 1, 2, 5, 10, 20 i 50 li­pa (100 li­pa = 1 ku­na). Mo­ gu­Êe je pla­Êa­nje kre­dit­nim kar­ti­ca­ma (Di­ners, Vi­sa, Ame­ri­can Ex­pre­ss, Eu­ro­card i Ma­ster­card) i eu­ro­Ëe­ko­vi­ma. No­vac se moæe po­di­za­ti i na ban­ko­ma­ti­ma.

Currency and payment methods The cur­ren­cy of the Re­pu­blic of Cro­a­tia is cal­led the Ku­na (kn).

In cir­cu­la­ti­on are ban­kno­tes in Ku­na and co­ins in Ku­na and Li­pa (lp) ∑ one hun­dred­th of a Ku­na.

The ban­kno­tes are issu­ed in the fol­lo­wing de­ no­mi­na­ti­ons: 5, 10, 20, 50, 100, 200, 500 and 1000 Ku­na, whi­le the de­no­mi­na­ti­on struc­tu­re of the co­ins is 1, 2 and 5 Ku­na and 1, 2, 5, 10, 20 and 50 Li­pa (100 Li­pa = 1 Ku­na). Pay­men­ts can be ma­de by cre­dit card (Di­ners, Vi­sa, Ame­ ri­can Ex­pre­ss, Eu­ro­card and Ma­ster­card), as well as eu­ro-chec­ks. Ca­sh can be wit­hdrawn from AT­Ms.

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■ DOGAÐAJI ZA PAM∆ENJE EVENTS TO REMEMBER

Servizio Fotografico l’ Osservatore Romano

Croatia Airlines ugostio je Svetog Oca Benedikta XVI. u svom zrakoplovu na letu iz Zagreba u Rim, prigodom njegova pastoralnog posjeta Hrvatskoj. Sveta Stolica tako je veÊ Ëetvrti put iskazala povjerenje hrvatskom nacionalnom avioprijevozniku za prijevoz katoliËkog poglavara.

Croatia Airlines had the honour to host the Holy Father Benedict XVI on a special flight from Zagreb to Rome, on the occasion of his pastoral visit to Croatia. That was the fourth time that the Holy See entrusted the Croatian national airline with the task to transport the head of the Catholic Church.

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apa Benedikt XVI., crkveni velikodostojnici u njegovoj pratnji te novinari akreditirani pri Svetoj Stolici letjeli su zrakoplovom Croatia Airlinesa u nedjelju, 5. lipnja 2011. g. na letu OU 7982 iz Zagreba u Rim. Sve pojedinosti oko Papina leta vrlo su paæljivo planirane kako bi se Svetom Ocu boravak u zrakoplovu uËinio πto ugodnijim. Sa æeljom da na najbolji moguÊi naËin predstavimo bogatu hrvatsku kulturnu baπtinu, posebno su pripremljeni svi sadræaji za vrijeme leta.

Na videoekranima prikazivane su ljepote svih dijelova Hrvatske, a posluæena su autohtona hrvatska jela i vina.

Croatia Airlines u povodu sveËanog leta izradio je i poseban znak s natpisom Volo Papale (Papin let), koji je apliciran na sve proizvode na letu ∑ Ëaπe i pribor za jelo, uzglavke, stolnjake, ubruse, jelovnike i vinske karte. Croatia Airlines osobito je zahvalan svim partnerima koji su dali svoj doprinos u pripremi i izradi tih predmeta.

Prije leta zagrebaËku zraËnu luku zahvatilo je nevrijeme, koje se stiπalo netom prije Papina ulaska u zrakoplov. ©toviπe, ne samo da je kiπa gotovo prestala padati, nego se na nebu, iznad zrakoplova, pojavila prekrasna duga.

Bio je to dobar znak za SreÊka ©imunoviÊa, glavnog direktora Croatia Airlinesa i kapetana Marka Vidana, koji su na ulazu u zrakoplov imali Ëast zaæeljeti dobrodoπlicu uvaæenom putniku Svetom Ocu Benediktu XVI. Za glavnog direktora to je ujedno drugi put πto je imao prigodu pozdraviti poglavara KatoliËke crkve u zrakoplovu Croatia Airlinesa.

- Oba su leta za mene bila osobita ∑ istiËe SreÊko ©imunoviÊ. ∑Moj let sa Svetim Ocem Ivanom Pavlom II. 2003.g. bio je obiljeæen kao centissimo volo, odnosno stoti let Ivana Pavla II. Sveti Otac Ivan Pavao II. bio je gost u zrakoplovima Croatia Airlinesa tijekom sva tri pastoralna posjeta Republici Hrvatskoj - 1994., 1998. i 2003. godine. Na letu s Benediktom XVI. Sveta Stolica Ëetvrti je put iskazala povjerenje hrvatskom nacionalnom avioprijevozniku za prijevoz katoliËkog poglavara. Let sa Svetim Ocem Benediktom XVI. za mene je ne samo osobna Ëast nego i potvrda vrijednosti kompanije zbog razine sigurnosti i iskustva u letenju. Osim πto sam Svetom Ocu Benediktu XVI. poæelio dobrodoπlicu i ugodan let, zamolio sam ga da naπu aviokompaniju ukljuËi u svoje molitve. Takoer, i ovom prigodom iskoristili smo moguÊnost da istaknemo i povijesnu ulogu Republike Hrvatske kao dijela europske i svjetske civilizacije darujuÊi Svetom Ocu reprint BelostenËeva Gazophylaciuma, jednoga od prvih rjeËnika nastalih na europskom tlu. Kako je djelo nastalo u 16.

stoljeÊu, taj smo podatak povezali s imenom pape Ratzingera, koji nosi ime Benedikt XVI. Veoma smo sretni πto je Papa bio naπ putnik i zacijelo Êemo zauvijek pamtiti taj dogaaj.

Poslije slijetanja u zraËnu luku u Rimu kapetan Vidan je rekao: - Toga dana svi smo osjeÊali isto, veliko uzbuenje, odgovornost, ali i Ëast i ponos πto imamo priliku ugostiti Svetog Oca u naπem zrakoplovu. Moje uzbuenje trajalo je cijeli dan, do ulaska pape Benedikta XVI. u naπ Airbus 320. Ali, kad mi je Sveti Otac na ulasku u zrakoplov pruæio ruku i nasmijeπio se, uzbuenje su zamijenili mir i radost. Veoma sam sretan πto sam imao prigodu biti kapetan na ovom letu te upoznati Svetog Oca, koji je veoma topla i srdaËna osoba. Toga Êu se leta sjeÊati cijeli æivot, a siguran sam da moje osjeÊaje dijeli i cijela posada - kolege piloti kapetan Tomislav KurjakoviÊ i kopilot Ivan GaπljeviÊ te naπe kabinsko osoblje ∑ Ana Marija JureniÊ, Kreπimir Bajs, Vladimir Filakovac, Snjeæana ©iljevinac∑Doπen, Irena »uljat, Andreja MatauπiÊ, Dalibor KeËa i Andrea Koæarec.

Bio je to dan koji Êe zlatnim slovima ostati upisan u povijest Croatia Airlinesa, a svi koji su imali Ëast osobno biti na letu, nosit Êe ga u sjeÊanju zavijek. n

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n June 5th, Pope Benedict XVI, high church officials in his entourage and journalists accredited with the

Holy See flew aboard a Croatia Airlines aircraft on the flight OU 7982 from Zagreb to Rome.

All the details of the Pope’s journey with Croatia Airlines had been carefully planned to make the Holy Father as comfortable as possible during his flight. To introduce the guests to the rich cultural heritage of Croatia in the best possible manner, the inflight service was specially adapted. Natural beauties of different parts of Croatia were shown on the video-screens and autochthonous food and drinks were served.

To mark this exceptional occasion, Croatia Airlines had made a special logo featuring the inscription Volo Papale (Papal flight), applied to the glasses and cutlery, headrest covers, napkins, table cloths, menu and wine cards.

Croatia Airlines is extremely grateful to all partners who contributed to preparation of those items.

Prior to the flight, the Zagreb Airport was caught in a storm, which subsided just before the Pope boarded the aircraft. Moreover, not only did the rain stop almost completely, but a beautiful rainbow appeared in the sky above the aircraft.

That was a good sign for SreÊko ©imunoviÊ, President & C.E.O. of Croatia Airlines, and captain Marko Vidan, who had the honour of welcoming the venerable guest, the Holy Father Benedict XVI, aboard.

For the C.E.O. it was the second time he had the opportunity to greet the head of the CROATIA AIRLINES

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Catholic Church aboard a Croatia Airlines aircraft.

- Both flights were special - said SreÊko ©imunoviÊ. - My first flight with the Holy Father John Paul II in 2003 was marked as the centissimo volo John Paul II’s hundredth flight. The Holy Father John Paul II was a guest on Croatia Airlines aircraft on all of his three pastoral visits to the Republic of Croatia - in 1994, 1998 and 2003. As for Benedict XVI’s flight, that was the fourth time that the Holy See had entrusted the Croatian national airline with the task to transport the head of the Catholic Church. Flying with the Holy Father Benedict XVI was not only a special honour for me personally but a confirmation of our company’s reputation for flying safety and experience. Besides welcoming the Holy Father Benedict XVI on board our aircraft and wishing him a comfortable flight, I also asked him to include our company in his prayers.

We also took the opportunity to highlight the historic role that Croatia had played in the development of European and world civilization by presenting the Holy Father with a reprint of Gazophylacium, one of the first dictionaries ever produced in Europe. Since the dictionary originates from the 16th century, we were able to make a connection between that fact and Pope Ratzinger’s name, Benedict XVI. We are very happy that the Pope was our passenger and we will certainly remember that event forever.

After landing at the airport in Rome, captain Vidan said: - We all felt the same on that day ∑ feelings of great excitement, responsibility, as well as honour and pride that we were given the chance to host the Holy Father in our airplane. My excitement lasted the entire day, until Pope Benedict XVI boarded our Airbus 320. However, when the Holy Father extended his hand to me upon entering the plane and smiled, the excitement turned to peace and joy. I am very happy that I had the opportunity to be captain on this flight and to meet the Holy Father, who is an exceptionally warm and kind person. I will remember that flight for my entire life, and I am sure that my feelings were shared by the entire crew: my colleagues pilot Tomislav KurjakoviÊ and copilot Ivan GaπljeviÊ, as well as our cabin crew ∑ Ana Marija JureniÊ, Kreπimir Bajs, Vladimir Filakovac, Snjeæana ©iljevinac ∑ Doπen, Irena »uljat, Andreja MatauπiÊ, Dalibor KeËa and Andrea Koæarec.

That was a day that will be inscribed in golden letters in the history of Croatia Airlines and all those who had the honour to be present on the flight will keep it in their memory forever. n

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Piše/By Goran StojanoviÊ Fotografije/Photos Saša PjaniÊ

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KONTINENTALNA HRVATSKA INLAND CROATIA ■

U najsjevernijem dijelu Republike Hrvatske, na razmei maarske, slavenske i germanske kulture, u nizinskom kraju Meimurja, izmeu rijeka Mure i Drave, nalazi se dvorac koji je veÊ dugo, sasvim sâm, zagledan u zvijezde.

In the northernmost part of the Republic of Croatia, at the crossroads of the Hungarian, Slavic and Germanic cultures, in the low-lying area of Meimurje between the Drava and Mura rivers, there stands a castle; this stargazing edifice has led a lonely life for a long time.

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Rob je onaj tko oËekuje da ga drugi oslobode.

Mohandas K. Gandhi (1869. −1948.)

A slave is a person who expects from others to set them free.

Mohandas K. Gandhi (1869 − 1948)

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vaki objekt, pa tako i dvorac ili utvrda, isijava spoj zemaljskoga i nebeskoga, onaj fluid koji iznova Êuti ljudsko biÊe i njegovu Êud, namjere i djela. Svaki od njih priËa svoju priËu proæetu sjeÊanjima utisnutima u svoje zidine ili u ono πto je od njih ostalo. U mnogima prostori su veÊ odavno opustjeli samo u rijetkima æivot i dalje pulsira.

PrisjeÊa se ËakoveËki dvorac proteklog doba u kojemu je æivot snaæno proticao energijom odluËnosti, razvoja i opstanka. Stari grad o kojemu je rijeË, tipoloπki i povijesno, predstavlja viπeslojno saËuvani sklop feudalne, stambene i fortifikacijske arhitekture. No zidine tog Castruma i viπe su od toga. Baπtina je to πto su je gradili odvaæni pojedinci koji su u njemu æivjeli i iz njega izgraivali viziju slobodarskog duha, tada grubo omeenoga kompleksnim politiËkim prilikama, uËestalim ratovima i kulturnim razlikama.

Kao i u mnogim povijesnim pripovijestima o dvorcima i njihovu nastanku, i ovdje je, u kalendaru iz 13. stoljeÊa - unesen obrambeni objekt, sagraen nastojanjem tadaπnjega grofa Dimitra »aka, podizanjem drvenog tornja zvanog Csaktorny, po kojemu je »akovec i dobio ime.

Taj toranj s utvrenim mjestom odavao je izgled graditeljske povijesne jezgre i iskazivao se kao centar pulsiranja tada joπ nevelike zajednice.

U prvoj polovici 14. stoljeÊa toranj se ograuje te se u ispravi tadaπnjeg kralja Karla I. Roberta spominje i kao utvreni grad. »akoveËku utvrdu tijekom 14. i 15. pa sve do sredine 16. stoljeÊa preuzimaju redom vojvode LackoviÊi, grofovi Celjski te vlastela Ernuπti, koji je proπiruju kao prostrani dvor sa snaænim vanjskim obrambenim sustavom. »akovec veÊ u to doba postaje veliki i sjajan plemiÊki grad − kastrum. Dobro utvren, iskazivao je laku obranjivost od razliËitih osvajaËa te ga nije bilo lako osvojiti Ëak ni uz upotrebu topniπtva.

Gradske su obrambene kule sa zidinama bile Ëvrsto graene i jasno su odavale sliku svoje snage.

Do tog vremena utvrda se gradila i dograivala adekvatno potrebama vlastele koja je u njemu obitavala. ZnaËajni napredak nizinski Wasserburg (vodena utvrda) poËinje 1546. godine kad hrvatskom banu Nikoli ©ubiÊu Zrinskom kralj Ferdinand I., utemeljitelj Habsburπke Monarhije, dodjeljuje Meimurje s tvravama »akovec i ©trigova. Tako veliki dar Nikola ©ubiÊ Zrinski zasluæio je osobitom hrabroπÊu kad je pred Peπtom, 1542. godine, po navodima Vladimira Kalπana, autora knjige Meimurska povijest, s postrojbom od oko 400 hrvatskih vojnika spasio vojsku kralja Ferdinanda u bitki s Osmanlijama. Taj su dolazak tadaπnjeg kneza

Zrinskoga na bojno polje, u zadnji tren, dræali kao znaËajnu pomoÊ poslanu s neba. Navedena pobjeda u Europi donijela mu je ratniËku slavu i Ëast iskazanu imenovanjem u hrvatskog bana, πto je uËinio kralj Ferdinand.

Zrinski se kao ©ubiÊi Bribirski spominju veÊ od 11. stoljeÊa, a u poËetku 14. stoljeÊa postali su najmoÊnija obitelj srednjovjekovne Hrvatske, s golemim posjedima i banskom vlaπÊu.

Ime Zrinski dobili su poπto su 1347. godine zamijenili svoju utvrdu Ostrovicu s posjedom Zrin, po kojemu su si i nadjenuli obiteljski naziv.

U vrijeme gospodarenja Zrinskih, ËakoveËka je utvrda s posjedima doæivjela znaËajne graditeljske promjene jer tada im dodijeljeni posjedi »akovec i ©trigova imali su i imovinsko bitan status trgoviπta. Veliki dio vlastelinstva Zrinskih tvorile su oranice, livade, πume i paπnjaci visoke kvalitete. Zrinski su dobili i privilegij prikupljanja kraljevskog poreza, no povijesne okolnosti stalne osmanlijske opasnosti prisiljavale su bana da sve svoje potencijale usmjeri gradnji primarno πto sigurnijega, pa tek onda i udobnijeg dvora.

Usporedno s gradnjom fortifikacija, ban Zrinski sa svojom je velikom obitelji od Ëetrnaestero djece iz dva braka gradio i dvokatnu renesansnu palaËu u obliku zatvorenog Ëetverokuta, s prostranim unutarnjim dvoriπtem i arkadama na

sjeverozapadnome i jugoistoËnome dvoriπnom potezu prizemlja. Ipak, arhitektonska baπtina iz tog vremena govori u prilog tomu da se u obnovi dvora viπe mislilo o tome kako Êe se organizirati obrana nego kako Êe se njemu udobno stanovati. Æivjeti u dvorcu kakav je tada bio u posjedu Zrinskoga izraz je statusnog simbola zemaljskoga gospodara velikih posjeda koji ga okruæuju. Dvorac je osvojeno mjesto, osmiπljeno srediπte neke sredine u kojoj mu gradnja okruæuje obzor, te se Ëini da se oko njegove osi gradi nebeska kupola, danju okruæena suncem, a noÊu zvjezdanim nebom.

U tim gradnjama i nadogradnjama Zrinski je izgraivao svoj vlastiti, kameni geometrijski sklop, nacrt osobnog svijeta, katkad Ëesto zagledanoga i u vlastitu sliku. Dominantnim poloæajem i arhitekturom on ga izdiæe u panoramskom smjeπtaju.

Kako æivot ima svoj tok, ËeπÊe kao rijeka, a rjee kao smiraj jezera, Nikola ©ubiÊ Zrinski nije mogao dulje uæivati u svom kraju. Kralj Ferdinand posebnom poveljom 1563. godine imenuje ga glavnim zapovjednikom Maarske juæno od Dunava, sa sjediπtem u tvravi Siget.

To osjetljivo podruËje bilo je glavni pravac osmanlijskih udara prema srediπtu Monarhije, te je kralju bilo vrlo bitno da na to mjesto

postavi iskusnog zapovjednika. Tri godine poslije, 1566., nakon jednomjeseËne opsade, Osmanlije zauzimaju tvravu u bitki u kojoj ban Nikola ©ubiÊ Zrinski junaËki pogiba.

Njegov nasljednik sin Juraj IV. Zrinski sa svojim nasljednicima Nikolom VI. i bratom mu Jurjem V. Zrinskim nastavlja sa sustavnim ureenjem dvorca i Ëvrstog sustava obrane oko njega.

Zadræali su dio postojeÊih zidina, ali sagradili su i bastione renesansnih obiljeæja. Tako je ËakoveËki grad postao sklop vodene utvrde i renesansne tvrave.

Do kraja 16. stoljeÊa sustav vlastelinstva Zrinskih dobio je svoju konaËnu formu, a lanac njihovih imanja protezao se od sjevera Meimurja do Jadranskog mora na jugu.

Dvorac je sredinom sedamnaestog stoljeÊa bio raskoπno ureen, kako je to zapisao nizozemski putopisac Jacob Tollius 1661. godine, te istiËe: Naskoro uosmo u dvorac koji je sjajan i veleban, a izvrsno utvren protiv turske sile.

Dvorac su gotovo sa svake strane okruæivale moËvare koje su imale zadaÊu sprijeËiti prokope do dvorca. Samo jedna strana, ona prema podgrau, opire se o Ëvrsto tlo. Zato je brani jaki bedem. »ovjeka se ugodno doima kada iz okoliπne pustoπi napokon ugleda krasnu palaËu, pa u njoj divno pokuÊstvo, veliËajni sjaj i ËistoÊu te naobraæenu i naËitanu obitelj....

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...TreÊeg ili Ëetvrtog dana odvedoπe nas u knjiænicu. Zrinski je imao krasnu knjiænicu ispunjenu obiljem svakojakih knjiga... ...U riznicama sam vidio prekrasnu zbirku starinskih novaca. Bogato su zastupljeni novci Aleksandra Velikog, Otona i Vitelija. Bilo je takoer slika kraljeva, knezova i drugih slavnih ljudi. Vidi se da su ih slikali pravi majstori.

Meu ostalima pokazivali su mi prekrasne, majstorski izraene slike Martina Luthera i njegove æene Katarine. Odavde smo se zaputili u grofove vrtove. Njihov sjaj i krasotu teπko je opisati, a mogu se usporediti s Alkinojevim vrtovima.

Nakon Zrinsko-Frankopanskoga neuspjelog ustanka 1670. godine, u pokuπaju hrvatskog plemstva kako bi se oduprlo nastojanjima beËkog dvora da se Hrvatskoj nametne centralizam i apsolutizam, pogubljeni su praunuk Nikole ©ubiÊa, Petar Zrinski, i brat njegove supruge Fran Krsto Frankopan, 30. travnja 1671. godine. Od te godine dvorac ponovno potpada pod BeËku kraljevsku komoru, imovina Zrinskih biva konfiscirana, a dvorac s utvrdom prepuπta se zubu vremena bez nuænog odræavanja.

Nakon gotovo pedeset godina od odlaska Zrinskih iz Meimurja i Staroga grada, Karlo I., austrijski car I hrvatsko-ugarski kralj (kao Karlo IV.), 1719. godine dodjeljuje Meimurje za osobite zasluge grofu Mihaelu Ivanu III. Althanu i njegovoj supruzi markizi Anni Mariji Pignatelly.

Althani su ËakoveËke meimurske vlastelinske objekte zatekli u osobito loπem stanju, a Stari grad gotovo u ruπevnome. Kiπe su teπko oπtetile zidove. »lan Kraljevske urbarske komisije Stjepan pl. Jesenski 1720. godine opisuje zateËeno stanje u kojem nabraja pet bastiona graenih od kamena i opeke. Svod ulaznog bastiona na viπe je mjesta bio napuknuo. S njegove ulazne strane joπ se nalazio grb obitelji Zrinski. Tvrava je bila opasana jednostavnim dvostrukim jarkom punim vode iz okolnih moËvara. Dvorac je joπ imao dva drvena mosta, takoer u priliËno ruπevnom stanju.

U dvoriπtu tvrave Jesenski zatjeËe male nepravilne zgrade, koje su zbog nemara gotovo sve u ruπevnom stanju. U kamenom bunaru, danas zatvorenome, voda veÊ tada nije bila za piÊe. PalaËa Ëetverokutnog oblika s unutarnjim dvoriπtem i trima kamenim stubiπtima vapila je za obnovom.

Nakon smrti grofa oca 1722. godine, upravo nakon zaposjedanja Meimurja, njegov nasljednik i sin Mihael Ivan IV., osobnom inicijativom i predanoπÊu, nakon velikog potresa 1738. godine, po projektima dvorskog arhitekta Antona Erharda Martinellija, ostvaruje rekonstrukciju Staroga grada u veliËanstven barokni kompleks. PalaËa je nadograena i barokizirana, renesansna je kula sruπena i

podignuta nova na zidinama utvrde. Nova monumentalna barokna dvokatna palaËa s unutarnjim dvoriπtem izgled je zadræala do danas, mijenjajuÊi svoju zatvorenost u pejzaænu otvorenost okrenutu prostoru u kojemu se nalazi.

Obnova i gradnja svjesna je metamorfoza. U njemu je graditelj svojevrsni pjesnik, geometar ili aktivist koji osvjeπÊuje razbor povijesti, premostitelj, slikar i pjesnik. Graenje je namjera.

U njoj je Mihael Ivan IV. planirao oblik, odredio namjenu, stvarao svoj novi svijet, izgraivao ga osvojen susretom analize i ekstaze buduÊe mu namjene.

Godine 1791. Meimurje kupuje obitelj grofova FeπtetiÊ, koja se u razdoblju od 1855. do 1870. godine dijelom palaËe Staroga grada koristi kao tvornicom πeÊera i za druge namjene. Grof FeπteπiÊ 1923. prodaje dvorac zagrebaËkoj tvrtki Slavonija. Od 1946. godine u njemu je otvorena Ekonomska πkola i aËki dom. U njemu su zatim poËele s radom sve danaπnje ËakoveËke srednje πkole. Od 1954. godine u vlasniπtvu je Muzeja Meimurja, u kojemu se nalaze arheoloπki, etnografski, povijesni odjel te likovna galerija. Danas je Stari grad srediπnji memorijalni prostor »akovca i Meimurske æupanije te simbol meimurskog identiteta i tradicije.

Pisati æivotopis nekog dvorca, ovom prilikom Staroga grada ili dvorca Zrinski, znaËi pisati o potrazi za odgonetnutom osobnoπÊu prostora u kojemu se boravi, koji se osjeÊa i preko osjeta iskazuje svoja sjeÊanja, tajne i zagonetke. Bilo da se piπe naoko jednostavno kronoloπko izvjeπÊe o njegovim zidinama redosljednim sustavom ili iskazom preruπenim u simbole, jednadæbe ili formule, ta priËa sadræava elemente jednoga i drugog sustava. U njoj teku opisi usponskog puta i gradnje, æivota i opstojnosti, koji se isprepleÊu s padovima, razaranjima i nestajanjem. Kao i u æivotu Ëovjeka, uobiËajena pojavnost poprima kakvoÊu æivotnih radosti i tuge, sjenovitih predstava spuπtenih u bezvremenost. Kakav osjeÊaj! Kakvo istraæivanje! Susret je to s duπom prostora, koja Êe dolazniku namjerniku otkriti tek onoliko koliko posjeÊeni prostor smatra da putnik zasluæuje. n

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very building, and that includes castles and fortresses, emanates a union of all things earthly and heavenly; that enchanting fluid which time and again is sentient of human beings, their spirit, intentions and actions. Each building tells a story imbued with memories that are imprinted in its walls or the remains thereof. Many have been deserted, their rooms vacant for ages − only rarely does life still throb in the buildings.

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In unity with the celestial dome, the Zrinski Old Town in »akovec reminds us of times past, when the energy of life pulsated strongly with determination, development and survival.

In terms of its typology and history, this Old Town represents multiple layers of the preserved constitutions of feudal, residential and fortification architecture. However, the walls of this Castrum are more than that. They are the heritage of an abode once built by audacious individuals who wanted to live there.

From within its walls they built with a vision of a liberal spirit, which back then was ruthlessly restricted by the intricate political situations, frequent wars and cultural differences.

Just like in so many other tales of castles and their origins, our story begins with a date in the 13th century calendar, when the existence of a particular fortification was recorded. It was built owing to the efforts of a nobleman, the then count Dimitar »ak (Dimitrius Csáky), who erected a timber fortification known as Csaktorny, which ultimately gave »akovec its name. This fortification, or rather a tower with a fortified settlement, had the appearance of an architectural historical nucleus and it presented itself as the throbbing vein of what, at the time, was a rather small community. In the early 14th century, the tower was fenced in and it was mentioned as a fortified town in a document issued by the then-king, Charles Robert.

The successive owners of the »akovec Fort during the 14th, 15th and the mid-16th centuries were the Dukes of LackoviÊi, the Counts of Celje and the Ernuπti noble family, who kept on building and extending it until they ended up with a spacious court surrounded by a powerful outer defence system. In the meantime, »akovec had become a large and splendid feudal town, the so-called castrum.

Well fortified, it proved to be easy to defend against enemies of all sorts who would have had a hard time conquering it even with the help of guns. The city’s defence bulwarks and fortifications were solidly built and conveyed a clear picture of their might.

Up to the mid-16th century, the fortress was constructed and reconstructed to accommodate the needs of the nobility who resided in it. The significant growth of the lowland Wasserburg (water fortress) started in 1546 when King Ferdinand von Habsburg bequeathed Meimurje, with the »akovec and ©trigova fortresses, to the Croatian viceroy Nikola ©ubiÊ Zrinski. According to Vladimir Kalπan, the author of the book The History of Meimurje, Count Zrinski had proven himself worthy of such a big gift when he demonstrated exceptional courage in the 1542 battle near Pest.

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of 400 soldiers at the eleventh hour as a gift from heaven and saved King Ferdinand’s army from the Ottoman Turks. The victory earned him fame and honour across Europe, while King Ferdinand appointed him as the Croatian ban (viceroy).

The Zrinski family was first mentioned as the ©ubiÊ family of Bribir as early as the 11th century. In the early 14th century they became the most powerful medieval magnates in Croatia, with huge estates, ban titles and power.

They got the name Zrinski in 1347 when they swapped their fortress in Ostrovica for the Zrin estate, and decided to take the name of the new acquisition as their new family name.

While in the possession of the Zrinski family, the »akovec fortress underwent major changes due to the fact that the »akovec and ©trigova estates which were bequeathed to them enjoyed the important status of market towns and the apposite wealth that went with it. A large part of the Zrinski estate was made up of arable land, meadows, forests and high quality grazing land. The Zrinski family had the privilege of collecting royal taxes, but historical circumstances and the constant Ottoman threat forced the ban to gear all of his potentials towards the construction of a palace that would be first and foremost safe, and only then comfortable to live in.

While the fortifications were being constructed, Ban Zrinski, who lived there with his large family of fourteen children from two marriages, also commissioned the building of a two-storey renaissance palace in the shape of an enclosed square with a spacious inner courtyard and arcades on the northwest and southeast ground floor with facades facing the inner court. Yet, the architectural heritage that bears witness to that period tells us that during the reconstruction of the building much more heed was paid to its defence purpose than to the comfort of living in the court.

To live in a court, such as was Count Zrinski’s, was a status symbol, the mark of the gentry whose large estate surrounded the court. The court was a conquered place, a well thought out central point in which the celestial dome was built around its axis, delineating the horizon. During the day it was awash in sunlight, and during the night it was encircled by the star-studded sky. While undertaking those constructions and reconstructions, Zrinski erected his own stone geometrical structure, a plan of a personal world, which sometimes reflected his own image. With his dominant position and architecture, he elevated his configuration to a panoramic location.

As life took its own course, like a river rather than a calm lakeshore, Nikola ©ubiÊ Zrinski

could not live comfortably in his homeland.

In 1563, King Ferdinand issued a special charter to appoint him as the commander of the Hungarian Army south of the Danube with the headquarters at the Szigetvár Fort. The volatile area was the main axis for the Ottoman onslaughts against the centre of the Monarchy, which is why the king had to appoint an experienced commander to that post. Three years later, in 1566, after a siege that had lasted for a whole month, the Turks captured the fort and the battle ended with Nikola ©ubiÊ Zrinski perishing as a hero.

His was succeeded by his son Juraj IV Zrinski and his successors Nikola VI and his brother Juraj V Zrinski. They continued to methodically maintain the court and the powerful defence system around it. They kept some of the fortifications, but they also built renaissancestyle bastions. Thus, the old town of »akovec became a complex consisting of a water tower and a renaissance fortress.

Before the end of the 16th century the Zrinski estate assumed its final form and the family-owned land stretched from the north of Meimurje to the Adriatic Sea in the south.

In the mid-17th century the court was a picture of elegance and wealth. In 1661, the Dutch travel writer, Jacob Tollius, wrote: Soon thereafter we entered the court, a splendid and grandiose building, perfectly fortified against the Turkish forces. The court was almost completely surrounded by marshland, the purpose of which was to prevent the digging of passageways to the court. Only one side, the one leading towards the town, is propped against solid land. That is why that side is protected by a strong wall. One is pleasantly impressed to see a beautiful palace emerge from the surrounding desolateness. The interior is beautifully furnished, splendid and clean, and the palace itself is home to an educated and well read family… ...On the third or fourth day we were taken to the library. Zrinski had a wonderful library full of all kinds of books… ...In the treasuries I saw wonderful numismatic collections, with the Alexander the Great, Otto and Vitellius coins well represented. There were also portraits of kings, counts and other famous people on the walls. You can tell that they were painted by true masters. Amongst others, the hosts showed me wonderful masterpieces of Martin Luther and his wife Katarina. From there we headed towards the count’s gardens.

It is difficult to put into words their splendour and beauty; the only fair comparison would be with the garden of Alcinous.

In 1670, the Zrinski and Frankopan families took part in the Croatian nobility’s uprising

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against the Viennese court’s attempts to impose centralism and absolutism on Croatia.

The uprising was quashed and Nikola ©ubiÊ’s great grandson, Petar Zrinski, and his brotherin-law, Fran Krsto Frankopan, were beheaded on 30 April 1671. That year, the court was confiscated by the Viennese Royal Chamber, together with the rest of the Zrinski possessions. The court and the fortress were then neglected, as no efforts were made towards their maintenance.

Nearly fifty years after the Zrinski family left Meimurje and Old Town, King Charles IV Hapsburg rewarded Count Michael Ivan III Althan for special services rendered and gave Meimurje to him and his wife Countess Anna Maria Pignatelly.

The Althans found the facilities on the »akovec and Meimurje feudal estates in particularly bad condition, whereas the Old Town had been almost completely ruined. Rainfall had badly damaged the walls. A member of the Royal town planning commission, Stjepan von Jesenski, took stock of the situation he found in 1720 and described the complex as featuring five bastions built from stones and bricks. The vault of the entrance bastion was cracked in several places. The front façade still featured the Zrinski family coat of arms. The fortress was encircled with a simple double ditch that was filled with water from the surrounding marshland. The court still had two wooden bridges, also in a pretty dilapidated state. In the courtyard, Jesenski found small buildings of irregular shapes that were all dilapidated due to neglect. The water in the stone well, which today is sealed off, was not good to drink even then. The square-shaped palace with an inner court and three stone stairways cried for reconstruction.

The count died in 1722, shortly after taking possession of Meimurje. His son and successor, Mihael Ivan IV, commissioned designs from the court architect, Anton Erhard Martinelli, and through his own initiative and dedication, after the great earthquake that struck the area in 1738, he reconstructed the Old Town into a magnificent baroque-style complex. The palace was extended and designed in the baroque style; the renaissance tower was pulled down and a new one was erected on the walls of the fortress. The new monumental baroque two-storey palace with an inner court has kept its appearance to this very day. Its enclosed appearance was replaced with openness towards the landscape and the environment in which it exists.

Reconstruction and construction are processes of a conscious metamorphosis. In it, a builder presents himself as a poet of sorts, 32

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a geometer, or an activist who shapes the acumen of history, a bridge builder, a painter and a poet. Building is an intention. With that intention, Mihael Ivan IV planned the shape of his abode, defined its purpose, created his new world and developed it consumed with the encounter of analysis and the ecstasy of its future use.

In 1791, Meimurje was bought by the family of Count FeπtetiÊ, who used one part of the Old Town palace as a sugar factory and for other purposes during the period between 1855 and 1870. Count FeπtetiÊ sold the castle in 1923 to the Zagreb-based company Slavonija. In 1946 it housed a secondary school of economics and a student dormitory. Since 1954 it has been the property of the Museum of Meimurje and houses archaeological, ethnography and historical collections, as well as an art gallery.

Today the Old Town is the central memorial site in »akovec and Meimurje County and it symbolizes the identity and tradition of Meimurje.

To write the story of the life of a court, this time of the Old Town or the Zrinski Court, means to describe a quest for the deciphered character of an abode, a space that is felt, and while feeling the space one expresses one’s own memories, secrets and conundrums. Whether one sets out to write a seemingly simple chronological report of the walls following a system of sequential order, or an account disguised in symbols, equations and formulae, that report will contain elements of both systems.

It will feature descriptions of a journey where ups and downs follow one another; a journey where surges, life and persistence intermingle with falls, destruction and disappearance. Just like the life of a human being, the customary existence of an edifice assumes the qualities of the joys and sorrows of life, the shadow of a performance descended into the timelessness of time. What a feeling! What an exploration!

It is an encounter with the soul of a building which will reveal to a chance passer-by only as much as the visited building deems the chance traveller deserves. n

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TRADICIJA TRADITION ■

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ismo znali πto se dogaa, nekoliko su nas dana obilazile razliËite komisije, iz ministarstva kulture, iz Unesca. Nitko nam nije rekao o Ëemu je rijeË, valjda kako se ne bismo razoËarali ako sve skupa ne uspije - rado Êe ponavljati svoju priËu jedna od obrtnica domaÊe radinosti iz zagorskoga sela StubiËki Laz, koje se nalazi na putu do nadaleko poznatoga marijanskog svetiπta i najveÊega hodoËasniËkog odrediπta u Hrvatskoj ∑ Marije Bistrice.

A uspjeh nije izostao. UmijeÊe izrade zagorskih drvenih igraËaka, prepoznatljivih tradicijskih proizvoda, upisano je na Unescovu reprezentativnu listu nematerijalne baπtine ËovjeËanstva. Na taj je popis do danas uvrπteno devet hrvatskih kulturnih fenomena, Ëime je Hrvatska, kao Ëetvrta u cijelome svijetu, preuzela primat u Europi. Uz dubrovaËku Festu sv. Vlaha, dvoglasje tijesnih intervala Istre i Hrvatskoga primorja, godiπnji proljetni ophod Kraljice (Ljelje) iz Gorjana, hvarske procesije Za kriæen, godiπnji pokladni ophod zvonËara s podruËja Kastva, hrvatsko Ëipkarstvo (Pag, Hvar, Lepoglava), sinjsku Alku i mediËarski obrt sjeverne Hrvatske, na tome su se popisu zasluæeno naπle i drvene zagorske igraËke.

U svome glasovitom djelu Homo ludens, »ovjek koji se igra, Johan Huizinga naglaπava da ne istraæuje elemente igre u kulturi, nego prouËava igru upravo kao element kulture.

Igra je, kaæe, osnovna ljudska djelatnost koja od poËetka proæima sve kulture i starija je od njih. Ona je slobodna, ona je zapravo sloboda sama, nije obiËni ili pravi æivot, nego izlaæenje iz njega, promeÊe se u zbilju, kao πto se zbilja promeÊe u igru. Igra æivot upotpunjuje, ukraπava ga, Ëini podnoπljivijim, ne mareÊi za korist ili probitak.

Psiholog Peter Gray sa SveuËiliπta u Bostonu dræi da su igre bile sredstvo kojim su naπi preci razvijali kooperativnost nasuprot uroenoj sklonosti prema agresiji i dominaciji. Igrom su uËili dijeliti, odræavati zajedniËko postojanje u ravnoteæi, kao πto i danas druπtvene igre

Ëesto promiËu brigu za osjeÊaj i dobrobit drugih. Tako nekako bilo bi u idealnom svijetu, no ljudi na kraju uvijek neπto pokvare. Gray, naime, tvrdi i da su sebiËna djelovanja, koja su rezultirala danaπnjim globalnim ekonomskim kolapsom, jasni simptomi druπtva koje se zaboravilo igrati, druπtva koje je predaleko otiπlo u poticanju djece da se u igri samo natjeËu, a kad igra u tom obrascu ode predaleko, prestaje biti igrom.

Kad takva djeca odrastu, dobivamo pohlepne i arogantne ljude, liπene empatije, usmjerene iskljuËivo na zadovoljavanje vlastitih potreba.

Caillois, Vigotsky, Mead, Montessori, Steiner, Garvey, Hall, Hughes, samo su neka od imena iz dugaËkoga niza znanstvenika koji su prouËavali djeËju igru i njezinu vaænost za zdravo odrastanje, kao i posljedice izostanka igara iz manje sretnih djeËjih æivota.

DjeËje igre, doduπe ne uvijek i ne nuæno, imaju svoj materijalni element ∑ igraËke. One odreuju njihov sadræaj Ëesto postajuÊi ravnopravnim partnerima u igri. Nisu uvijek posebno pravljene za tu svrhu jer djetetu, s maπtom koja ne poznaje granica, i πuπtavi su πareni papiriÊ ili komadiÊ stakla pronaen na plaæi, zaobljen i zamagljen bruπenjem morskih valova, Ëesto jednako zanimljivi kao i neka skupa, sofisticirana igraËka. Uvijek neponovljiva, igra je sredstvo kojim dijete prerauje stvarnost oko sebe i s njome se suoËava, upoznaje ju i istodobno priprema za nju. Ali radi i mnogo viπe od toga, maπta i sanjari o svemu Ëemu se uopÊe moæe domisliti, anticipirajuÊi na neki naËin da Êe u odraslom ostatku njegova æivota to ostati jedinim prostorom stvarne slobode.

Tradicionalne zagorske drvene igraËke sa svojom viπestoljetnom povijeπÊu joπ i danas mogu zadovoljiti najvaænije zahtjeve koje suvremene teorije postavljaju pred igraËke.

Idejni zaËetak postojanja tih igraËaka svakako se moæe temeljiti na skromnim financijskim moguÊnostima, ali i nedostatku mjesta na kojima su u to vrijeme seoski roditelji mogli kupiti prave igraËke. Bijahu to sajmovi, rijetka

Piše/By Dubravka Belas Fotografije/Photos Dražen LapiÊ

DjeËje igre, doduπe ne uvijek i ne nuæno, imaju svoj materijalni element ∑ igraËke.

Tradicionalne zagorske drvene igraËke sa svojom viπestoljetnom povijeπÊu joπ i danas mogu zadovoljiti najvaænije zahtjeve koje suvremene teorije postavljaju pred igraËke.

More often than not, children’s games have their material element: toys. Traditional wooden toys of Zagorje that have been in existence for centuries can still meet the most important modern-day toy-related criteria.

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proπtenja i sveËanosti, ili grad u koji se odlazilo trgovati. Pretpostavlja se da su zato odrasli poËeli izraivati jednostavnije igraËke kod kuÊe, od materijala koji su im bili pri ruci, nadahnuti prizorima koji su ih okruæivali. Nastali su tako prvi drveni konjiÊi, prve male poljoprivredne alatke, djeËja kola, frulice ili æveglice…

Viπa kustosica Etnografskog muzeja u Zagrebu Iris BiπkupiÊ-BaπiÊ podsjeÊa na sustavnu poluobrtniËku djelatnost kojom su seljaci u nekim hrvatskim podruËjima, Hrvatskom zagorju, selu Vidovcu u Prigorju i Zelovu u Dalmatinskoj zagori, u 19. stoljeÊu poËeli proizvoditi igraËke namijenjene prodaji. Ali, proizvodnja je u Prigorju i Dalmatinskoj zagori posljednjih desetljeÊa stagnirala, a zatim se, za razliku od Hrvatskoga zagorja, posve ugasila.

U Vidovcu je u poËetku tridesetih godina proπlog stoljeÊa osnovana zadruga, Ëime je poËela organizirana proizvodnja igraËaka, uglavnom likova domaÊih æivotinja i prijevoznih sredstava, kola, saonica, tramvaja, aviona. Svi su imali kotaËiÊe pa su ih djeca konopcem mogla povlaËiti za sobom. Za vidoveËke je igraËke znakovito bilo πto su ih ili ostavljali neobojenima ili bojili bijelom, a zatim ih ukraπavali jarkim bojama.

Selo Zelovo nedaleko od Sinja u Dalmatinskoj zagori smjestilo se na visokoj nadmorskoj visini, gdje su oskudna zemlja i duge i ledene zimske bure ostavljale stanovnicima dovoljno vremena i za izradu drvenih igraËaka. Oblicima i obradom preslikavale su πkrtu prirodu u kojoj su nastajale. Njihov suzdræani kolorit i jednostavni oblici, s vrlo malo ukrasa, uglavnom su primjenjivani na konjiÊima u jednopregu ili dvopregu, plesaËima na πtapu i akrobatima.

IgraËke su prodavali najËeπÊe na trænicama u Splitu i Sinju, kamo su ih iz svoga sela odnosili u naprtnjaËama. Proizvodnju posljednjega zelovskog majstora njegovi sinovi u ovom stoljeÊu, na æalost, nisu nastavili.

ZagrebaËki Etnografski muzej, izmeu ostaloga, Ëuva bogatu zbirku djeËjih igraËaka, od onih koje su pravila sama djeca, do igraËaka koje su izraivali rezbarski majstori, Ëesto i Ëitava sela u organiziranoj zadrugarskoj proizvodnji.

U πiroj okolici Zagreba seljaci su isprva pravili drvene svirale s jednom ili dvije cijevi, πtap u obliku sjekirice te ptice ili leptire na kotaËiÊima kojima se pri voænji pokreÊu krila, domiπljato povezana jednostavnim mehanizmom, tako da su se u hodu krila πirila i zatvarala, veÊ prema brzini kojom su se vrtjeli kotaËi. Æveglice su puËke svirale koje su se od davnina izraivale ponajviπe u selima BistriËki i StubiËki Laz. Naziv se odnosi na sve vrste jedinki, dvojnica, sluπkinja (takoer dvojnica, 40

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ali s rupicama samo na jednoj strani), trojki, Ëetverojki i vrste svirala sliËne okarini. Sve su se igraËke izraivale najËeπÊe od vrbova drveta, ali æveglice uglavnom od bazge ili lijeske. Bazgove su bile najlakπe za izradu, ali bolje su bile one od drveta javora, πljive ili treπnje, no za njih bi drvo moralo odleæati barem godinu dana. Zanimljivo je da, za razliku od svirala iz drugih dijelova Hrvatske, jedino zagorska æveglica ima Ëetvrtasti presjek i danas izgleda jednako kao i onda kad se tek poËela izraivati.

Laz ∑ StubiËki i BistriËki, Tugonica, TurniπÊe ∑ mala su mjesta raπtrkana meu pitomim zelenim breæuljcima, meu Ëijim se skromnim i radiπnim stanovniπtvom raπirilo umijeÊe izraivanja igraËaka. Nekad su od toga æivjela Ëitava sela, a naËin izrade naraπtajima se prenosio u pojedinim obiteljima, zadræavπi se sve do danas, kad je to postalo viπe zadovoljstvo i ljubav prema vlastitoj povijesti i tradiciji, nego iole znaËajniji izvor prihoda.

Sve se radilo ruËno, nije bilo strojeva za rezanje i oblikovanje drveta. Rabili su se obruËnjaci kojima se skidala kora, daπËice su se cijepale i glodale, a igraËke na kraju oslikavale vodenim bojama i tintom. Treba reÊi da se i danas strojevi rabe samo u gruboj fazi radova, zbog Ëega je svaka igraËka jedinstvena.

Kao materijal za igraËke upotrebljava se i danas mekano drvo koje raste u okolini, najËeπÊe vrba, lipa, bukva i javor. Jednom osuπeno, drvo se teπe, a zatim se, uz pomoÊ drvenih ili kartonskih πablona, izrezuje i oblikuje u æeljenu igraËku. Rodna podjela rada ovdje je nezaobilazna, igraËke izrauju muπkarci, a bojama ih ukraπavaju æene. Tako je u obitelji KuniÊ, u obitelji Mikuπ, Gereci, »ukelj, JoË, HrastoviÊ i u svima drugima. Ti vrijedni, æilavi i uporni zagorski ljudi, poput majstora IvaniÊa u Gornjoj Stubici, tvrdoglavo i gotovo prkosno odbijaju poloæiti oruæje pred konkurencijom plastiËnih igraËaka iz uvoza.

Svaka se igraËka izrauje posebno i uvijek je unikat. Boje se ekoloπkim bojama, æivom crvenom, æutom ili plavom kao podlogom, a zatim ih vjeπte ruke ukraπuju cvjetnim i geometrijskim motivima. Nekad su se obojene igraËke politirale, no danas se upotrebljavaju prirodne boje na koje se ukrasi nanose kontrastnim temperama ili Ëak flomasterima. Nerijetko se na igraËkama mogu vidjeti i hrvatski dræavni simboli ∑ trobojnica i grb.

Od jednostavnih se svirala repertoar igraËaka postupno πirio, a na svom vrhuncu, izmeu dva svjetska rata, dosegnuo i do sto dvadeset razliËitih modela. To je bilo vrijeme kad su se one prodavale ne samo diljem Hrvatske nego i izvan nje, sve do daleke Australije. Uz frulice, prva jednostavna glazbala na koja je dijete

nailazilo, tada su se izraivale i druge glazbene igraËke - u obliku violonËela i trubice. Nakon 1945. godine uvode se tamburice, ali izrauju se i ËekiÊi, drveni konjiÊi, katkad samostalno priËvrπÊeni na podlogu s kotaËiÊima, katkad u zaprezi.

Tu su i druge drvene æivotinje, zeËevi, ribe, kokoti, maËke, purice, ptice i leptiri klepetaljke, lutke s minijaturnim lutkinim namjeπtajem, od kolijevki do stoliÊa i malih stolova, πarenih krevetiÊa i ormara, zatim razliËite poljoprivredne alatke, lopatice i grabljice, idealne za pravljenje kolaËa i dvoraca od pijeska, ukratko sve ono πto je tvorilo svakodnevni æivot, okruæivalo i nadahnjivalo majstore. Nerijetko se mogu naÊi i sve potrepπtine za igranje rata ∑ πareni i bezopasni drveni bodeæi, piπtolji i puπke.

Od preostalih pedesetak vrsta danaπnjih igraËaka, uza zadræane tradicionalne oblike, izrauju se i igraËke koje svjedoËe o suvremenom okruæju, poput automobila, kamiona, vlakova, aviona...Majstori su se prilagodili potrebama djece pa su danaπnje drvene zipke, na primjer, napravljene tako da u njih stanu i omiljene djeËje barbike.

Sela Tugonica i TurniπÊe poznata su po izradi glazbenih instrumenata, tamburica, malih, srednjih i velikih bisernica, neπto veÊeg braËa te dangubice. Posljednji aktivni majstori, Petric u Tugonici i Majdak u TurniπÊu, rade ih prema naslijeenim predloπcima od vrbovine i bukovine iz obliænjih πuma, a oslikavaju ih onako kako se to radilo viπe od stotinu godina.

Straænja i boËne stranice boje se æuto, a rubovi i vrat crnom bojom, prednji dio ostavlja se neobojenim i ukraπava biljnim, uglavnom cvjetnim slikarijama. Ti instrumenti, iako igraËke, imaju vrlo kvalitetan zvuk, paæljivo se ugaaju i Ëesto motiviraju djecu da nastave svirati u nekome od tamburaπkih zborova.

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Hrvatsko zagorje ostalo je danas jedino mjesto u Hrvatskoj gdje se takve igraËke proizvode.

Ovdje se u 19. stoljeÊu teπko æivjelo i nije neobiËno πto su stanovnici poËeli s tom proizvodnjom koja je njihovoj djeci omoguÊavala prvu razonodu, a njima zatim osiguravala i dodatni izvor prihoda. U to su vrijeme u NjemaËkoj, Francuskoj, SlovaËkoj, »eπkoj i Austriji veÊ postojala obrtna srediπta u kojima su izraivane igraËke. TrgovaËkim su se putovima one πirile i u naπe krajeve i moæda tako utjecale na oblikovanje igraËaka u Hrvatskoj, od materijala dostupnih u prirodi i u skladu s ruralnim naËinom æivota samoukih majstora.

Nije sluËajno ni to πto su rezbari razvili svoje obrte upravo u selima kroz koja u molitvi pjeπice prolaze hodoËasnici do poznatoga svetiπta u Mariji Bistrici. Njihove πarene igraËke izloæene pogledima prolaznika zacijelo pridonose æivosti tih povorki. Æivopisne boje, veseli zvukovi koje proizvode i kretnje što ih oæivljavaju, neÊe samo pobuditi djeËje veselje i zanimanje, nego uljepπati i obiljeæiti tim otpornim djeliÊem hrvatske baπtine svaki kutak u kojemu Êe, nakon igre, biti odloæene.

Zato, kad na nekom sajmu ili proπtenju ili na nekoj udaljenoj klupi trænice ugledate takve igraËke od obojena drva, odaberite samo za sebe neku πarenu pticu, konjiÊa s grivom, sviralu, bisernicu ili leptira.

I ne zaboravite onu staru mudrost: Ne prestajemo se igrati zato πto starimo, nego starimo zato πto smo se prestali igrati... n

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e did not know what was going on. Different commissions from the Ministry of Culture and UNESCO came several times to inspect what we were doing. Nobody explained anything.

I suppose they did not want us to feel disappointed if the whole thing fell through. A craftswoman from the village of StubiËki Laz in Zagorje is happy to tell this story over and over again. Her village is one of those along the route to Marija Bistrica, the widely popular Marian Shrine and the biggest pilgrimage site in Croatia.

The story, however, has had a successful ending. The traditional manufacturing of wooden toys, a quintessential traditional product of Croatian Zagorje, has been inscribed on UNESCO’s Representative List of Intangible Cultural Heritage of Humanity. Currently, the list contains as many as nine Croatian cultural phenomena, whereby Croatia has been ranked fourth in the whole world and it has taken the lead in Europe. Along with the festivity of Saint Blaise, the patron saint of Dubrovnik; two-part singing and playing in the Istrian scale; the annual spring procession

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of Ljelje/Kraljice (Queen) from Gorjani; the procession Za Kriæen (Following the Cross) on the island of Hvar; the annual carnival bell ringers’ pageant from the Kastav area; lace making in Croatia (Pag, Hvar, Lepoglava); the Sinjska Alka; and the gingerbread craft from Northern Croatia, wooden toys have quite deservingly found their place on the list.

In his famous work Homo Ludens or Playing Man, Johan Huizinga points out that his book is not a study of the play element in culture, but rather the study of the play element of culture. He says that play is an essential human activity, and that it has permeated all cultures from the very start; it is actually older than culture. Play is free, play is in fact freedom; play is not ordinary or real life; play is distinct from ordinary but it turns into reality just like reality turns into play. Play complements life; it adorns it; it makes it more tolerable; it is unconcerned with benefits or profit.

Psychologist Peter Gray from Boston University believes that play was instrumental in developing cooperativeness among our ancestors as a counterpoint to the innate propensity towards aggression and domination. Through play they learned to share and to maintain a balanced coexistence, just like modern social games often promote concern for the feelings and wellbeing of others. This is how it should be in an ideal world, but people always spoil things in the end. According to Gray, the selfish human actions which underlie the global economic collapse are a clear symptom of a society that has forgotten how to play; a society which has gone too far in encouraging children to compete; when play goes too far in the pursuit of that pattern of behaviour, it stops being a game. When they grow up, such children turn into greedy and arrogant adults who lack empathy and focus exclusively on self-gratification. Caillois, Vigotsky, Mead, Montessori, Steiner, Garvey, Hall, Hughes, are just a few in the long series of scientists who have studied children’s play and its importance for healthy development.

They have also studied the consequences suffered by those unfortunate children who were deprived of opportunities to play.

More often than not, children’s games have their material element: toys. They determine the content of the game and often become equal partners in the game. They are not always purpose-made because for children, whose imaginations know no boundaries, even rustling colourful papers or a piece of glass discovered on a beach, tumbled and smoothened by the waves, are often as interesting as an expensive sophisticated toy.

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is the way to process the reality around them and face it, to explore it and at the same time prepare them for it. But children at play do much more than that: they use their imaginations and daydreams about anything and everything with a feeling of foreboding, so that in the adult part of their lives this will remain the only space of true freedom.

Traditional wooden toys of Zagorje that have been in existence for centuries can still meet the most important modern-day toy-related criteria. The idea behind the creation of these toys was certainly to overcome both the modest financial means and the shortage of places where contemporary parents living in rural areas could buy proper toys. Such places were village fairs, church feasts or nearby cities where they went to trade their produce. It is assumed that that was the reason why adults started manufacturing simple toys at home, using readily available materials and drawing inspiration from their everyday life. That is how the first little horses were created, the first little farming tools, children’s carts, and whistles known as æveglice in the local dialect.

A senior curator of the Ethnographic Museum in Zagreb, Iris BiπkupiÊ-BaπiÊ, reminds us that in some Croatian regions, such as Croatian Zagorje, the village of Vidovec in Prigorje and Zelovo in Dalmatian Zagora, villagers started systematically manufacturing toys intended for sale in the 19th century, and thus became semi-professional craftsmen. However, the production in Prigorje and Dalmatian Zagorje stagnated for decades and then died out completely, unlike in Croatian Zagorje.

The establishment of a cooperative in Vidovec in the early 30s of last century marked the beginning of organized toy-production, mostly of domestic animals or transport means, such as carts, sleighs, trams and aeroplanes. They all had wheels so children could pull them by a rope. A typical feature of the toys manufactured in Vidovec was the fact that they were either not painted at all or they were painted white, and then they were decorated in vivid colours.

Zelovo village near Sinj in Dalmatian Zagora is perched high above sea level, in a place where soil is sparse, whereas chilly winds and long winters left the villagers enough time to manufacture wooden toys. With their sharp instruments and manufacturing techniques the craftsmen reflected the parsimonious environment in which the toys were created.

Subdued colours and simple forms, depicting very few decorative elements, could be seen on little horses or on one-horse or two-horse carts, dancers on a pole and acrobats. They usually sold their toys at the markets in Split 44

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and Sinj, to which they travelled from their villages with the toys in their backpacks.

The last Zelovo master craftsman has died; sadly enough, his sons have not continued the tradition.

Amongst its other collections, the Ethnographic Museum in Zagreb has a rich collection of toys, those that have been made by children as well as those that have been manufactured by master woodworkers and even entire villages where organized cooperative manufactures existed.

In the general area of Zagreb, the first toys made by villagers were wooden musical instruments with one or two pipes, sticks in the form of axes and birds or butterflies on wheels whose wings would move when the toys were pulled. The toys had a very simple mechanism which made the wings flap up and down when a child dragged the toy, and the flapping movement could be faster or slower, depending on how fast the wheels turned. Æveglica is a popular musical instrument that has been manufactured for a long time, mostly in the villages of BistriËki Laz and StubiËki Laz. The term applies to all sorts of whistles: single pipe and double pipe whistles; sluπkinja or a maid-servant (also a double pipe instrument with holes only on one pipe); three-piped; four-piped whistles; and a type of instrument similar to an ocarina. The other toys were mostly made from willow trees, but æveglice were mostly manufactured from elder or hazel wood. Elder wood was the easiest to work with; those toys made from maple, plum or cherry tree were the best, but the wood had to rest for at least a year before it could be used. Interestingly enough, unlike the musical instruments manufactured in other parts of Croatia, only the whistles from Zagorje have

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a rectangular cross section and today they look exactly the same as when they were first produced.

The two Laz villages - StubiËki and BistriËki, as well as Tugonica and TurniπÊe are small hamlets scattered among the rolling hills. The craft of toy production has spread among their diligent and modest inhabitants. Entire villages used to make a living from toy making, and the manufacturing technique has been handed down for generations until modern day, when this has become more of a pleasure and an expression of love of one’s own history and tradition than a source of substantial income.

Everything was made by hand; there were no machines to cut or shape the wood. A tool known as obruËnjak was used to shave the bark from the tree; planks were cut and milled, and the finished toys were finally painted with water colours and ink. It should be noted that even today machinery is used only for the rough stages of the process, which is why every toy is unique.

The preferred material for the production of toys is still soft local wood, typically willow, lime, beech or maple. When dried, the wood is cut into planks, and then is shaped into the desired toy with the help of wooden or cardboard moulds. The gender division of work is essential in the process: toys are made by men, and painted by women. That is how things are done in the KuniÊ, Mikuπ, Gereci, »ukelj, JoË, HrastoviÊ and all other toy-making families. The diligent, tough and steadfast people of Zagorje, like master craftsmen IvaniÊ in Gornja Stubica, stubbornly and almost defiantly refuse to surrender to the competition from imported plastic toys.

Each and every toy is handmade, and each and every one is unique. They are painted

with eco-friendly paints, vivid red, yellow or blue as the background colour, and then, skilful hands apply decorative patterns of flowers and geometrical shapes. In the past, the coloured toys were polished; nowadays, natural dyes are used and decorations are applied with tempera colours or even felt-tip pens in contrasting colours. Not uncommonly, the toys feature the Croatian state symbols, the three-coloured flag and coat-of-arms.

The range of toys has expanded from the original simple musical instruments. When production peaked between the two world wars, as many as 120 different models were produced. That was the time when they were sold not only all over Croatia but even further afield, all the way to distant Australia. Besides whistles, the first simple musical instruments a child could come across, other musical toys were also made in the shapes of cellos or trumpets. After 1945, the first tamburitzas appeared, along with hammers, wooden horses, sometimes on their own and mounted on a base with wheels, or in tandem.

There were also other wooden animals, rabbits, roosters, cats, turkeys, birds and butterflies which fluttered their wings and made noises in the process, dolls along with miniature dollhouse furniture which included cradles and chairs and small tables, colourful little beds and cupboards; there were different farming tools, shovels and little rakes, ideal for making sand castles; in a nutshell, there was everything that constituted everyday life, whatever surrounded and inspired all the master craftsmen. Quite often one could find implements for playing war games − colourful and harmless wooden daggers, pistols and rifles.

The modern day range of some fifty or so toys contains traditional forms, but there are

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also toys that bear witness to the changing environment, such as cars, trucks, trains and airplanes. Master craftsmen have adapted their craft to the needs of children, thus the modern-day wooden cradles are big enough so the popular Barbie dolls can fit in them.

Tugonica and TurniπÊe villages are famous for the production of all kinds of tamburitzas, big and small. The last active masters, Petric and Majdak in Tugonica and TurniπÊe respectively, make them according to the patterns that they have inherited, using willow and beech wood from the neighbouring woods, and they decorate them in the way that has been practiced for over a hundred years. The back side and the flanks of the instruments are painted yellow, whereas the borders and the neck are painted black. The front panel is not coloured but it is decorated, mostly with floral patterns.

The instruments, although toys, produce quality sounds, they are carefully tuned and often motivate children to continue playing in tamburitza orchestras.

Croatian Zagorje remains the only region in Croatia where these toys are still made. Life was hard here in the 19th century, and it is not surprising that the villagers embraced this activity which provided their children with hours of entertainment, while the adults could count on an additional source of income from their products. At that time, toy manufacturing

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centres already existed in Germany, France, Slovakia, the Czech Republic and Austria.

Their toys spread into our regions along the trading routes, and maybe influenced the art of toy manufacturing in Croatia, where people started using materials available in nature and made toys which reflected the rural way of life of the self-taught craftsmen.

It is also not surprising that the woodcarvers developed their crafts in the villages along the route of the pilgrims who negotiated the road on foot to the famous shrine in Marija Bistrica. The colourful toys were exhibited in the pilgrims’ view, which certainly contributed to the exuberance of the processions. Not only will their vivid colours, the cheerful sounds they produce, and the movements which make them look alive bring joy to children and inspire their curiosity; but those resistant pieces of Croatian heritage will beautify and mark every corner in which the toys will be put away after play.

Therefore, when you spot these colourful wooden toys at a fair, a village feast or a remote market stand, chose a colourful bird, a horse with a full mane, a whistle, a tamburitza or a butterfly just for yourself.

And do not forget the old words of popular wisdom: We do not stop playing because we get old; but rather we get old because we have stopped playing. n

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BA©TINA HERITAGE ■

Piše/By Branimir Pofuk

Veliki hrvatski naivni slikar Mijo KovaËiÊ dobio je svoju galeriju na

Fotografije/Photos Ozren Drobnjak i Nenad Reberšak

zagrebaËkome Gornjem gradu. U taj kutak umjetnosti, u tihu i mirnu BasariËekovu ulicu, dolaze posjetitelji sa svih strana svijeta, kako bi se divili Ëudesnom svijetu koji je na staklu ovjekovjeËio, uËinio stvarnim i oæivio taj jedinstveni hrvatski slikar.

The great Croatian naive artist Mijo KovaËiÊ gets his own gallery in Zagreb’s Upper Town. Visitors from all around the world flock to this corner of art to admire the amazing world that the unique Croatian artist has captured and made real on glass.

S

vi znamo kako nastaju slike, svi smo, barem u πkoli, pokuπavali neπto naslikati i zato nam nije stran prizor umjetnika pred praznim platnom, papirom, zidom ili nekom drugom povrπinom kojoj treba udahnuti æivot crtama i bojama.

Slikari i mi ostali, koji nemamo njihov dar, stojimo s iste strane te prazne povrπine, granice izmeu stvarnosti i likovnog djela. Na toj bjelini, baπ kao i u biblijskoj Knjizi Postanka, najprije treba stvoriti nebo i zemlju, planine, mora, livade i πume, pa tek onda æiva biÊa i mrtve stvari. Detalji koji se najviπe istiËu u prvom planu, posljednji dolaze na red. I na samom kraju, kad je sve veÊ dovrπeno, slikaru preostaje joπ samo da na svoje djelo stavi potpis.

Mijo KovaËiÊ nije takav slikar. On je jedan od najznaËajnijih predstavnika svjetski glasovite hrvatske naivne umjetnosti, umjetniËkog pravca Ëiji je prvi i najveÊi predstavnik bio Ivan GeneraliÊ (1914. ∑ 1992.), seljak bez ikakve akademske naobrazbe iz sela Hlebine u Podravini, sjevernoj hrvatskoj pokrajini uz rijeku Dravu. GeneraliÊev uroeni slikarski talent pred likovnu je javnost izaπao tridesetih godina proπlog stoljeÊa zahvaljujuÊi znamenitom i πkolovanom slikaru Krsti HegeduπiÊu, Ëija je obitelj takoer æivjela u Hlebinama. Odatle i naziv Hlebinska slikarska πkola. Mijo KovaËiÊ roen je 1935. u zaseoku Gornja ©uma, pokraj podravskoga naselja Molve. I on je, poput GeneraliÊa, zavrπio samo Ëetiri razreda osnovne πkole. Crtanje i slikanje, Ëime god i po

Ëemu je god mogao, bilo mu je od najranijeg djetinjstva prirodni oblik izraæavanja i potreba.

Kao sedamnaestogodiπnjak prepjeπaËio je petnaestak kilometara do Hlebina i GeneraliÊa te ubrzo postao jedan od najistaknutijih predstavnika druge generacije Hlebinske πkole.

Sama πkola bila je kratka. Tek nekoliko kratkih susreta s GeneraliÊem, koji stanu u jednu KovaËiÊevu reËenicu: Ja sam bio seljak i on je bio seljak i meu nama nije bilo puno rijeËi.

Ali, kako to istiËe i Josip Depolo, autor jedne od monografija koje su se poslije pisale o Miji KovaËiÊu, najvaæniji u tom πkolovanju bio je sam primjer seljaka, zemljoradnika, koji je samo zbog svoje nadarenosti postao priznat i uspjeπan umjetnik, u zemlji i svijetu.

Mladi je KovaËiÊ sam krenuo u potragu za bojama i ostalim slikarskim alatom te u svladavanje tehnike, koja je glavno sredstvo izraæavanja i zaπtitni znak svih samoukih hrvatskih naivnih slikara. To je tehnika slikanja na staklu, razvijena joπ u razdoblju baroka, raπirena po zemljama tadaπnje Habsburπke monarhije, poznata i pod preciznim njemaËkim nazivom Hinterglasmalerai. I u proπlosti, osobito u 19. stoljeÊu, to je bila umjetnost seljaka, Ëitavih obitelji u nekim selima Gornje Austrije. Za kratkih zimskih dana i dugih veËeri, kad njihova zemlja pokrivena snijegom, nije trebala njihove ruke, oni su uzimali kistove i boje. I baπ kao πto to joπ i danas u svojoj Gornjoj ©umi Ëini Mijo KovaËiÊ, sjedali bi ne ispred, nego iza prozirnog stakla.

Velika je to i vaæna simbolika. Za razliku od obiËnih slikara, ti umjetnici bogomdanog talenta, prije nego πto povuku ijedan potez kistom, Ëim sjednu na svoj grubo istesani drveni seljaËki stolac, veÊ su preπli granicu izmeu stvarnosti i umjetniËkog sna. Od tog trenutka oni æivot, smrt i svemir gledaju kroz staklo na kojemu Êe tek nastati njihova slika, potpuno obrnutim redom od veÊine remekdjela likovne umjetnosti.

Svoju komunikaciju s nama, koji Êemo poslije promatrati njegovu sliku, slikar poËinje potpisujuÊi se naopako kako bismo ga mi, s ove strane, mogli proËitati. Naπe desno, njegovo je lijevo, naπ je istok njemu zapad, vjetrovi i rijeke puπu i teku na obrnutu stranu, a tako putuju i Mjesec i Sunce. Ali, πto je joπ vaænije, Ëitavo stvaranje kod njih ide obrnutim, a iz perspektive slike, na neki Ëudan naËin, zapravo pravim smjerom. Oni najprije slikaju upravo ono πto Êe nama, gledateljima, biti najuoËljivije, u prvom planu. Svijet njihovih slika raste od Ëovjeka, koji je najËeπÊe u srediπtu njihova zanimanja, od gruboga seljaËkog lica i joπ grubljih ruku, tijela iskrivljenih teπkim radom i nekom od tisuÊu nesreÊa ili mnogo rjeim veseljima. Te likove okruæuje Ëesto fantastiËan svijet postojeÊih æivotinja i biÊa iz priËa njihovih baka, gole zimske grane ili rascvjetano proljeÊe i ljeto. Svim moguÊim nijansama i oblicima nebeskih i zemaljskih daljina oni taj svoj svijet pokrivaju tek na kraju, od sebe skrivajuÊi sliku koju su naslikali, a od CROATIA AIRLINES

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nas lice autora koje se do tada kroz πumu likova i boja joπ moglo nazrijeti.

Poπto si Ëovjek osvijesti takav slikarski postupak, nekako mu postanu razumljivije i sve druge uvrnutosti koje nalazimo na slikama umjetnika kakav je Mijo KovaËiÊ; pa tako i po sebi fantastiËna Ëinjenica da njemu, siromaπnomu seljaËkom sinu koji je odrastao u teπkim i oskudnim poratnim vremenima, nisu bile dostupne knjige i monografije velikih majstora, ni obilasci muzeja u velikim gradovima, ni akademska predavanja o Pieteru Bruegelu starijemu ili Hieronymusu Boschu, a da su iz biblijskih i puËkih priËa koje je upoznao u djetinjstvu i paæljivog promatranja prirode i ljudi na njegovim staklima oæivjeli flamanskim majstorima tako sliËne fantastiËne kompozicije kao πto su OpÊi potop ili Sodoma i Gomora.

Poslije, kad je sedamdesetih godina proπlog stoljeÊa hrvatska naiva postala jedan od glavnih kulturnih izvoznih proizvoda tadaπnje Jugoslavije, Mijo KovaËiÊ naputovao se svijetom, izlaæuÊi skupno i samostalno od SAD-a do Indonezije. Slike su mu otiπle i dalje, sve do Japana, u koji autor za njima nikad nije otputovao. To mu je, kaæe, ipak bilo predaleko. Iz Gornje ©ume, u kojoj se najbolje osjeÊa, njemu je i Gornji grad, povijesno, politiËko i urbano srediπte glavnoga grada Hrvatske, centar svijeta. I zato je sretan πto je u poËetku ove godine, poπto je lani proslavio 75. roendan, na tome Gornjem gradu dobio vlastitu galeriju u kojoj se posjetitelji sa svih strana svijeta mogu zagledati u Ëudesne kompozicije i teme na staklima iza kojih je danima, mjesecima i godinama s kistom u ruci sjedio Mijo KovaËiÊ.

Galerija Mijo KovaËiÊ otvorena je u mirnoj i tihoj BasariËekovoj ulici, preko puta najstarije zagrebaËke gostionice i umjetniËkog okupljaliπta Pod starim krovovima. Ta galerija govori o joπ neËemu vrijednom Ëega u Gornjoj ©umi i sliËnim selima i danas ima u izobilju: o snazi i ljubavi jedne obitelji. Ispravno zakljuËivπi kako djela Mije KovaËiÊa, bez obzira na zastupljenost u veÊ postojeÊemu obliænjemu Hrvatskome muzeju naivne umjetnosti, zasluæuju i vlastiti prostor za predstavljanje domovini i svijetu, njegova obitelj, za koju je uvijek Ëuvao svoje najbolje i najdraæe radove, osnovala je Zakladu Mijo KovaËiÊ te u znak poπtovanja i zahvalnosti uredila i otvorila galeriju njegovih djela te tako nesebiËno obogatila i kulturnu ponudu stare gradske jezgre Zagreba.

U prizemlju obnovljene palaËe JelaËiÊ, koje je u privlaËan galerijski prostor znalaËki pretvorio arhitekt Ante Vrban, vjerojatno Êe vas doËekati slikarev unuk Ivan. Taj drag i simpatiËan mladiÊ, Ëiji se djed prije πest i neπto desetljeÊa pjeπice zaputio k Ivanu GeneraliÊu u Hlebine, danas se sprema za

studij na zagrebaËkoj Akademiji likovnih umjetnosti, ali jednu je veÊ zavrπio - sjedeÊi uz svog djeda u malom podravskom selu s one druge, Ëudesne strane slikarskog stakla. Ne propustite priliku Ëuti njegove priËe i zagledati se u slike koje su nastale u Gornjoj ©umi, a sada su se, poπto su proputovale velike svjetske galerije, skrasile na Gornjem gradu, u srediπtu Hrvatske, centru svijeta maestra Mije KovaËiÊa. n

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e all know how paintings are made; we have all tried, at least in school, to paint something.

Therefore, it is not strange for us to see the image of an artist standing in front of an empty canvas, a sheet of paper, a wall or any other surface that he needs to breathe life into with lines and colours.

The painters and the rest of us who do not possess their talent stand on the same side of the empty surface, the boundary between reality and a work of art. On that white surface, just like in the Bible’s Book of Genesis, one should first of all create heaven and earth, the mountains, sea, meadows and forests, and then the living creatures and still lifes. The most eye-catching details are completed last.

In the very end, the artist is left with nothing but to sign his work. Mijo KovaËiÊ is not that kind of artist. He is one of the most significant representatives of the world-acclaimed Croatian naive art, an artistic movement whose first and greatest ambassador was Ivan GeneraliÊ (1914-1992), a peasant with no academic education from the village of Hlebine in Podravina, a region located in the north of Croatia, along the Drava River. GeneraliÊ’s innate artistic talent was revealed to the public in the 1930s thanks to the renowned academic painter Krsto HegeduπiÊ, whose family also lived in Hlebine; hence the term the Hlebine School of Painting. Mijo KovaËiÊ was born in 1935 in the small village of Gornja ©uma near the town of Molve in Podravina. Like GeneraliÊ, he also had only four years of primary education. Drawing and painting, on whatever surface and with whatever means available, have always been a natural form of expression and a necessity since his very early childhood. At the age of 17 he walked roughly 15 kilometres to Hlebine and GeneraliÊ, and he soon became one of the most prominent representatives of the second generation of the Hlebine School.

The actual schooling process was short. The few brief meetings with GeneraliÊ could be put into one single sentence by KovaËiÊ: I was a peasant and he was a peasant and there were very few words between us. However, as Josip Depolo described, the author of one of the

monographs later written about Mijo KovaËiÊ, the most important part of that schooling was precisely the example of the peasant, the farmer, who became an acknowledged and successful artist in his country and abroad only owing to his talent. The young KovaËiÊ embarked on a search for colours and other painting tools on his own. He also tried to master the technique, the main instrument of expression and the trademark of all self-taught Croatian naive artists. It was the technique of painting on glass, which was developed in the Baroque period and spread across the countries of the former Habsburg Monarchy, also known by the accurate German expression Hinterglasmalerei. In the past, especially in the 19th century, it was the art of peasants, of entire families in some of the villages in Upper Austria. In wintertime, when the days were short and the evenings were long, when their land was covered in snow and did not need their hands, they would take brushes and paint. And just as Mijo KovaËiÊ still does in his Gornja ©uma, they would sit not in front of, but behind the transparent glass.

The symbolism is great and significant. Unlike ordinary painters, these artists with god-given talents, even before they make a single brush stroke, as soon as they sit on their roughly carved wooden peasant chairs, have already crossed the boundary between reality and artistic dreams. From that moment on, they see life, death and the universe through a piece of glass, on which their painting has yet to be created on, in a completely reverse order than most masterpieces of art are made.

His communication with us, which we will only later observe in his painting, the artist begins by signing his signature in reverse, so that we can read it from the other side. Our right hand is his left, our east is his west, winds blow, rivers flow, and the moon and sun travel in the opposite direction. But even more important is that the entire creation takes a reverse order, which makes some kind of odd sense from the painting’s point of view. They first paint those details that will be most visible to the viewer when seen close-up. The paintings’ world develops from a man, who is primarily the centre of attention; from a rough villager’s face and even rougher hands to bodies distorted through hard labour, or one of thousands of mishaps or very rare joys. These characters are often surrounded by the fantastic world of animals and beings that exist in their grandmothers’ stories, barren tree branches or blossoming spring or summer scenes. Only at the end do they cover this world of theirs with all the imaginable shades and forms of heavenly and earthly horizons, concealing CROATIA AIRLINES

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from themselves what they had painted, while at the same time hiding from us the face of the artist that was thus far discernible through the myriad of characters and colours.

When one becomes aware of such an artistic procedure, they somehow grow to understand all the other oddities we find in the paintings of artists such as Mijo KovaËiÊ; including the fantastic fact that he, a poor peasant’s son who grew up in difficult conditions and tough post-war times, did not have access to books or monographs of great masters, or visits to large city museums, or academic lectures on Pieter Bruegel the Elder or Hieronymus Bosch. However, biblical stories and folk tales he heard as a child, as well as his careful observation of nature and people, were brought to life on his glass surfaces in fantastic compositions, reminding us of the Flemish masters, such as The Great Flood or Sodom and Gomorrah.

Later, when Croatian naive art became one of the main cultural export products in the former Yugoslavia in the 1970s, Mijo KovaËiÊ travelled all over the world, staging group and solo exhibitions from the USA to Indonesia.

His paintings went even further, all the way to Japan, but the artist himself has never followed them there. It was, he says, way too far

for him. From Gornja ©uma, where he feels at home, he even considers Zagreb’s Upper Town, the historical, political, and urban centre of the Croatian capital, the centre of the world.

That is why he is thrilled that early this year, after he celebrated his 75th birthday last year, he got his own gallery in the Upper Town, where visitors from all corners of the world can delve into his miraculous compositions and themes on glass surfaces, behind which Mijo KovaËiÊ sat for days, months and years with a brush in his hand. The Mijo KovaËiÊ Gallery was opened in the quiet BasariËek Street, right across from the oldest Zagreb tavern and the artists’ meeting place Pod starim rovovima (Under Old Roofs). This gallery speaks about another valuable thing that Gornja ©uma and the surrounding villages still abound in: the power and love of family. Rightly judging that the works of Mijo KovaËiÊ, regardless of their representation in the already existing nearby Croatian Museum of Naive Art, deserve a space of their own to be presented to his homeland and the world, his family, for whom he has always kept his best and most favourite works, founded the Mijo KovaËiÊ Trust and designed and opened a gallery of his works as a sign of respect and gratitude, and thus selflessly enriched

the cultural offer of Zagreb’s old city core.

On the ground floor of the renovated JelaËiÊ Palace, masterfully turned into a gallery space by architect Ante Vrban, you will probably be welcomed by the artist’s grandson Ivan. This nice and kind young man, whose grandfather went to Hlebine on foot to visit Ivan GeneraliÊ more than six decades ago, is preparing to study at the Zagreb Academy of Fine Art, having already completed another school − sitting next to his grandfather in a small village in Podravina, on the other, miraculous, side of the glass. Do not miss the opportunity to hear his stories and look deep into the paintings made in Gornja ©uma. After travelling around the world’s greatest galleries, the paintings have settled in the Upper Town, in the centre of Croatia, the centre of master Mijo KovaËiÊ’s world. n

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■ PRIRODA NATURE

Tekst i fotografije/Text and photos Goran ©afarek

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Crna Mlaka nadomak je Zagreba, ali doima se kao usred divljine. Vrvi æivotinjama, prije svega pticama moËvaricama. Crna Mlaka ujedno je i ribnjak, savrπen primjer suæivota Ëovjeka i prirode.

Crna Mlaka is located in the vicinity of Zagreb, but it looks as if it is the middle of wilderness. The area is swarming with animals, above all marsh birds. At the same time, Crna Mlaka is also a fish pond, and the perfect example of the coexistence between man and nature.

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rao πtekavac pojavio se niotkuda. Ta velika smea ptica bijela repa u trenu je s jezera digla bijeli oblak perja, kljunova i dugaËkih πtrkljavih nogu stotina Ëaplji. Komeπanje u zraku trajalo je nekoliko minuta, no odlaskom grabljivice velike su se bijele ptice polako vratile na jezero poput pahulja. Kao da je snijeg prekrio vodu usred tople i blage jeseni kad liπÊe okolnih stabala tek poËinje æutjeti.

To je samo jedna priËa na dvadesetak jezera Crne Mlake, vodenog otoka u moru poπumljenog Pokuplja. U sjeni starih hrastova vijugaju πljunËane πumske ceste, a jedna vodi od Crne Mlake. Nakon nekoliko kilometara put iznenada izlazi na autocestu kod Jastrebarskog. Sva ta divljina samo je tridesetak kilometara udaljena od prvih nebodera hrvatske metropole!

Gledano iz zraka, jasno se zapaæa nepravilan oblik i razliËita veliËina jezera. Neka su od njih veliËine rukometnih igraliπta, a na ostala stalo bi desetak nogometnih igraliπta. Doduπe, Mlaka se iz aviona dobro vidi tek poslije dizanja guste sivobijele magle dok drugdje veÊ odavno sija sunce. Katkad tek oko podneva izroni plavo nebo, a onda i zelenilo zablista u svjeæem sjaju jutarnje rose.

Zapravo, da bi se s kopna vidjelo vodu, treba se priliËno provlaËiti kroz πuπtave i oπtre stabljike visoke trske. Tu nije kraj nevoljama - pokuπa li netko zakoraËiti u vodu, brzo Êe mu noga malo propasti u mekani mulj, no neÊe se utopiti jer voda seæe tek do pasa.

Cijeli taj trud nagraen je intimnim pogledom na bujan æivot moËvare. Voda je zbog pliÊine i topline ljeti nerijetko prekrivena æutim tepihom vodene biljke plavuna. Bijele Ëaplje svojom su elegantnom pojavom zacijelo najuoËljiviji akteri te moËvarne pozornice, no ni ostale ptice nemaju sporedne uloge.

BrojnoπÊu se mogu mjeriti liske. VeliËine patke i potpuno crne osim bijelog Ëela, te ptice cijeli svoj æivot provode na vodi. Grubo gnijezdo rade skrivene u trsci gdje æenka strpljivo sjedi na jajima. Izleæeni ptiÊi brzo izlaze u vodu te vjerno prate majku. SliËan æivotopis imaju i Êubasti gnjurci. U proljeÊe muæjak i æenka doslovno pleπu na vodi, okrenuti jedno prema drugome. Kao u transu izvijaju dugaËke vratove bogato ureπene crvenocrnim grivama. BuËni i svadljivi rijeËni galebovi takoer se ovdje goste ribama. Iz trske neumorno cvrËe trestenjaci, iz dubokih hrastovih πuma na redoviti obrok svraÊaju crne rode, a iz obliænjih kolonija i æliËarke. Na ribu, ali i na manje ptice, vrebaju πtekavaci, lunje, eje i ostale ptice grabljivice. Ornitolozi su ovdje zabiljeæili ukupno 205 vrsta ptica, ugrubo polovicu svih hrvatskih vrsta. U

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skrivenim zakucima dom nalaze vidre, a iz πume svraÊaju srne, lisice, divlje maËke, kune i drugi sisavci.

Luku JurinoviÊa najviπe zanimaju patke. Ne, taj bradati mladiÊ nije lovac nego ornitolog ∑ znanstvenik koji istraæuje ptice. U prohladno jesensko jutro uzima dalekozor u ruke i udaljene sitne toËkice na vodi pretvara u patke. Ima ih doslovno na tisuÊe. Eno ih, patke njorke, uzbueno uzvikuje pokazujuÊi na kestenjastosmee patke pomalo tupa kljuna. Spokojno plove na sredini jezera zajedno s ostalim patkama. Upravo su patke njorke najveÊe zvijezde Crne Mlake, ne zbog izgleda, nego zbog rijetkosti. U Europi ona je jedna od najugroæenijih vrsta pataka Ëija brojnost opada, a na Mlaki skupi ih se u jesen i viπe od pet tisuÊa. Tu im je vjerojatno najveÊe okupljaliπte u srednjoj Europi.

Tih pet tisuÊa ptica tvori veoma znaËajan dio europske populacije, πto je golem broj za tako malo podruËje, naglaπava Luka JurinoviÊ, oka priljubljena za dalekozor. Patke njorke najviπe se viaju za migracija kad je ovaj ribnjak vaæno odmoriπte i hraniliπte umornih ptica.

Crna Mlaka rijedak je sluËaj takve brojnosti perja i kljunova u Europi. Razlog je jednostavan ∑ ovdje nema lovaËkih karabina.

Izbezumljene ptice groze se πirom Europe veÊ i zbog Ëovjekove siluete, sve zbog smrtonosnih hitaca lovaca. Mirno konaËiπte stoga je njorkama na Mlaki æivotno vaæno. Zbog svoje vrijednosti Crna je Mlaka zaπtiÊena kao posebni ornitoloπki rezervat. Svjetsku poËast i ugled daje joj epitet ramsarskog podruËja, odnosno status meunarodno vaæne moËvare prozvane tako po istoimenoj konvenciji o zaπtiti moËvarnog staniπta, Ramsarskoj konvenciji. Nije lako postati Ëlan toga elitnoga svjetskog druπtva jer postoje vrlo strogi kriteriji za proglaπenjem ramsarskim podruËjem. Tu laskavu tituli dijeli Crna Mlaka s mnogo veÊim i poznatijim predjelima u Hrvatskoj ∑ KopaËkim ritom, Lonjskim poljem i dolinom Neretve. MoËvarna podruËja znanstvenici svojim prirodnim bogatstvom usporeuju s tropskim kiπnim πumama, no sve viπe nestaju. Ona ne pruæaju samo veliku bioloπku raznolikost, nego proËiπÊuju vodu od oneËišÊenja iz okolnih polja ili naselja.

Ptice i æivotinje nisu jedini stanari Crne Mlake. Doslovno uz ptice na vodi diæu se kuÊe, a izmeu veÊih jezera provlaËe se dobro odræavane bijele ceste. Razapate izmeu stupova, ribarske mreæe na suπenju otkrivaju da je ovo zapravo πaranski ribnjak. Ljudi su prije stotinjak godina raskrËili πumu, skrenuli vodu iz obliænjih potoka, podignuli nasipe i napokon stvorili vodene otoke. Da bi olakπali 64

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transport ribe, sagradili su i uskotraËnu prugu.

Zasluga je to Austrijanca Korneliusa, prvog vlasnika Mlake. Zwilling si je uljepπao boravak podignuvπi dvorac Ribograd, okruæen lijepim parkom s ukrasnim drveÊem i grmljem. Dvorac joπ postoji, no u æalosnome je stanju dok se ne nau odgovarajuÊa sredstva za obnovu.

Radnici se brinu za ribnjak cijele godine, no nedvojbeno je vrhunac ribnjiËarskih aktivnosti kasna jesen. Tjednima se iz ribnjaka polako puπtala voda, a onda dolazi i taj dan - izlov.

Sunce se joπ nije ni probilo kroz ogoljene kroπnje hrastova, a petnaestak se ljudi, unatoË prvome mrazu, prihvatilo posla okruæivanja ribe. Razapeli su veliku mreæu oko jednog dijela ribnjaka i poËeli je stezati. VeÊina radnika 66

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na obali vuËe, a Ëetvorica gacaju u vodi do pasa, odræavajuÊi poloæaj i stabilnost mreæe.

Mutna voda poËinje malo-pomalo kljuËati od ribe stjerane u sve manji prostor. Nakon mukotrpnog povlaËenja u mreæi je ostao samo koji Ëetvorni metar slobode.

Vrijeme je za berbu. Ovdje pomalo neoËekivano stupa na scenu teπka mehanizacija ∑ æuti bager velikom metalnom korpom grabi zguranu ribu i sipa je u otvor elevatora. Taj stroj zatim diæe ribu i baca je na stol gdje je Ëeka desetak pari ruku spremnih za razvrstavanje. U jedno metalno vjedro padaju πarani, u drugo manje ribe, zatim sve odnose u veÊ spremne bazene na kamionima. Nekad je bez strojeva ovdje katkad bilo i sedamdesetak ljudi, viËe kroz buku neki ribar. Stali bi po dvojica radnika u lanac i tako prenosili ribu.

Radilo se ruËno, rukom se predavala koπara za koπarom i tovarila na vagone te prugom vozila do skladiπta.

Poπto izlov ribe zavrπava, ribnjak na pragu zime ostaje bez veÊine svoje vode. Tada Crna Mlaka doæivljava najveÊu invaziju ptica.

Nestankom vode na vidjelo izranjaju stari panjevi, davno nastali sjeËom prvobitne πume.

Na njima se sjati na stotine Ëaplji stojeÊi mirno poput kipova postavljenih uokolo da oplemene blatni krajolik. Posvuda leprπaju male ptice, a æalari gacaju po joπ svjeæem blatu. Hladni su dani na pragu i ptice Êe se sve viπe skupljati ovdje, bjeæeÊi od leda na sjeveru Europe. Ne smetaju im ljudi na odræavanju ribnjaka zimi, sve dok se ovi previπe ne pribliæe.

U struËnim krugovima naveliko se raspravljalo o ovoj simbiozi te o najboljoj zaπtiti ptica.

Moæda bi bilo normalno oËekivati da zaπtita bude potpuna, da se udalji ribnjiËarstvo od Mlake. Ili suprotno, da se ptice potpuno otjeraju i intenzivira proizvodnja ribe. Znanstvenici upozoravaju da bi oba pristupa bila pogreπna. Nestankom ribnjiËarstva smanjila bi se koliËina riba, πto bi πtetilo pticama koje se njome hrane, ali poremetilo cijeli ekoloπki sustav.

Takvi πaranski ribnjaci s mnoπtvom ptica i ostalih æivotinja mogu opstati jedino uz ekstenzivan uzgoj ribe. Ne samo to. Kad bi ih se napustilo, vrlo brzo ribnjaci bi doslovno nestali. Plitku vodu uskoro bi progutala πuma sasvim prirodnim procesom eutrofikacije.

Trska i ostalo bilje zagospodarilo bi vodom, nataloæilo bi se s vremenom toliko mulja da bi negdaπnjom slobodnom vodom zavladali klijanci grmlja. Bilo bi sve suπe, narasle bi vrbe i topole, pa na kraju opet moÊni hrastovi. I ne bi viπe bilo ptica.

Crna je Mlaka stoga æivi dokaz uspjeπna suæivota Ëovjeka i prirode, velike prirodne baπtine Hrvatske u svjetskim razmjerima. n

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he white-tailed eagle seems to appear out of nowhere. That great brown bird with its white tail instantly causes a white cloud of feathers, beaks and the long slender legs of hundreds of herons and egrets to lift from the lake. The commotion in the air lasts for a few minutes, however, with the departure of the bird of prey the great white birds slowly return to the lake like snowflakes. It is as if snow has covered the water in the middle of a warm and mild autumn when the leaves on the surrounding trees have just started to turn yellow.

That is only one story about the twenty or so lakes of Crna Mlaka, the aquatic islands in the sea of the forested area along the Kupa River, known as Pokuplje. In the shade of old oak trees are winding gravel forest roads, one leading from Crna Mlaka. After a few kilometres the path surprisingly runs into the highway in Jastrebarsko. This wilderness is about thirty kilometres away from the first skyscrapers of the Croatian metropolis! From a bird’s eye view one can clearly make out the curved shapes and the lakes of various sizes.

Some of them are the size of handball courts, while the others could accommodate about ten or so football pitches. Indeed, Mlaka can be seen clearly from an airplane only when the thick greyish-white fog lifts, while the sun has already been shining elsewhere. Sometimes, it is not until about noon when the blue sky opens up and the greenery glistens in the fresh brilliance of the morning dew.

Actually, in order to see the water from the land, one would basically have to wriggle through the rustling and sharp stalks of tall reeds. That is not the end of the hardship ∑ if someone tries to weed through the water, their legs will quickly sink into the soft sludge, but they will not drown because the water only comes up to their waist. All of that effort is awarded with an intimate look at the rich swamp life. Thanks to the shallowness and the warm summers, the water is often covered with a yellow carpet of club moss. The great white egret, with its elegant appearance, is surely the most conspicuous actor on this marsh’s stage, however, that doesn’t mean that all the other birds have irrelevant roles.

The coot population is probably as numerous. The size of a duck and completely black except for its white forehead, these birds spend their entire lives on the water. They make their rough nests hidden in the reeds, where the females patiently sit on their eggs.

The hatched birds quickly enter the water and faithfully follow their mothers. The great crested grebes have similar life stories. In the spring the males and females literally dance

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on the water, turning and facing one another.

As if they were in a trance, they twist their long necks which are richly decorated with reddish-black manes. Loud and contentious are the black-headed gulls, which feast on the fish here. From the reeds one can hear the tireless chirping of the great reed warbler; black storks regularly come for their meals from the deep oak forest; and spoonbills drop by from the nearby colonies. The fish, as well as the smaller birds, are preyed on by the white-tailed eagles, black kites, harriers and other birds of prey. Ornithologists have recorded more than a total of 205 species of birds here, roughly half of all the species in Croatia. Otters find their home in hidden corners, and from the forest come roe deer, foxes, wildcats, martens and other mammals.

Luka JurinoviÊ’s greatest interest is ducks.

No, this bearded young man is not a hunter, but rather an ornithologist ∑ a scientist who studies birds. On a chilly autumn morning the binoculars in his hands turn tiny distant dots into ducks. There are literally thousands of them. There they are, the ferruginous duck, he exclaims excitedly while pointing to the chestnut-brown ducks with the slightly dull bills. They calmly float in the middle of the lake together with the other ducks. Actually, ferruginous ducks are the main stars of Crna Mlaka, not because of their appearance, but rather for their rarity. They are one of the most endangered species of ducks in Europe, and their numbers are diminishing, but during the autumn more than five thousand of them gather at Crna Mlaka. This is quite likely their biggest gathering place in central Europe.

Those five thousand birds make up an extremely considerable part of the European population, which is an enormous number for such a small area, Luka JurinoviÊ points out with his eyes glued to the binoculars. The ferruginous ducks are most often seen during migration, when this fish pond is an important resting and feeding location for the tired birds.

Crna Mlaka is the rare opportunity to see this many feathers and bills in Europe. The reason is however quite simple ∑ there are no hunting rifles here. All around Europe the distraught birds shudder at the mere silhouette of a man, all because of the lethal shots of the hunters.

Therefore, the peaceful shelter offered by Mlaka means life for the ferruginous ducks. As a result of its value, Crna Mlaka is protected as a special ornithological reservation. It gained a global claim to fame when it was recognized as a Ramsar Site, named after the namesake Convention on Wetlands of International Importance (Ramsar Convention). It is not easy to become a member of this elite world 70

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organization because a site needs to meet very strict criteria to be proclaimed a Ramsar Site. Crna Mlaka shares the flattering title with many other larger and well-known regions in Croatia ∑ KopaËki Rit Nature Park, Lonjsko Polje and the Neretva River Delta. Scientists compare the natural wealth of the wetland areas with the tropical rain forests ∑ just like the rain forests, wetland areas are gradually shrinking. The wetlands do not only offer great biological diversity, but they purify the water from the contamination that comes from surrounding fields or settlements.

Birds and animals are not the only occupants of Crna Mlaka. Houses rise from the water, literally, next to the birds, and well maintained white roads wind between the big lakes.

Stretched between posts, fishing nets hung out to dry reveal that this is actually a fish pond for carp. About a hundred or so years ago people cut down the forest, they diverted the water from the surrounding streams, built banks and finally created islands of water. In order to make it easier to transport the fish, they built a narrow-gauge railway. All of that was credited to the Austrian Cornelius, the first owner of Mlaka. Zwilling made his stay more pleasant by erecting a castle, Ribograd, surrounded by a beautiful park with decorative trees and bushes. The castle still stands but is in a sorry state, hopefully awaiting the day when the funds will be raised for its renovation.

The employees take care of the fish pond all year long, but certainly the fishing activities reach their peak in late autumn. For weeks the ponds slowly lose water, and then comes the day ∑ fishing. The sun still has not broken through the bare tops of the oak trees, but about fifteen or so people, despite the first frost, begin to encircle the fish. A large net has been set up around one part of the pond and they begin to tighten it. Most of the workers are on the banks, pulling the net, but four of them are wading in the water up to their waists, maintaining the net’s position and stability.

Little by little the muddy water seems as if it is boiling as the fish are gradually forced into an increasingly smaller area. After the arduous pulling the fish have only a few square meters of freedom in the net.

It is time for harvesting. Rather unexpectedly, heavy machinery appears on the stage ∑ a yellow dredger with a large metal basket grabs the scummy fish and empties them into the opening of the elevator. The machine then lifts the fish and dumps them on a table where ten sets of hands are ready and waiting to sort them. The carp are thrown in one metal bucket and the smaller fish in another, and afterwards they are placed on the trucks

in already prepared tanks. „There was a time before we started using machinery when there were as many as seventy people here,” one fisherman yells out over the noise. The workers would stand in two lines and pass the fish along. We did it manually. By hand we passed basket after basket, loaded them on the wagons and then they went to the warehouse by rails.

As the fishing is completed, the fish pond remains without most of its water as winter begins. At this time, Crna Mlaka experiences the greatest invasion of birds. As the water level lowers, the old logs emerge, which disappeared long ago when the forest was first cut down. Hundreds of herons descend upon the logs, standing as peacefully as statues that have been placed around to enrich the muddy landscape. Small birds flutter everywhere, and birds of the Calidris genus flounder around in the still fresh mud. Cold days are ahead and more and more birds will gather here, fleeing from the icy conditions in northern Europe.

They are not bothered by the people who maintain the fish pond throughout the winter, as long as they keep their distance and do not come too close.

In professional circles there is a great debate regarding the symbiosis and the best way to protect the birds. Perhaps it would be normal to expect that they should be completely protected, and that fishing should be moved far away from Mlaka. On the other hand, maybe the birds should be completely chased away and the fishing production intensified.

Scientists have warned that both of these approaches would be a mistake. The disappearance of fishing would reduce the number of fish which would harm the birds which feed on them, and that would disturb the entire ecological system.

These carp fishing ponds, with the abundance of birds and other animals, can only survive in an extensive fish farm. Not only that. If they were abandoned, the fish ponds would literally disappear, very quickly. The shallow waters would quickly be swallowed up by the forest, in a perfectly natural process of eutrophication. The reeds and other plants would reign supreme over the water, and with time so much sludge would amass that the onetime free flowing water would be taken over by bush sprouts. Everything would dry up, willow and poplar trees would grow, and in the end the mighty oak would return. There would be no more birds.

Crna Mlaka is thereby living proof of the success of the coexistence of man and nature, and the great natural heritage of Croatia on the world level. n

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Piše/By Davorka Pšenica Fotografije/Photos Damir FabijaniÊ

Glasoviti rimski amfiteatar u Puli, popularna Arena, prvorazredni je antiËki spomenik koji pripada u vrh svjetske graditeljske baπtine. Stavlja se uz bok Koloseju u Rimu, Areni u Veroni, amfiteatrima u Pompejima, Nimesu i Arlesu u Francuskoj i El Jemu u Tunisu.

The famous Roman amphitheatre, the popular Pula Arena, is a first class monument of antiquity which ranks at the very top of human heritage buildings. Pula amphitheatre gets mentioned in the same breath as the Roman Coliseum, the Arena in Verona, the amphitheatres in Pompeii, Nimes and Arles in France, and El Jem in Tunis.

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imski amfiteatar u Puli po veliËini zauzima πesto mjesto meu rimskim amfiteatrima na svijetu i jedini je amfiteatar Ëiji je plaπt s Ëetiri stubiπna tornja gotovo potpuno saËuvan. Po tehniËkim i tehnoloπkim rjeπenjima jedinstven je u svijetu i u usporedbi s viπe od 200 rimskih amfiteatara, koji se danas nalaze na podruËju nekadaπnjega Rimskog Carstva, ovaj u Puli jedan je od ponajbolje oËuvanih u cijelini.

Ta pulska monumentalna graevina privlaËila je pozornost ne samo putnika namjernika u proπlosti te srednjovjekovnih i novovjekovnih znanstvenika i umjetnika, nego je jednako atraktivna i danaπnjim posjetiteljima koji u velikom broju iz godine u godinu dolaze u Pulu kako bi je obiπli i razgledali. Ostataka amfiteatara, saËuvanih uglavnom u razini temelja, ima mnogo jer u vrijeme Rimskoga Carstva svaki je malo veÊi i znaËajniji grad imao takvu konstrukciju. Osnovna im je namjena bila zabavljanje puka jer u tim su se zdanjima odræavale razliËite puËke sveËanosti i tada vrlo popularne gladijatorske igre.

Naziv amfiteatar oznaËava njegov oblik dvostrukog teatra (amphi-theatron), dvostrukoga polukruænoga gledaliπta grËkoga i rimskog kazaliπta. U veÊini sluËajeva amfiteatar je elipsasta oblika ili je pak graen u obliku policentriËne kruænice te zbog toga ima dvije nejednake osi. ©to se tiËe pulske graevine, rijeË je o geometrijski pravilnoj graevini eliptiËna oblika gdje duæa os ima neπto viπe od 130, a kraÊa oko 100 metara. Prostor za gledatelje nalazio se iznad same arene i πirio se poput lijevka u koncentriËnim redovima kamenih sjedala. Katove su meusobno povezivale stube. U Ëetiri tornja na vanjskom proËelju nalazile su se dvojne stube kojima se ulazilo u gornje katove. Zbog veliËine pulski je amfiteatar podignut izvan gradskih zidina i jedna je od rijetkih graevina iz razdoblja Rimskoga Carstva, koju su graditelji smjestili na obronke breæuljka. Pulski amfiteatar najveÊi je i najsaËuvaniji spomenik antiËkoga graditeljstva u Hrvatskoj.

Prema povijesnoj legendi, amfiteatar u Puli sagraen je sredinom I. st. pr. Kr., a dao ga je sagraditi car Vespazijan u Ëast svojoj ljubavnici Antoniji Cenidi, koja je u Puli imala posjede. Podaci o toËnom vremenu gradnje i graditeljima vrlo su πturi i gotovo da i ne postoje, no Ëinjenice govore da je amfiteatar zaista, u obliku u kojemu ga vidimo danas, sagraen u vrijeme vladavine cara Tita Flavija Vespazijana (69.-79.). U pulski je amfiteatar moglo stati oko 25.000 gledatelja, koji su sa stubiπta što je okruæivalo cijeli srediπnji prostor - boriliπte - mogli pratiti gladijatorske borbe i druge antiËke igre. Za danaπnje pojmove ta-

kve su sportske zabave potpuno nezamislive jer bile su vrlo okrutne i najËeπÊe zavrπavale krvoloËnim prizorima punima krvi i smrti. U antiËko doba one su bile uobiËajene, dapaËe, u rimskome druπtvenom sustavu takve su priredbe imale pragmatiËnu funkciju, jer najËeπÊe su ih prireivali dræavni duænosnici radi zabave plebsa, kao dio dræavne politike kruha i igara ( lat. panem et circenses) s ciljem odvraÊanja pozornosti od svakodnevnih problema.

Borbe su se odvijale na srediπnjem prostoru, tzv. areni, πto dolazi od harena i znaËi pijesak, koji je ujedno sluæio i za posipanje tragova krvi ljudi i æivotinja nakon zavrπetka borbe. AntiËke igre bile su vrlo maπtovite ali okrutne, jer svodile su se na borbu na æivot i smrt u razliËitim inaËicama i s razliËitim scenografijama koje su Ëesto doËaravale mitoloπke priËe iz grËke i rimske povijesti. Gladijatori su bili profesionalci, najËeπÊe robovi ili osuenici, a katkad i dragovoljci, koji su se borili pojedinaËno ili grupno, meusobno ili protiv egzotiËnih divljih zvijeri.

Kamen za gradnju pulskog amfiteatra dopremao se iz obliænjih kamenoloma uz morsku obalu, meu kojima je i danas poznati kamenolom Cave Romane. Velike kamene blokove najjednostavnije je bilo dopremati morskim putem do pulske luke, a sitnije kamenje, koje je sluæilo za gradnju unutarnjih temelja, hodnika, prolaza i stubiπta, moglo se dovoziti i kopnom. Kameni su blokovi vezivani æeljeznim πipkama, koje su se zalijevale olovom.

U postantiËkom se razdoblju, kad je i uljudbena razina opÊenito u tadaπnjoj Europi spala na niske grane, gotovo izgubila tradicija prerade kovina u rude pa su se iz kamenih blokova antiËkih graevina masovno vadile æeljezne πipke. Upravo to je i jedan od glavnih razloga zaπto su se rimske graevine nakon propasti Rimskog Carstva, posebice u velikim gradovima, uruπile gotovo same od sebe pa ih danas nalazimo saËuvane uglavnom samo u temeljima. I u Puli je vjerojatno takva praksa uniπtila mnogo antiËkih spomenika. Amfiteatar je takoer bio naËet. Iz njegovih je kamenih stupova, pilastara, vaeno æeljezo, πto se vidi u nazubljenosti gotovo svih okomitih rubova kamenih blokova, no, na sreÊu, srediπnje æeljezne πipke nisu vaene pa je vanjski zidni plaπt Arene ostao do danas gotovo netaknut.

Nakon pada stare civilizacije pa sve do danaπnjih dana Arena nije imala svoju funkciju te je neminovno slijedilo postupno propadanje toga prvorazrednog spomenika. Veliki blokovi stuba gledaliπta, kojih je bilo viπe tisuÊa kubika, upotrijebljeni su za graevinski materijal pa je neko vrijeme Arena bila skladiπte lako dostupnoga, lijepo obraenog kamena. U

povijesnim dokumentima grada Pule nalazi se podatak da je u 18. stoljeÊu tadaπnje gradsko vijeÊe donijelo odluku o zabrani odnoπenja kamenja iz Arene. Odnoπenje kamenja sankcionirala je i prijaπnja gradska uprava za vrijeme MletaËke Republike, πto samo upozorava da je tijekom viπe stoljeÊa kamenje ipak odlazio iz amfiteatra.

U mletaËko doba u Areni su se povremeno odræavali sajmovi, ali s opadanjem broja stanovnika tijekom nekoliko stoljeÊa i znaËenje amfiteatra bilo je sve manje. Taj posvemaπnji zastoj, koji se posebice odrazio u graditeljstvu, imao je moæda i dobru stranu te spasio Arenu od daljnjeg propadanja. I epizoda iz godine 1585., kad su MleËani odluËili Arenu rastaviti kamen po kamen i prenijeti je na Lido u Veneciju, ostala je samo kuriozitetom, jer tome se kao besmislici usprotivio Gabriele Emo, izdanak bogate i utjecajne trgovaËke obitelji, kojemu su zahvalni Puljani podigli spomen-ploËu na Areni. Opasnost za cjelovitost Arene ponovila se i u 17. stoljeÊu kad su MleËani predloæili vojnom graditelju Antoineu De Villeu da se, radi uπtede novca iz dræavne blagajne, za gradnju utvrde na otoËiÊu sv.

Andrije koristi kamenom iz amfiteatra. Zgranut takvim prijedlogom De Villa se odluËno usprotivio zakljuËivπi rijeËima: Neka stoji (Arena) − na ponos stanovnicima, doπljaku na Ëudu, starini na spomen, na diku Republici! Neka se uπËuva postojano, neka se obnavlja da vjeËno traje!

Kako bilo da bilo, oËuvan je, na sreÊu, jedinstveni antiËki spomenik s Ëudesnim vanjskim zidnim plaπtem koji danas stoji kao ponosna kruna Ëipkaste strukture Ëetvrtastih prozora i nijemo svjedoËi o nekadaπnjem sjaju i raskoπi proπlih vremena.

Popularna pulska Arena u narodu je poznata i kao DiviÊ-grad. Legenda o nastanku DiviÊ-grada govori o vilama koje su u neka davna vremena obitavale u Istri. Te dobre vile noÊu bi plesale po livadama i πumskim proplancima, a katkad bi se i ukazale obiËnim ljudima. Prema narodnim vjerovanjima vile mogu Ëovjeku podariti sreÊu, no ono πto je osobito zanimljivo jest to da su bile poznate i kao graditeljice. Tako ova legenda kaæe da su upravo one sagradile Arenu u Puli. Prema predaji, cijelu su noÊ nosile kamenje s obliænje UËke, slagale ga uokrug i tako je red po red nastajalo njihovo Ëudo - DiviÊ-grad (staroslavenski naziv za Ëudo je diviÊ). Ali, kako su vile stvorenja noÊi, graditi su mogle samo do zore, dok se ne oglasi prvi pijetao. Tada su vile morale prekidati posao te pobjeÊi kako ih ljudi ne bi vidjeli. Njihov je DiviÊ-grad ostao nedovrπen i zato je Arena danas bez krova.

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ostalo je rasuto golemo kamenje koje su vile nosile da ga ugrade u Arenu, ali pijetlov ih je glas u tome omeo te su ispuπtale kamenje na mjestu na kojemu su se zatekle. Kao potvrda tome i danas na obroncima UËke i diljem Istre stoje nijemi kameni svjedoci legende o DiviÊgradu i istarskim vilama.

Pulski je amfiteatar oduvijek bio predmetom zanimanja i divljenja svih posjetitelja koji su u proπlosti, sluËajno ili namjerno, dolazili u Pulu. Svi oni ostajali bi zadivljeni pred Arenom i zatim, poslije povratka kuÊi, prepriËavali i πirili vijesti o toj antiËkoj ljepotici. Zbog svoje veliËine, ljepote i saËuvanosti pulska je Arena u proπlosti imala, kao πto to uostalom i danas ima, status zaπtitnog znaka. Mnogi su je umjetnici kroz prohujala stoljeÊa perom i kistom opisali i tako ostavili vrelo dokumenata koji svjedoËe o opstojnosti Arene od antiËkih vremena pa sve do danaπnjih dana.

Zbog specifiËnosti konstrukcije, na pulskoj se Areni mogu izuËavati tradicionalni naËini i metode graenja u antici, zbog Ëega je jedinstvena i po Ëemu se bitno razlikuje od ostalih u svijetu. BuduÊi da je jedan od najsaËuvanijih amfiteatara na svijetu, pulska je Arena Ëesto bila predmetom prouËavanja poznatih arhitekata − umjetnika. Talijanski arhitekti Sebastiano Serlio i Andrea Palladio izuËavali su i crtali pojedinosti konstrukcije i ukrase na zidnom plaπtu, a znamenitoga talijanskoga grafiËara, arhitekta i arheologa Giovannija Battista Piranesija Arena je zanimala kao ruπevni spomenik − ruina.

Francuski slikar Louis-François Cassas izradio je dokumentaristiËke crteæe koji su poslije reproducirani u bakrotisku i objavljeni u knjizi Voyage pittoresque de l’Istrie et de la Dalmatie (Paris, 1802.). Thomasa Allasona, engleskog crtaËa i arhitekta, osobito je privlaËila pulska antiËka arhitektura te je u poËetku 19. stoljeÊa nekoliko puta boravio u Puli kako bi je mogao temeljito prouËiti. U knjizi Picturesque Views of the Antiquities of Pola in Istria (London, 1819.) tiskao je ciklus bakropisa s antiËkim spomenicima Pule, zajedno sa svojevrsnim putopisom u kojemu je zabiljeæio mnoπtvo podataka o Puli i njezinim starinama, meu kojima istaknuto mjesto ima pulski amfiteatar.

Svako je ra zdoblje na osebujan naËin doæivljavalo Pulu i poznatu Arenu, pa je tako i danas. Ljeti, iz godine u godinu, Arena oæivi kad je preplave mnogobrojni posjetitelji.

Radoznalo zaviruju u svaki kutak, penju se i istraæuju, a na kraju odlaze na sjeverozapadni toranj odakle se pruæa lijepi vidik na okolicu πto je danas uronjena u vrevu gradskog tkiva.

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hodnika, razgledati muzej s bogatom zbirkom arheoloπkih izloæaka. U podrumu je smjeπtena izloæba Maslinarstvo i vinogradarstvo Istre u antici, a jedna od zanimljivosti u ovome podzemnom dijelu Arene rekonstrukcija je rimskih drvenih kola kao i prikaz antiËkog brodoloma istraæenoga πezdesetih godina kod rta Savudrija.

Arena je sagraena kao mjesto za gladijatorske borbe, koje su se u njoj odræavale sve do 5. stoljeÊa, a danas ona je multifunkcionalni prostor u kojemu se gotovo svaki dan odræavaju mnoge izloæbe i multimedijalne projekcije. Ljeti pak Arena postaje pozornica za odræavanje najznaËajnijih kulturno-umjetniËkih priredbi, festivala i glazbenih koncerata s nastupima poznatih domaÊih i inozemnih zvijezda. Od mnogih slavnih imena koja su proteklih godina zabljesnula u pulskoj Areni spomenut Êemo samo neke: Andrea Bocelli, Buena Vista Social Club, Eros Ramazzotti, Izraelska filharmonija i Zubin Mehta, Jamiroquai, José Carreras, Lado, Luciano Pavarotti, Maksim Mrvica, New Imperial Russian Ballet, Nina BadriÊ, Norah Jones, Paco de Lucia, Placido Domingo te mnogi drugi.

Ovogodiπnju sezonu otvaraju Dani antike, kad ulice i trgovi grada Pule, uprizorenjima scena iz svakodnevnog æivota starih Rimljana, poprimaju antiËko ozraËje, πto uvijek razveseljava i Puljane i njihove goste. Tijekom te dvodnevne manifestacije, koja se odræava u poËetku lipnja, na ulicama grada oæive stari zanati poput izrade antiËkog nakita, klesarstva i mozaika, a pravi antiËki sportovi i uprizorenje gladijatorskih borbi mogu se vidjeti i doæivjeti u jedinstvenoj Areni.

U antiËko doba glavni spektakl bile su gladijatorske igre, a danas je to Festival igranog filma, najvaæniji turistiËki proizvod i brand ne samo grada Pule nego i πire regije, koji se veÊ 58 godina zaredom odræava u pulskom amfiteatru. Pulski festival kultni je dogaaj za gledatelje svih naraπtaja koji tijekom petnaest ljetnih dana festivalskih dogaanja uæivaju u projekcijama najnovijih hrvatskih i probranih svjetskih filmova pod zvjezdanim nebom u veliËanstvenoj Areni. Festival je veÊ gotovo πest desetljeÊa zaπtitni znak nacionalne festivalske ponude u regiji i svijetu, tradicionalno mjesto okupljanja domaÊih filmaπa, koje posjeÊuju mnogi novinari i festivalski selektori.

Festival igranog filma u Puli najposjeÊeniji je filmski festival u Hrvatskoj i najdugovjeËniji festival nacionalnog filma na svijetu s najveÊim brojem gledatelja po projekciji te jedan od tri najbolja i najspektakularnija festivala na otvorenom u Europi (The Guardian, 2005.). Ove godine Festival igranog filma odræava se od 9. do 23. srpnja i ukljuËuje nacionalni i atraktivni

meunarodni filmski program. Uz dobre filmove i autentiËne prikaze antiËkog nogometa i gladijatorskih borbi, u pulskoj se Areni ovoga ljeta odræava i niz koncerata te jedan mjuzikl.

Mnogi Êe zaljubljenici u mjuzikle doÊi na svoje te 10. srpnja pohrliti u Arenu kad gostuje zagrebaËko gradsko kazaliπte Komedija s kultnim mjuziklom Jalta, Jalta autorskog dvojca Milana GrgiÊa i Alfija Kabilja. Trideset i devet godina nakon praizvedbe, novu postavu Jalte, najizvoenijega hrvatskog mjuzikla, uprizorila je nova generacija glumaca kazaliπta Komedija. Redateljsku palicu ponovno je preuzeo doajen hrvatskoga kazaliπta Vlado ©tefanËiÊ, a junake nove Jalte utjelovili su glumci i pjevaËi kazaliπta Komedija. Kao ravnopravne alternacije predvode Sandra BagariÊ, Renata Sabljak i Danijela PintariÊ u ulozi Nine Filipovne, –ani StipaniËev i Davor RadiÊ kao Griπa, Ronald Ælabur i Damir PoljiËak kao Larry, Draæen »uËek te Draæen BratuliÊ kao Stanley.

Kao i proπlih godina, i ovoga ljeta u pulskoj Areni moÊi Êemo uæivati u nastupima poznatih domaÊih i inozemnih glazbenih zvijezda. Ovu sezonu koncerata otvara talijanska megazvijezda Zucchero, koji Êe u sklopu svoje turneje Chocabeck World Tour 2011 nastupiti u Puli.

Njegov najveÊi i rado sluπani hit Senza una

donna, kojim se popeo na vrh svjetskih glazbenih ljestvica, zacijelo Êe izazvati ovacije i radost, osobito u æenskom dijelu publike. Nakon Zucchera, u pulsku Arenu stiæe ameriËki folk rock-pjevaË Jack Johnson. Koncert Êe odræati 26. srpnja u sklopu turneje To the Sea Tour 2011, na kojoj predstavlja svoj proπlogodiπnji album istog imena.

Nekoliko dana poslije, toËnije, 30. srpnja, u pulskome Êe amfiteatru zabljesnuti domaÊa megazvijezda, roeni Puljanin, Tony Cetinski, poznati hrvatski glazbenik koji se pjevanjem poËeo baviti veÊ u dobi od petnaest godina.

VeÊ je godinama na vrhu glazbene scene u Hrvatskoj, a od mnogobrojnih hitova πto Êe ih publika imati priliku Ëuti na ovogodiπnjem koncertu i pjesma je koju svi pamtimo i nosimo u srcu - Nek ti bude ljubav sva. Naime, tom je pjesmom godine 1994. Tony Cetinski predstavljao Hrvatsku na natjecanju za pjesmu Eurovizije.

U vrπku sezone zajedniËki Êe koncert odræati hrvatski glazbenik i tenor Ivo Gamulin Gianni i ameriËka glazbena diva Gloria Gaynor, slavna po diskohitu iz sedamdesetih godina proπlog stoljeÊa I will survive. U sklopu njihove ljetne turneje po Jadranu, taj Êe sjajan glazbeni par nastupiti u pulskom amfiteatru 6. kolovoza.

Gianni i Gloria izvodit Êe svjetski poznate hitove meu kojima Êe se naÊi Amigos para siempre, O sole mio, Ljubav to si ti, Time to say goodbye, Killing me softly, My first, my last, my everything te neizostavna I will survive. Repertoar je sloæen majstorski tako da Êe oduπeviti i zadovoljiti sve glazbene sladokusce. Ljetna turneja toga glazbenog dvojca bit Êe nesumnjivo i jedno od medijski najbolje praÊenih ljetnih dogaanja u Hrvatskoj. Kao πlag na tortu u toj seriji pop-koncerata, 13. kolovoza nastupit Êe poznati novosadski pjevaË, skladatelj i tekstopisac –ore BalaπeviÊ. Popularni –ole posljednji je put odræao samostalni koncert u prepunome pulskom amfiteatru toËno prije deset godina, a sav je prihod bio namijenjen za kupnju opreme za pulsku bolnicu. Proπlog ljeta, kao jedan od gostiju, ponovno je nastupio u Areni prigodom obiljeæavanja desete obljetnice kazaliπta Ulysses. S obzirom na mnogo njegovih oboæavatelja i proπlogodiπnjih uspjeπnih nastupa u Zagrebu i Osijeku, i pulska Êe Arena zacijelo biti dupke puna, a publika zadovoljna i raspjevana.

Pulsko ljeto u Areni 27. kolovoza koncertom zatvara joπ jedan vrhunski hrvatski glazbenik, spliÊanin Zlatan StipiπiÊ Gibonni. Gibonnijeva glazba svojevrsna je mjeπavina popa, etno i CROATIA AIRLINES

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world glazbe, jedinstvena po melankoliËnoj mediteranskoj atmosferi i intimnoj lirici. Njegove pjesme izvodilo je popriliËno poznatih hrvatskih umjetnika, a u mnogim su prigodama osvajale ugledne glazbene nagrade. Meu inima svakako valja spomenuti kultnu pjesmu Cesarica, koju je Gibonni napisao posebno za nenadmaπnog Olivera DragojeviÊa. Od ljetnih dogaanja u pulskom amfiteatru valja spomenuti i Humanitarni koncert za Biskupiju i potrebite, na kojemu Êe nastupiti poznati hrvatski pjevaË zabavne glazbe Draæen ZeËiÊ.

Taj plemeniti koncert u organizaciji Biskupije poreËko-pulske i Hrvatskoga katoliËkog zbora MI, odræat Êe se 2. srpnja u povodu obiljeæavanja blagdana sv. Tome − zaπtitnika grada.

Pula je pravo turistiËko odrediπte koje tijekom cijele turistiËke sezone svojim gostima nudi raznolike i bogate kulturno-zabavne sadræaje.

Iako ponuda kulminira ljeti, ona zapravo nikad ne prestaje, pa gost namjernik moæe u svako doba pronaÊi neπto zanimljivo za sebe. No, ljeti se i nadalje sva srediπnja dogaanja i spektakli odræavaju, kao i u onim pradavnim antiËkim danima, u poznatoj pulskoj antiËkoj ljepotici, u Areni. n

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n terms of size, it is among the six largest surviving Roman arenas in the world, and it is the only amphitheatre whose exterior wall with four side towers is almost completely preserved. It is unique in the world in terms of technical and technological solutions, while in comparison with over 200 other surviving Roman amphitheatres in the territory of the former Roman Empire, the one in Pula is one of the best preserved complete structures from antiquity times.

The monumental edifice in Pula did not attract only the attention of chance travellers, scientists and artists in the past; modern-day tourists who visit Pula in great numbers every year to see its sights find it equally attractive.

During the reign of the Roman Empire, nearly every bigger and somewhat more important city had such a structure. Their basic purpose was popular entertainment; they were used as venues for different plebeian festivities and to showcase the then very popular gladiator games. There are many remains of amphitheatres all over the world, but they are mostly just the foundations of the buildings and very little else.

The term amphitheatre reflects the building’s form of a double theatre (amphi-theatron), a semi-circular auditorium found in Greek and Roman theatres. In most cases, amphitheatres were elliptical or built in the shape of a polycentric circle, which is why it had two 80

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unequal axes. The edifice in Pula is a geometrically correct building of an elliptic shape whose axes are slightly over 130 and about 100 metres long. The fan-shaped auditorium right above the arena forms concentric circles of stone seats. The levels were interconnected by stairs. The double stairways in the four exterior towers provided access to the upper floors. The sheer size of the Pula amphitheatre meant that it had to be built outside of the city walls; it is one of the rare buildings from the period of the Roman Empire which was developed on the slopes of hills. The Pula amphitheatre is the largest and best preserved ancient monument in Croatia.

The local story is that Emperor Vespasian commissioned its construction in the mid-1st century B.C., as an excuse for frequent visits to Pula - his mistresses, Antonia Cenida, owned estates there. There is very little, if any data at all about the exact time of its construction or those who built it; however, it is a fact that the amphitheatre was indeed built in the surviving shape during the reign of Emperor Titus Flavius Vespasian (69-79). Its stone steps could seat approximately 25,000 enthusiastic spectators of gladiator games and other ancient forms of entertainment. Today, these types of entertainment are unimaginable, as they were cruel and commonly ended in a lot of blood and scenes of death. In ancient times, such entertainment was normal; moreover, in ancient Roman society such spectacles had a very pragmatic role to play. They were usually staged by civil servants who wanted to entertain the plebs, as part of the state policy which promoted bread and circuses (Latin: panem et circenses) with a view to averting their subjects’ attention from everyday troubles.

Gladiatorial combats took place in the central area, the so called arena, the word deriving from harena which means sand. Sand was also sprinkled over the traces of human and animal blood once the combat was over. Ancient games were very imaginative, but at the same time very cruel because the final scenes of the various plays always involved death.

The set designs varied and often conjured up mythological stories from Greek and Roman history. Gladiators were professionals, most commonly slaves or convicts, sometimes even volunteers who fought on their own or in groups against each other or against exotic wild beasts.

The stone used in the construction of the Pula amphitheatre was transported from nearby stone quarries along the coast, including the still famous stone quarry Cave Romane.

The easiest way to transport the huge stone blocks was by sea to the harbour of Pula,

whereas the smaller stones, which were used for the construction of the interior foundations, corridors, passages and stairways, were transported by land. The stone blocks were bound by iron rods which were sealed with lead.

After the collapse of the Roman Empire, when Europe-wide civilisation levels hit rock bottom and the tradition of processing ore to obtain metals was all but lost, the iron rods were removed from the stone blocks on a massive scale. As a result, magnificent Roman buildings, especially those in large cities, imploded and collapsed practically on their own, and what was left of them were just the foundations. One would be right to suspect that the same practice destroyed a number of ancient monuments in Pula. The amphitheatre was also cut into. Iron was removed from its stone pillars or pilasters, as one can tell from the rugged vertical edges of nearly all the stone blocks. Fortunately enough, the middle iron rods were not removed, so that the exterior wall of the Arena has remained nearly intact to this very day.

With the ancient civilization gone, the Arena had also lost its function, which inevitably led to the decay of this first rate monument.

The large blocks of the auditorium stairway, several thousand cubic metres of material altogether, were used as construction material for buildings all over Pula. Quite conveniently, the Arena was a sort of storage facility for easily available and well processed stone.

The historical documents of Pula show proof of a decision made by the city council in the 18th century to put a ban on taking stone from the Arena. A similar ban was imposed even before that by the city administration which was in power during the reign of the Venetian Republic, which only goes to show that the practice of taking the stone from the amphitheatre spanned several centuries.

During the Venetian Republic, the Arena was the venue of occasional fairs. However, as the population numbers dwindled, the amphitheatre gradually lost importance. The overall decline, which was also quite evident in the construction industry, may have had an upside, as this is probably what saved the Arena from further decay. The episode which took place in 1585, when the Venetians decided to dismantle the Arena and transport it, stone by stone, to the Venetian Lido, remains just an anecdote because that decision was opposed

by Gabriele Emo, a descendant of a rich and influential merchant family, who saw the sheer nonsense of the decision for what it was. The grateful citizens of Pula thanked him with a memorial plaque in the Arena. Another threat

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to the integrity of the Arena emerged in the 17th century when the Venetians asked the military engineer Antoine De Ville to economise and save some money in the state budget by using the stone from the amphitheatre for the construction of a fortress on the island of St. Andrija. De Ville was appalled and opposed the suggestion with the following words: Let it stand (Arena) − Let the inhabitants take pride in it, let visitors marvel at the sight of it, let it be a memento of olden times, let it be the glory of the Republic! May it be preserved unrelentingly, let it keep on being renewed so that it may last forever!

Be that as it may, it is because of luck that the unique ancient monument with a magnificent external wall has been preserved, and that today the lacy structure of the rectangular openings stands as a proud crown which bears silent witness to the former glory and grandeur of past times.

The popular Pula Arena is known in folk legends as DiviÊ-grad. The legend of the origins of DiviÊ-grad features fairies which once upon a time used to inhabit Istria. The good fairies danced in the meadows and forest glades at night and every now and then they appeared to common people. According to popular belief, fairies have the power to bring good luck

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to people, but the most interesting thing is that they are also reputed as builders. According to this particular legend, they were the ones who built the Arena in Pula. They spent a whole night hauling stones from the nearby UËka Mountain range. They arranged them in circles and thus their miracle was being created one row after another: DiviÊ-grad (the old Slavonic word for a miracle is diviÊ). But, fairies are night creatures and they could keep on building only until daybreak, until the first roosters crowed.

Then the fairies had to interrupt their building and flee the construction site to avoid being spotted by people. Their DiviÊ-grad remained unfinished, which is why the Arena does not have a roof. According to the same legend, huge stones remained scattered across Istria, from UËka to the sea. The fairies were in the middle of the process of carrying them to the building site of the Arena, but the rooster’s crow interrupted them and they dropped the stones wherever they were at that moment.

Bearing silent witness to the legend of DiviÊgrad and the Istrian fairies, the stones were scattered on the slopes of UËka and across Istria and can be seen to this very day.

The Pula amphitheatre has always been an object of interest and admiration. Having arrived in Pula, either on purpose or by pure

chance, all visitors had their breath taken by the Arena. When they returned home, they told the story and spread the word of this ancient beauty that exists in Pula. The Arena has always been Pula’s trademark owing to its size, beauty and well-preserved state.

Many artists have recorded it for posterity, by brush or plume, and have thus left a host of documents which testify to the longevity of the Arena, from ancient times to modern days.

Due to its unique construction, the Arena of Pula is an excellent case study of traditional ways and methods of construction. This is what makes it unique and distinguishes it from all other similar buildings in the world. As one of the best preserved amphitheatres worldwide, the Pula Arena has often been studied by famous artisan architects. Italian architects Sebastiano Serlio and Andrea Palladio studied and copied the details of its construction and the decorations on the exterior wall; a famous Italian graphic designer, architect and archaeologist Giovanni Battista Piranesi, was interested in the Arena as a ruin − ruina.

The Frenchman, Louis-François Cassas, made documentary drawings which were subsequently reproduced as copper prints and published in the book Voyage pittoresque de l’Istrie et de la Dalmatie (Paris,

1802). Thomas Allason, an English draftsman and architect, was particularly drawn by the ancient architectural features of Pula. In the early 19th century he came back several times in order to be able to explore the city thoroughly. In his book Picturesque Views of the Antiquities of Pola in Istria (London, 1819) he printed a series of copper prints featuring the antique monuments of Pula, together with a travelogue of sorts in which he noted a lot of information about Pula and its ancient monuments, with the amphitheatre occupying a prominent place among them. Pula and its famous Arena meant different things to different people living in different eras, and that is still the case.

Every summer, the Arena comes alive under the feet of numerous visitors. They cast curious glances into all of its corners, they climb its stairs to explore, and finally, they go up to the north-western tower to admire the lovely view of the environment which is now immersed in the throngs of urban tissue.

Modern-day visitors want to know everything about this ancient beauty, so they venture into its underground area, where a labyrinth of corridors hides a museum with a rich collection of archaeological artefacts. There is also an exhibition entitled Olive Husbandry CROATIA AIRLINES

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and Viticulture of Istria in the Times of Antiquity. One of the idiosyncrasies of the Arena’s underground is the reconstruction of a Roman wooden cart, as well as a depiction of an antique shipwreck which was discovered and explored near the Savudrija promontory in the 60s of last century.

Originally built as a venue to showcase gladiator fights, which indeed did take place in it until the 5th century, the Arena is currently used as a multi-purpose venue for various exhibitions and multimedia projections which are held almost daily. In the summer it becomes a stage for the most important cultural and art performances, festivals and musical concerts by international and Croatian stars. Of the many famous names that have starred in the Arena, let us mention but a few: Andrea Bocelli, Buena Vista Social Club, Eros Ramazzotti, the Israel Philharmonic Orchestra and Zubin Mehta, Jamiroquai, José Carreras, Lado, Luciano Pavarotti, Maksim Mrvica, New Imperial Russian Ballet, Nina BadriÊ, Norah Jones, Paco de Lucia, Placido Domingo and many others.

This year, the season will kick off with the Days of Antiquity, when the streets and squares of Pula will convey the atmosphere of antiquity with the enactment of scenes typical of the life of ancient Romans, to the delight of the citizens of Pula and their guests. During the two-day event, which takes place in early June, the streets of the city will come alive with old crafts, such as the production of ancient jewellery, stone carvings and mosaic making; original antique sports and gladiator fights will be enacted for everybody to experience in the unique Arena.

In Roman times, the main spectacles were gladiator fights; today, the annual highlight is the Pula Film Festival, the most important tourist product and brand, not only of the city of Pula but of the entire region. The Pula Film Festival has been taking place for 58 consecutive years, and it has become a cult event for viewers from all generations who flock to the city during the summer for fifteen days when the festival takes place. In the magnificent Arena, under the starry skies, they come to attend the projections of the most recent Croatian and select international productions.

For nearly six decades the festival has been the trademark of the national festival scene, both in the region and in the world, a traditional gathering place for home-grown film makers, film journalists and film festival selectors.

The Pula Film Festival is the most visited film festival in Croatia and the longest lasting festival of national film productions in the world; it boasts the highest number of spectators 84

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per projection and is one of the three best and most spectacular open air festivals in Europe (The Guardian, 2005). This year the Pula Film Festival will take place between 9th and 23rd July, and will feature a national programme as well as an attractive international film programme. Besides showcasing good movies and authentic depictions of ancient football and gladiator fights, the Pula Arena will also be the venue of a series of concerts and a musical. Many lovers of musicals will come unto their own on 10th July when Zagreb’s Komedija Theatre will stage a performance of its cult musical Yalta, Yalta, written and composed by the duo of Milan GrgiÊ and Alfi Kabiljo.

Thirty nine years after the world premiere, the revived Yalta, the most performed Croatian musical, will be staged by a new generation of the Komedija Theatre ensemble. They will be directed by the doyen of Croatian theatre, Vlado ©tefanËiÊ, and the protagonists of the new Yalta will be the actors and singers of the Komedija Theatre. Sandra BagariÊ, Renata Sabljak and Danijela PintariÊ will alternate in the role of Nina Filipovna; –ani StipaniËev and Davor RadiÊ will appear as Griπa; Ronald Ælabur and Damir PoljiËak as Larry; and Draæen »uËek and Draæen BratuliÊ as Stanley.

Like in the previous years, the Pula Arena will host many Croatian and international musical stars. The Italian megastar Zucchero will open the season on 18th June with a concert that is part of his Chocabeck World Tour 2011. His biggest and best loved hit song Senza una donna, which put him on the top of the world pop charts, will certainly evoke ovations and delight, especially among the female part of the audience. After Zucchero, the American folk singer-songwriter Jack Johnson will hold a concert on 26th July as part of his To the Sea Tour 2011, during which he will present the namesake album released last year.

A few days later, on 30th July, the amphitheatre will be the venue of a glittering appearance by a home-grown talent; Pula native, Tony Cetinski, a famous Croatian musician whose career was launched at the tender age of 15. For years Cetinski has been at the very top of the Croatian music scene, and during that time he has authored many musical hits which the concert audience will be able to hear this year in the Arena. One of them is the song that we all remember and cherish Nek ti bude ljubav sva (I wish you all the love in the world). In 1994, Tony Cetinski represented Croatia with that song as a contender in the Eurovision Song Contest.

The season will peak with a joint concert by Croatian musician and tenor Ivo Gamulin Gianni and American musical diva Gloria

Gaynor, famous for her disco hit from the 70s of last century I will survive. The brilliant duo will tour the Adriatic this summer and they will appear in Pula’s amphitheatre on 6th August. Gianni and Gloria will perform the globally famous hits such as Amigos para siempre, O sole mio, Ljubav to si ti, Time to say goodbye, Killing me softly, My first, my last, my everything, and the staple I will survive.

The playlist will certainly satisfy all lovers of music. The duo’s summer tour is expected to be one of the most media-covered summer events in Croatia. The icing on the cake of the pop concerts in the Arena will be the appearance of the popular singer-songwriter from Novi Sad, –ore BalaπeviÊ, who will hold a concert on 13th August. The popular –ole held his last solo concert in Pula’s bursting amphitheatre exactly ten years ago when the entire proceeds were intended for the purchase of equipment for the hospital in Pula. Last year he was one of the guests in the Arena at the concert to mark the tenth anniversary of the Ulysses theatre. Given the number of his admirers, as well as last year’s successful concerts in Zagreb and Osijek, it is almost certain that Pula’s Arena will be sold out and that the audience will enjoy a great evening and sing along with their favourite singer-songwriter.

The concert season in the Arena ends on 27th August with Split-born Zlatan StipiπiÊ Gibonni, a star of the Croatian pop and rock scene. Gibonni’s music is a mixture of pop and world music, unique in terms of its melancholic Mediterranean atmosphere and intimate lyrics. His songs have been covered by many well known Croatian artists and they have won a number of coveted musical awards.

Among them, we should certainly mention the cult song Cesarica, which was written by Gibonni for the one and only Oliver DragojeviÊ.

As for the other summer events in the Arena, we should also mention the Humanitarian Concert for the Diocese and Those in Need, featuring the popular Croatian pop singer Draæen ZeËiÊ. The charity event, organized by the Diocese of PoreË and Pula and the Croatian Catholic Choir MI, will be held on 2nd July to mark the holiday of St. Thomas, the patron saint of Pula. Pula is a true tourist destination which offers its guests varied and rich cultural and entertainment programmes all year round. Although the offer culminates in the summer, there is never a dull moment, so a chance visitor can always find something interesting and right up their alley. In the summer, all the main events and spectacles still take place in Pula’s beautiful Arena, just as they did in ancient days. n

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SALONA

PosveÊenost detaljima i zadovoljstvu klijentele kljuËni su za komer-

PRI»A O USPJEHU

cijalan uspjeh brodogradiliπta. To su prepoznali i svjetski struËnjaci

STORY OF SUCCESS

Passion for the detail and satisfaction of each individual client is the

koji su Salonu 37 proglasili brodom godine.

key of commercial success of the yard, the same that has been recognized by an international audience with the Salona 37 being the boat of the year.

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riËa o Saloni joπ je jedna priËa o uspjeπnom proizvoaËu jedrilica. Ali, ova je priËa izvorno hrvatska, a svoju pravu dimenziju ima u globalnim okvirima.

Relativno mlado brodogradiliπte AD Brodovi iz Solina pokraj Splita prije devet godina poËelo je trnovit put izgradnje novog brenda u nautiËkom biznisu. Brend jedrilica Salona namijenjen je biranoj klijenteli koja si moæe priuπtiti plovilo za razonodu, ali i te kako je zahtjevna. Iako se nautiËki svijet ne moæe usporeivati s ostalim industrijama poput automobilske, konkurencija je nemilosrdna, a put kojim je Salona krenula veoma je izazovan.

NautiËka industrija uvelike je razvijena, ima dugu tradiciju s proizvoaËima na svim kontinentima, pa je ponuda na træiπtu tako kvalitetna i raznolika da je osobito teπko ponuditi neπto novo.

Od poËetka Salona se pozicionirala kao premium brend jedrilica, s ambicioznim ciljem da gradi najbolje peformance cruisere na svijetu, konkurirajuÊi vlastitim snagama 86

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najkvalitetnijim proizvoaËima plovila za razonodu. Upravo je stoga priËa o njihovu uspjehu zanimljiva − kako se iz jedne male Hrvatske vinuti u svjetski vrh? Opredjeljenje da se jedrilice pod imenom Salona grade po konceptu cruiser racera bilo je kljuËno za strategiju razvoja tog brodogradiliπta. Iako je ta ideja sasvim logiËna jer takve se jedrilice grade za privatne vlasnike æeljne vrhunskog komfora plovila, ali i jedriliËarskih i regatnih performansi jedrilica, tu ideju nije nimalo lako provesti u djelo. Rijetki su brendovi u svijetu koji su uspjeli zadovoljiti træiπte kvalitetom svojih proizvoda u tom segmentu, a Salona je jedan od njih.

PosveÊenost detaljima i zadovoljstvu klijentele pritom je kljuËna za komercijalan uspjeh brodogradiliπta, a svojedobno su je prepoznali i svjetski struËnjaci koji su Salonu 37 proglasili brodom godine i u Europi i u Americi, a prodano je viπe od 130 plovila tog modela. Dizajn je svakako joπ jedan kljuËan element uspjeha Salone. Osim optimizacije æivotnih prostora na plovilu radi komfora i funkcionalnosti, jednako u regatnom jedrenju kao i za ljetna krstarenja, Salona je uvijek prednjaËila svojim izbalansiranim dizajnom.

Vanjski izgled jedrilica utjelovio je elemente koji su lako prepoznatljivi, ali nisu ekstremni.

Zato su i stari modeli Salona i danas zaπtitni znak brenda, a vlasnicima nude atraktivan dizajn koji traje. Brodogradiliπte tu nije stalo, pa danas Salona razvija nove modele koji su prilagoeni najnovijim trendovima na træiπtu, u veliËinama od 34 do 60 stopa.

Izvrsna gama proizvoda, cjenovne kategorije od 100.000 do 1,000.000 eura, daje im potrebnu πirinu za rad u cijelom svijetu, a to πto su posljednje narudæbe stigle iz Juæne Koreje, Australije, Juæne Amerike i Japana dovoljno govori za sebe. Vrlo je zanimljivo da se ispod privlaËnog izgleda tih lijepih

jedrilica krije beskompromisna konstrukcija, πto je joπ jedan znaËajan razlog zbog kojega solinsko brodogradiliπte danas biljeæi træiπne uspjehe.

Salona je kao prvi proizvoaË na ovim prostorima prije Ëetiri godine prihvatila tehnologiju vakuumske infuzije, Ëime se jedrilice grade s maksimumom ËvrstoÊe i minimumom teæine, a jedini u svijetu koriste se nevidljivom konstrukcijom od nehrajuÊeg Ëelika za dodatno ojaËavanje trupova. Osim dodatnog faktora sigurnosti takav naËin izrade omoguÊava osobito dobre performanse pod jedrima, pa su lani Salone osvojile dvije bronËane medalje na Svjetskom prvenstvu u jedrenju jedrilice za cruiser racer po sustavu ORC. Mnoga su obiljeæja koja Salonama daju dovoljno snage za borbu na svjetskom træiπtu, ali ti se brodovi mogu najbolje osjetiti u izravnom kontaktu potencijalnih vlasnika s tim morskim ljepoticama. Stoga solinsko brodogradiliπte u vlastitoj Ëarter floti u Kaπtelima pokraj Splita dræi sve modele jedrilica, koje mogu iskuπati ljubitelji jedrenja iz cijelog svijeta. Osim izlaganja jedrilica na svim veÊim nautiËkim sajmovima, kao poseban izlog u svijet nude onaj za nas najljepπi − jadranski. U oËekivanju njihova najveÊeg modela od 60 stopa, koji Êe biti prezentiran sljedeÊe godine, u meuvremenu moæete zajedriti na Saloni ovog ljeta i uvjeriti se u vjerodostojnost informacija u ovom tekstu. n

T

he story about Salona is another success story about the sailing boat builder. Yet, this story has a Croatian flavour and origins, and it gets a realistic dimension only in global terms.

AD Boats from Solin nearby Split is a relatively new boat builder that started a complex process of creating a new brand in the

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nautical business only nine years ago with Salona, the brand is dedicated to clients with special high demands who can afford to purchase a pleasure craft. Although it is hard to compare the Marine business with some other highly developed businesses such as the automotive industry, the competition in the nautical world is extremely hard, and the path of Salona`s has been very demanding and challenging since the beginning. The Nautical industry has a long tradition with established builders around the world so the competition in the market is very strong and it is very difficult to offer something new and exciting.

Since the start Salona has been positioned as a premium brand in the sailing world with an ambitious goal to build the best performance cruisers in the world, competing 88

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against the strongest builders and relying on the ‘in house’ know how and craftsmanship.

Therefore the story about the success of the Salona is really intriguing − how can one get into the world’s best from such a small country as Croatia? The direction to build the Salonas following a well-known concept of cruiser racer sailing boats was crucial for the development strategy of the yard. Though that idea is perfectly logical because that type of sailing boat is built for private owners looking for both maximum comfort and sailing performance of the boat, this idea was not easy to realize. There are not many world known brands that managed to do so − but Salona is among them today.

Passion for the detail and satisfaction of each individual client is the key of commercial success of the yard, the same that has been

recognized by an international audience with the Salona 37 being the boat of the year in Europe and US, that model has sold more than 130 units so far! Design is another key element of the Salona’s success. Apart from the optimization of living space on board which is equally important in summer cruising or winning races, Salona has always been recognized by a nicely balanced design of their models. The outside look of the boats has incorporated easily recognizable elements, but far from extreme, so older models of Salona still stand as brand’s trademark, offering long lasting design for their owners.

Of course, the yard has not been stuck in the past, today Salona develops new models in line with modern market requirements, in a size range between 34 and 60 feet.

Good products with prices from 100.000 to 1.000.000 Euros make a good offer platform for global developed business and the fact that the last orders have been received from South Korea, Australia, South America and Japan says enough. It is also very interesting that the attractive look of Salona`s hides an uncompromised building quality, that is another reason for the yard’s global market success.

As the first production builder in this region Salona has fully implemented technology of vacuum infusion, the technology that allows highest laminate quality with maximum strength and minimum weight, strongly influencing safety factors and boat’s performance. Also, Salona uses unique laminated stainless steel frame for careful distribution of main forces of the boat for further reinforcement of the hulls. The result of advanced building technology is easily seen on the racing field, last year the Salonas have won two bronze medals at the ORC International World Championship.

There are many interesting characteristics that enable Salona for successful fight on the global market, but the best way to reveal them is to simply set sail with Salona.

Therefore boat builders from Solin have established their own charter fleet based in marina Kaπtela in the vicinity of Split airport.

There sailing lovers can try all their models, so apart from exhibiting the boats on all the major international boat shows, Salona has created another exhibition space, maybe the most beautiful one with the flavour of Adriatic being well known as one of the best sailing areas in the world. While expecting their newest 60 foot model to be presented next year, you can sail and enjoy Salonas this summer and easily evaluate the information from this article. n

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Piše/By Dubravka Belas Fotografije/Photos Romeo IbriševiÊ

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eki gradovi nalikuju na velike, site maËke. Lijeno se rasteæu i æmirkaju u mirnim dolinama. Mali primorski gradovi, pak, podsjeÊaju na galebove πÊuÊurene na samoj obali dok im se bijeli trbusi ljeskaju na morskoj povrπini. Oni na uzvisinama, poput utvrda, najsliËniji su orlovom gnijezdu, balansirajuÊi na strmim klisurama, s valovima koji huËe u podnoæju.

Stiæe li se s druge strane do Vrbnika kopnenim putem, vide se polja zelena od vinove loze.

Nekad, kad su u Vrbniku æivjele velike obitelji, na tim su se poljima uzgajale æitarice potrebne za prehranu njihovih mnogih Ëlanova, a tek na rubovima uzgajala se, za vlastite potrebe, osobita sorta groæa od koje se pravilo danas nadaleko poznato vino − ælahtina.

TipiËan srednjovjekovni gradiÊ podignut je na æivoj stijeni koja ponegdje nadomjeπta zidine. Sagraen na stoæastom terenu, pun je uspona i breæuljaka, πto je uvelike uvjetovalo njegovu puËku arhitekturu, s mnogo vanjskih stuba i volti, i stisnulo planski graene kuÊe u tlocrt tipiËan za primorske gradiÊe krËkih knezova. Utisnutom unutar obrambenih zidina od kojih dio i danas odolijeva vremenu, s okrnjenim tornjem, u grad se prvobitno ulazilo kroz dvoja vrata, Vela Dvera i mala, Dverca, DverÊiÊa. Zgusnute i uske ulice nepogreπivo vode do najviπe toËke − crkvenoga trga s crkvom sv. Marije, markantnim, dominirajuÊim zvonikom odijeljenim od crkve i Kneæevim dvorom preureenim poslije u πkolu. Druga je frankopanska kuÊa u Vrbniku BaÊin dvor iz 14. stoljeÊa, nazvana po knezu Bartolu. BaÊin dvor bio je pravo utoËiπte putniku − svatko tko bi se ondje sklonio, bio bi zaπtiÊen dok se god nalazio unutar njegovih zidova.

Dva su glavna trga u Vrbniku, jedan crkveni, drugi puËki. Oba su imala svoje loæe, prvi crkvenu za okupljanje sveÊenstva, a drugi puËku s podesterijom ili poteπtarijom, upravnom zgradom, pred kojom se narod okupljao na svetkovinama i tancima.

Tlocrt je proπaran uskim, vijugavim ulicama, Ëesto slijepim ili natkritim svodovima ponad kojih se stanuje, kako bi se iskoristio svaki metar prostora. UnatoË skuËenosti, zapaæa se graditeljski sklad i nastojanje da svaka kuÊa i u tim uvjetima ostvari svoje pravo na pogled. Tu je KlanËiÊ, najuæa ulica na svijetu, kojom neÊe uspjeti proÊi mnogi posjetitelj, Ëak i kad bi to pokuπao uËiniti boËno. U ovome labirintalnom gradu, sagraenome tako da prevari, preduhitri i razbije udare snaænih bura kojima je izloæen zimi, gradu posve jasnoga mediteranskog okusa, osvojena priroda svjedoËi o neuniπtivu duhu naroda, koji je kroz stoljeÊa znao oËuvati svoju kulturu i tradiciju, unatoË svim nedaÊama i teπkomu teæaËkom æivotu. Pa i ta straπna bura, vjetar je ozdravljujuÊ i koristan − ne samo πto poboljπava raspoloæenje, nego daje i osobit okus prπutima koji se na njoj suπe i nosi posolicu za ispaπu otoËkih ovaca od Ëijega se mlijeka pravi ukusan sir.

Strm teren i nedostatak prostora nisu dopuπtali graditeljskoj maπti da se osobito razmaπe.

Zato se individualna estetika graditelja i ponos domaÊina, ali i vjeπtina graenja komina − ognjiπta, ogleda u zasebnome svijetu neobiËnih vrbniËkih dimnjaka. Kad ste u Vrbniku, podignite pogled: vidjet Êete da nema dvaju istih dimnjaka koji se izdiæu ponad slikovitih crvenih krovova. Jedni preslikavaju gradske tornjeve, drugi podsjeÊaju na male dvorce, treÊi na tvorbe sliËne velikim afriËkim mravi-

njacima. Kako god izgledali, uvijek su simbol topline doma i æivota u kuÊi, pa makar dijelom i nekadaπnjega, osobito danas, kad se dim iz njih ne vije baπ Ëesto. Tek u poËetku 19. stoljeÊa Vrbnik se poËinje πiriti izvan gradskih zidina, pa poËinje i gradnja neπto veÊih kuÊa s lijepim i prostranim dvorom.

Ljepota je Vrbnika, kad jednom zaete u njegove isprepletene, kamenom poploËene ulice, u detalju, u neobiËnom obliku starih vrata, u nekome siÊuπnom prozorËiÊu, u prirodnoj omËi na kamenu ugraenome u zid kuÊe kako bi se za nju vezao magarac, staroj æeljeznoj kvaki ili lokotu obraslom pauËinom. Ljepota je u æivoj stijeni koja ponegdje zamjenjuje zid, u glagoljskom slovu ili kriæiÊu uklesanom ovdje-ondje u kameni blok, u proπupljenom kuhinjskom loncu iz kojega buja rascvala hortenzija, u mirisu lijepe maæurane i sitnoga bosiljka, baπ kao u narodnoj pjesmi.

VrbniËe nad morem, visoka planino, u tebi se goje po izbor djevojke... Baπ kao i u Nazorovoj pjesmi koja kaæe: i u mom vrtu cvatu maæurana i bosiljak i zal’jevam ih vodom iz svoga zdenca, krvlju svojih rana. I mene golet hrani sitnim plodom, al gradit med u krπu uv’jek gorem, ko i ti ne znam, VrbniËe nad morem...

No ima Vrbnik joπ mnogo toga ponuditi. Crkva sv. Marije graena je u 15. stoljeÊu, a poslije viπe puta pregraivana, a u 1527. godini, kako navodi glagoljski natpis uklesan nad ulazom, dobila je svoj renesansni zvonik. Uz oltar i crkveno posue, zanimljiv je i barokni namjeπtaj. Renesansni je i oltar Marije Ruæarice, za koji kaæu da ga je darovao knez Ivan Frankopan, pripadnik jedne od rijetkih hrvatskih plemenitaπkih obitelji koja se po vaænosti izjednaËila sa svakom europskom plemenitaπkom

Vrbnik, jedan od najstarijih i najljepπih gradiÊa otoka Krka, nalazi se na hridi pedesetak metara iznad mora. Tek neπto dalje, duboko dolje, u zaljevu, valove kroti lukobran πtiteÊi nevelik polumjesec vrbniËke luËice...

Vrbnik, one of the oldest and most beautiful towns on the island of Krk was built on a rocky hill some fifty metres above sea level. A bit further away, deep in a cove, waves are tamed by a breakwater that protects the small, crescent-shaped Vrbnik harbour.

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kuÊom. Poliptih sv. Ane u kapeli rad je lokalnoga majstora iz 15. stoljeÊa. Treba pogledati i Posljednju veËeru iz 1599. godine na glavnome oltaru, rad Marina CvitkoviÊa Kotoranina. U zvoniku se nalazi lapidarij i Muzej likovnog identiteta Vrbnika. Na mjesnome je groblju gotiËka crkvica sv. Ivana Krstitelja, zaπtitnika grada, iz 15. st., a u uvali Sveti Juraj ruπevine su crkvice s tragovima romaniËkih zidnih slika.

Starost Vrbnika ne moæe se toËno odrediti, ali neosporno je da je jedno od najstarijih naselja na otoku Krku, s poËecima iz pretpovijesnoga doba. Arheoloπki nalazi potvruju postojanje ilirskih, grËkih i rimskih tragova u vrbniËkom podruËju. Kad Hrvati potkraj VI. stoljeÊa naseljavaju Krk, Vrbnik postaje jednim od glavnih mjesta zlatnog otoka. Uz Baπku, Dobrinj i Omiπalj i Vrbnik postaje jednim od kaπtela sa samostalnom upravom. Prvi se put u pisanom dokumentu spominje u najstarijoj poznatoj glagoljskoj listini − darovnici Slavnog Dragoslava, od 1. sijeËnja 1100. godine. Njome se crkvi sv. Vida kod Dobrinja daruje zemljiπte πto graniËi, izmeu ostaloga, s putem ki gre v Verbnik.

Za vladavine KrËkih knezova, 1388. godine, piπe se VrbniËki statut, u kojemu se veÊi dio propisa ispisanih glagoljicom odnosi na kazneno pravo. To je drugi hrvatski statut poslije poznatoga Vinodolskog statuta. U prijepisu vrbniËkog sveÊenika Grgura ÆaπkoviÊa danas se Ëuva u SveuËiliπnoj knjiænici u Zagrebu.

Vrbnik velik dio svoje prepoznatljivosti temelji na glagoljaπkoj baπtini pa ga Ëesto nazivaju kolijevkom hrvatske pismenosti. Uostalom, cijeli je Krk bio snaæno glagoljaπko srediπte, a uglata se hrvatska glagoljica ovdje upotrebljavala sve do 19. stoljeÊa. Pismom se koristilo veÊ od 9. stoljeÊa, pri prevoenju liturgijskih knjiga na staroslavenski jezik, nakon πto je papa Hadrijan II. odobrio glagoljaπko bogosluæje. Valja naglasiti da se to dogaa u vrijeme kad se ostatak Europe u katoliËkoj liturgiji smio koristiti iskljuËivo latinskim jezikom, πto je, uostalom, potrajalo sve do 20. stoljeÊa, kad su narodni jezici dopuπteni u bogosluæju. I papa Ivan VIII. hvalio je sveÊenike glagoljaπe koji su svjedoËili vjeru na materinskom jeziku, a papa Inocent IV. 1248. godine dao je posebnu dozvolu, tzv. senjski privilegij i senjskom biskupu za slavensko bogosluæje. Tako su Hrvati dugo bili jedini narod u Europi s dopuπtenjem za koriπtenje svog jezika i pisma u crkvenom obredu, πto je uvelike pridonijelo odræavanju glagoljaπtva sve do 19. stoljeÊa. Prva hrvatska knjiga otisnuta tim kompleksnim slovima punima simbolike izdana je 1483. godine; prva hrvatska poËetnica iz 1527. godine takoer je pisana glagoljicom, isto tako i prvi hrvatski stihovi u Misalu kneza Novaka. Od svih 700 saËuvanih hrvatskih 96

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glagoljskih zapisa, Ëak ih je 469 s Krka, a od krËkih glagoljaπkih zapisa na pergamentu i papiru, 105 potjeËe upravo iz Vrbnika. Treba reÊi da je prvu hrvatsku glagoljaπku tiskaru u Senju osnovao upravo VrbniËanin Blaæ BaromiÊ, kojemu je u rodnom gradu podignut spomenik.

Ime pisma dolazi od staroslavenske rijeËi glagoljati, πto znaËi govoriti. Zasniva se na geometrijskim likovima - trokutu, simbolu sv.

Trojstva, velikoj trijadi neba, zemlje i Ëovjeka, krugu kao simbolu savrπenosti, poput Sunca, tako cjelovitoga, tako æivototvornoga. Kvadrat simbolizira Ëetiri elementa − Vodu, Vatru, Zrak i Zemlju, ali i Ëetiri godiπnja doba. Tu je i nezaobilazni kriæ koji simbolizira patnju. Neki od najvaænijih vrbniËkih rukopisa, uz spomenuti statut, Ëetiri su brevijara nastala u 13. i 14. stoljeÊu, te dva vrbniËka misala iz 15. stoljeÊa.

Prvi vrbniËki misal jedna je od najljepπih hrvatskih glagoljskih knjiga. Napisao ju je arhiakon Toma na 512 stranica pergamenta i raskoπno je iluminirana, uglavnom crvenom bojom, s dodacima plave ili zelene. Osobito se istiËu dvije πesterobojne slike, prikaz mrtvoga Krista u naruËju Djevice Marije i raspetoga Krista pod kojim stoje majka Marija i uËenik Ivan.

Staroslavenski jezik kojim je pisan znatno je pohrvaÊen u glasovima i oblicima.

I drugi vrbniËki misal odlikuje se prekrasnim iluminacijama. Zanimljivo je da se jedan istrgnuti list misala, jedini koji nedostaje u knjizi, nalazi u sveuËiliπnoj knjiænici u Princetonu, SAD, pod oznakom Garrett MS 25, prema izvjesnom Robertu Garrettu koji ga je nabavio oko 1920. godine i darovao knjiænici. Kako pokuπaji da se list vrati meu korice misala nisu urodili plodom, VrbniËani bi zacijelo voljeli da barem imenom podsjeÊa na mjesto odakle je davno i tajnovito nestao.

Nekoliko skupocjenih inkunabula te prekrasno iluminirani misali Ëuvaju se u æupnome dvoru i Knjiænici obitelji ViteziÊ. Knjiænica je jedno od mjesta koja se jednostavno moraju vidjeti. Osnovao ju je biskup Ivan ViteziÊ s bratom Dinkom, a danas ima petnaestak tisuÊa naslova, otprilike 15 puta viπe no πto Vrbnik ima stanovnika. Knjiænica Ëuva mnoge glagoljaπke rukopise koji svjedoËe o Vrbniku kao glagoljaπkom rasadiπtu, ali poznata je i po jednome od dva na cijelom svijetu saËuvana primjerka lijepog atlasa Johanna Davida Köhlera (Atlas scolasticus et itinerarius) tiskanoga u Nürnbergu 1718. godine. Osim zemljopisnih karata, Atlas sadræava i slike starih jedrenjaka, naoruæanja, odlikovanja i zvijeæa. Treba reÊi i da je posljednji glagoljski misal 1893. godine tiskan zahvaljujuÊi joπ jednom svestranom vrbniËkom tiskaru − profesoru i kanoniku Hrvatskog zavoda sv. Jeronima u Rimu Dragutinu A. ParËiÊu. ParËiÊa je zanimala i botanika i

astronomija, napisao je gramatiku hrvatskoga jezika na talijanskome i hrvatsko-talijanski rjeËnik. Pionir je fotografije u Hrvatskoj i autor jedne od najstarijih snimaka Sunca na svijetu.

RijeË je o dagerotipiji, triptihu pomrËine Sunca, snimljenom na Silvestrovo 1861. godine u Zadru. ©kole u Vrbniku djelovale su veÊ u 11. stoljeÊu, a iz njih su izlazili mnogi notari i redovnici, a ovdje joπ djeluje jedna od najstarijih bratovπtina u Hrvatskoj, bratovπtina sv. Ivana Krstitelja, nazvana Kapari, prema kapuljaËama, kapama koje nose na leima, osnovana daleke 1323. godine. VeÊ tada je zajedniËki æivot u Vrbniku bio visokoorganiziran, pa su i Kapari, uz brigu za odvijanje sakralnog æivota, imali svoje kuÊe, posjede, ali i pomagali bolesne i siromaπne, imali svoju bolnicu i πtedionicu.

VrbniËka tradicija odgoja sveÊenika i misionara joπ i danas æivi - i aktualni hrvatski kardinal, Josip BozaniÊ, roen je u Vrbniku. PosveÊenost knjizi i uËenju oËituje se i u podatku da je upravo u Vrbniku 1871. godine otvorena prva hrvatska Ëitaonica na Kvarnerskim otocima.

Knjiænica obitelji ViteziÊ otvorena je za razgled tijekom cijeloga dana pa Êe uz obnovljeni Desetinac s lapidarijem i izloπcima VrbniËke grafiËke akademije te repliku glagoljaπke tiskare biti nezaobilazna za onog posjetitelja Vrbnika kojemu nije samo do kupanja ili kuπanja ælahtine.

No, ælahtinu svejedno treba kuπati, samu ili uz domaÊa jela u nekoj od konoba. To se poznato suho bijelo vino pravi od autohtone sorte loze koja uspijeva jedino u krËkom vinogorju.

Vino je svjeæe i pitko i najbolje pristaje uz ovËji sir, sve vrste ribe, rakove i πkoljke te uz jela od bijelog mesa. Nezaobilazno je uz πurlice, lokalnu tjesteninu, osobito sa πkampima, no pristaje i uz suhe kolaËe, a izvrsno je i kao aperitiv. Ime je dobilo po slavenskom pridjevu ælahten, πto znaËi plemenit. U posljednje vrijeme unaprijeena kvaliteta rezultirala je s dva nova vina − vrhunskom Zlatnom vrbniËkom ælahtinom − Grand Cru, te morskim pjenuπcem Valometom, dobivenim klasiËnom πampanjskom metodom. Ono πto Valomet, vino nazvano po hridi o koju se podno Vrbnika razbijaju valovi, razlikuje od ostalih pjenuπaca, pa i od obiËnoga vrbniËkog pjenuπca koji dozrijeva u podrumima, postupak je kojim se pjenuπac proizveden od Zlatne vrbniËke ælahtine spuπta u more na dubinu od tridesetak metara, gdje je temperatura 12 stupnjeva.

Ondje Êe odleæati 400 dana, zaπtiÊen od kisika, buke, pokreta i svjetlosti, πto omoguÊuje idealnu fermentaciju i daje osobito aromu tomu morskom vinu. Boca Êe za to vrijeme biti slikovito obrasla algama i optoËena πkoljkama, ali pravi Êe uæitak biti tek u njezinu sadræaju.

Nevelik hotel i neπto apartmana za unajmljiva-

nje jamËit Êe mir i usporen ritam i u srcu sezone. Dakako, ako vas poπtede maliËiÊi, krsnici, vile, mori i kudlaci, neobiËna biÊa koja æive u vrbniËkim legendama. Navodno u najstarijim ulicama grada joπ pamte probleme koje su zaigrani maliËiÊi zadavali stanovnicima, zanovijetali im i πalili se s njima. Jedan se Ëak uselio na tavan neke obitelji i svakoga dana traæio pjat makaruna koji si ni ukuÊani nisu mogli Ëesto priuπtiti. August ©enoa stihovima je zabiljeæio vrbniËku legendu o Kuginoj kuÊi, koja joπ postoji u ulici Smokovec. U njoj je nekad, kaæe predaja, skromno æivjela Jele sa sinom jedincem. U strahu i lomeÊi u sebi mnoge moralne dvojbe, nakon ucjena i prijetnji, ali s obeÊanjem da Êe njezina kuÊa biti poπteena straπne bolesti i smrti, jedne je noÊi pristala Kugu unijeti na svojim leima u grad. »ekajuÊi majku da se vrati, Jelin je sin otiπao do susjeda da ne bude sam. Kuga je, kaæu, odræala obeÊanje i doista poπtedjela Jelinu kuÊu, ali poharala je sve ostale, a u njima i Jelina ljubljenog sina jedinca.

No nisu sve vrbniËke legende nesretne − tako ni priËa o lijepoj VrbniËanki Dumi i njezinoj ljubavi. Zaljubljeni joj je mletaËki Ëinovnik nudio brak i blagostanje, ali ona je voljela drugoga, hrabroga senjskog uskoka, koji je po najveÊoj buri po nju doplovio pod stijene nad koje se danas nadvija ©enoin put.

A kad ste razgledali sve πto se moglo razgledati, naπetali se vrbniËkim ulicama, nauæivali pogleda s Vidikovca, zasluæili ste i predah na nekoj od lijepih vrbniËkih plaæa, redom okiÊenih plavim zastavama u znak priznanja za njihovu ËistoÊu i ekoloπku oËuvanost, poznatih po kristalnome moru. Do mnogih divnih uvala moæe se doÊi samo morskim putem. Zanimljiva je i podmorska πpilja kod ulaza u vrbniËku luku, na dubini od 17 metara, s otvorom na stropu kroz koji, kao kroz dimnjak, u unutraπnjost dopire svjetlo. Okolica Vrbnika premreæena je pjeπaËkim i biciklistiËkim stazama kojima moæete sigurno lutati i pustiti otoËkim vizurama da vas uvijek iznova oËaraju.

Ljeti VrbniËani prireuju mnoge feπte i manifestacije koje Êe vam pribliæiti njihovu tradiciju - poput Festivala ælahtine ili Dana otvorenih podruma, kad moæete kuπati kapljicu o kojoj ste upravo Ëitali, ili Razgona, sveËanosti obiljeæavanja odvajanja ovaca i njihova puπtanja na slobodnu ispaπu. MoÊi Êete kupiti fini domaÊi sir ili med, to slatko zlato zarobljeno u staklenkama, mirisne voÊne rakije i likere, domaÊi proπek, Ëisto maslinovo ulje, proizvode od lavande i mirisnog bilja. MoÊi Êete nauËiti neπto sasvim novo u radionici filcanja vune ili samo sluπati pjesme i gledati plesove krËkih folklornih skupina u æivopisnim noπnjama.

Okusi, zvuci, mirisi, boje… More koje se prelijeva od smaragda do safira i natrag,

odraæavajuÊi boje neba. Stalni povjetarac πto donosi zvukove kupaËa s plaæe, jedrilice koje neËujno klize, miris ljetne kiπe πto se slijeva niz kamene ploËnike uglaËane milijunima koraka, sve to ponesite kao najljepπi suvenir iz toga ponosnoga grada, Vrbnika nad morem. n

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ome cities resemble big, well-fed cats. They lazily stretch and shimmer in peaceful valleys. Little coastal towns, on the other hand, look like seagulls crouched on the coastline while their white bellies glitter on the surface of the sea. Hilltop towns perched like towers high above the ground are the most similar to eagles’ nests as they balance on steep ravines, above the waves that roar below them.

As you approach Vrbnik from the land side you will see green fields of grapevines. In the past, when Vrbnik was inhabited by large families, those fields were covered with cereals crops needed to feed the many mouths. A special variety of grapes was grown along their edges in small quantities, just as much as needed to meet the locals’ own requirements for Ælahtina wine, the same one Vrbnik is nowadays famous for all over the world.

A typical mediaeval town was erected on a living rock, which in some areas replaces the walls. It was built on cone-shaped terrain; it is full of ascents and slopes which dictated the way the houses were designed, with many exterior stairways and vaults. In its ground plan, this typical Frankopan-style settlement is similar to other settlements built by the dukes of Krk in the region of Croatian Primorje. Two gateways, the Vela Dvera and the smaller one, Dverca, lead into the town which was squeezed inside a defence wall, whose remains still resist the passage of time and feature a battered tower. The dense network of narrow streets unfailingly lead to the highest point − the square in front of the Church of St. Mary, with the impressive, domineering bell-tower that stands apart from the church and the Ducal Palace which was subsequently transformed into a school. Another house from the Frankopan era is the so-called BaÊin Dvor (court) dating back to the 14th century, named after Prince Bartol. BaÊin Dvor served as a shelter for travellers; anybody who found sanctuary within its walls enjoyed protection as long as they stayed there. There are two main squares in Vrbnik: one in front of the church which served for clerical purposes, and another one which had a secular function. Both featured loggias: the first one was a church loggia where the clergy gathered, whereas the other loggia was intended for the common folks and featured a podesteria or poteπtarija,

an administrative building in front of which people gathered during festivities and dances.

The ground plan is characterised by narrow, winding streets; many are blind alleys; some are covered by vaults above which people live.

Every square metre of space had to be put to good use. Despite the shortage of space, one can notice the architectural harmony and the efforts made so that each house had its own right to a view, even under those conditions.

KlanËiÊ is the narrowest street in the world; many will find it mission impossible to squeeze through it, even sideways. In this labyrinth town, designed to deceive, pre-empt and shatter the gusts of the bura winds to which it is exposed in the winter, a town with a clear Mediterranean flavour, subjugated nature bears witness to the unyielding spirit of the people who have always known how to protect their culture and tradition throughout centuries, despite hardships and the rural style of life.

Even the terrible bura is considered a useful and healing wind; not only does it improve one’s mood but it also gives a special flavour to prosciutto hams which are dry-cured by the wind. It carries a salty mist to the grazing pastures of the island’s sheep whose milk is used to make delicious cheese. The steep terrain and the lack of space posed restrictions on the imaginativeness of the town’s planners.

That is why the individual aesthetics of the builders and the pride of the hosts were fully expressed in the construction of open hearth fireplaces, reflected in the world of the peculiar chimneys of Vrbnik. When in Vrbnik, look up: you will see that no two chimneys are alike.

Some mimic urban fortresses, others resemble small castles; there are also those that look like big African anthills. Whatever their appearance, they always symbolize the warmth of the home and life in the house, albeit perhaps only life as it once was, as today smoke does not come out through the chimneys as often as it used to. It was only in the early 19th century that Vrbnik started spilling out beyond the town walls, and there was enough room to start building somewhat bigger houses with nice and spacious courtyards.

Once you start exploring Vrbnik’s interwoven cobblestone streets, you will see that its beauty lies in the details, in the unusual shape of an old door, a minuscule window, a natural loop built into a stone on the wall of a house where the host could tie a donkey, an old iron door handle or a house lock covered with cobwebs.

The beauty lies in the rock on which the town was built and which stands at places in lieu of a wall; in the Glagolitic scripts or little crosses carved into stone blocks here and there; in a kitchen pot full of holes and being used as a CROATIA AIRLINES

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flower pot for a hydrangea in full bloom; in the fragrance of the beautiful marjoram and tiny basil, just like in a popular folk song.

Vrbnik above the sea, a tall mountain, you are the breeding ground for beautiful girls...

Just like in Nazor’s poem which says: in my garden marjoram and basil blossom; I water them with water from my well, with blood from my wounds. The barren land feeds me its tiny fruit; however, just like you, I do not know how to get honey from the sparse land... Vrbnik above the sea...

Vrbnik has a lot more to offer. The Church of St. Mary was originally built in the 15th century and later reconstructed several times. According to the Glagolitic inscription carved above its entrance, the renaissance bell tower was added to it in 1527. Apart from the Baroquestyle furniture, the altar and liturgical vessels, the most prominent feature is the Renaissance altar of St. Mary of the Roses, allegedly a donation by Duke Ivan Frankopan, a descendant of one of the rare Croatian noble families who were equal to any other European noble family in terms of their significance and importance.

In the chapel is the polyptych of St. Anne, a work by a local master from the 15th century.

The main altar features The Last Supper, a work by the Kotor painter Marin CvitkoviÊ from 1599. The bell tower houses a lapidarium and the Museum of the Visual Identity of Vrbnik.

On that location is a cemetery featuring the small Gothic Church of St. John from the 15th century, and in the cove of Sveti Juraj (St. George) one can see the ruins of a small church with the remains of Romanesque wall paintings.

It is impossible to determine the exact age of Vrbnik; however, there is no doubt that it is one of the oldest settlements on the island of Krk whose origins date back to prehistoric times.

Archaeological remains have confirmed the existence of Illyrian, Greek and Roman traces in the areas around Vrbnik. When Croats settled the island of Krk in the late 6th century, Vrbnik became one of the main settlements on the Golden Island. Besides Baπka, Dobrinj and Omiπalj, Vrbnik became one of the castellans with independent administrations. The first written record of Vrbnik can be found in the oldest known Glagolitic document − a charter

by Dragoslav the Great, dated 1st January 1100. Pursuant to the charter, the Church of St. Vitus near Dobrinj was donated land at places bordering on the road to Verbnik.

The Statute of Vrbnik was drafted during the reign of the dukes of Vrbnik in 1388, as the second oldest Croatian statute after the famous Vinodol Statute. Most of the regulations in the Statute, written in Glagolitic script, are 98

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concerned with criminal law. A copy of the original document made by a Vrbnik priest, Grgur ÆaπkoviÊ, is currently kept at the University Library of Zagreb.

Indeed, Vrbnik owes a large part of its recognisable character to the Glagolitic heritage; very often, it is referred to as the cradle of Croatian literacy. The entire island of Krk was a very strong Glagolitic centre where the Glagolitic font of angular type was used until the 19th century. The script itself started being used as of the 9th century for translations of liturgy books into the Old Slavic language, after Pope Hadrian II gave his seal of approval to Glagolitic services. It should be noted that all those developments coincided with the time when the rest of Europe was not allowed to use anything but Latin in Catholic liturgy. The practice continued up to the 20th century, when national languages were finally introduced into church services. Even Pope John VIII praised Glagolitic priests who testified to the faith in their own mother tongue. In 1248, Pope Innocent IV granted a special permit, the so-called Senj privilege, to the Bishop of Senj allowing him to conduct Slavic church sermons. Thus, for a long time the Croats were the only people in Europe who had permission to use their own language and script in church services, a fact which largely contributed to the longevity of the Glagolitic culture, which was strong until the 19th century. The first Croatian book printed in these complicated letters bursting with symbolism was published in 1483; the first Croatian ABC book dating back to 1527 was also written in the Glagolitic script, as well as the first Croatian verses in the Missal of Duke Novak. Of the 700 preserved Croatian records written in the Glagolitic script, as many as 469 originate from Krk; of all the Glagolitic writings from Krk written on parchment or paper, 105 were issued in Vrbnik. It should be said that the first Glagolitic printing press in Senj was founded by a native of Vrbnik, Blaæ BaromiÊ, for whom a monument was erected in his native town.

The name of the script derives from the old Slavic word glagoljati, which means to speak.

The script is based on geometric shapes: the triangle, the symbol of the Holy Trinity, the great triad of the sky, earth and man; the circle as the symbol of perfection, like the sun, so wholesome, so life-giving. The square symbolises the four elements: water, fire, air and earth, as well as the four seasons of the year. There is also the staple cross which symbolises suffering.

Some of the most important documents which originate from Vrbnik, besides the already mentioned Statute, are the four breviaries from the 13th and 14th centuries, and the Missal of Vrbnik

from the 15th century. The first Vrbnik Missal is one of the most beautiful Croatian Glagolitic books. It was written by Thomas Archidiaconus on 512 parchment pages richly illuminated in colours, mostly red with additions of blue and green. Particularly prominent are two illustrations in six different colours: a depiction of the dead body of Christ in the arms of the Virgin Mary, and the crucified body of Christ with Mother Mary and John the Disciple standing below it. The Old Slavic language in which it was written was substantially Croatized both in terms of sounds and forms.

The other missal of Vrbnik also boasts wonderful illuminations. Interestingly enough, one page that was torn out of the missal, the only one missing from the book, can be found in the University Library of Princeton, USA, marked as Garrett MS 25, after one Robert Garret who obtained it in 1920 and donated it to the library.

Since all attempts to return the missing page to its rightful place between the covers of the book have failed, the locals of Vrbnik would certainly appreciate that the page at least be labelled with the name of the place from where it mysteriously disappeared a long time ago.

Several priceless incunabula and the marvellously illuminated missals are safeguarded in the rectory and the ViteziÊ family library. The library is one of the must-visit places. It was founded by Bishop Ivan ViteziÊ, together with his brother Dinko. Currently, it boasts as many as 15,000 volumes, 15 times more than the number of inhabitants in Vrbnik. The library boasts many Glagolitic manuscripts which bear witness to Vrbnik as the breeding ground of the Glagolitic culture; it also holds a wonderful Johann David Köhler’s atlas (Atlas scolasticus et itinerarius) printed in Nuremberg in 1718, one of the two surviving examples in the whole world. Besides geographic maps, the atlas contains drawings of old sail boats, weaponry, medals and constellations of stars.

It is worth noting that the last Glagolitic missal was printed in 1893 owing to another versatile printer of Vrbnik, a professor and canon at the Croatian Institute of St. Jerome in Rome, Dragutin A. ParËiÊ. ParËiÊ was equally interested in botany and astronomy; he wrote a Croatian grammar book in Italian, as well as a Croatian − Italian dictionary. He was the pioneer of photography in Croatia and the author of one of the oldest photos of the Sun in the world. It was a daguerreotype, a triptych of the eclipse of the Sun taken on St. Sylvester’s Day in 1861 in Zadar.

The first schools in Vrbnik were opened way back in the 11th century. They have produced many notaries and priests. This is where one of the oldest fraternities in Croatia, the fraternity of

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St. John the Baptist, was founded and is still active. Its members are also known as Kapari, after the hoods they wear on their backs. The fraternity was established way back in 1323.

Already at that time, life in Vrbnik was well organized. Besides looking after the sacral life in the village, Kapari had their own houses and land, and in order to help the sick and needy, they had their own hospital and savings bank.

Vrbnik’s tradition of educating priests and missionaries is still alive. The current Croatian cardinal, Josip BozaniÊ is himself a native of Vrbnik. Dedication to books and learning is reflected in the fact that the first Croatian reading room on any of the Kvarner islands was opened here in 1871.

The ViteziÊ family library is open to visitors the whole day. Together with the restored Desetinac with a lapidarium, an exhibition of works by the Vrbnik print academy and a replica of the Glagolitic printing press, it is a must-see for those guests who want more from their holiday than just swimming and tasting Ælahtina wine. This is by no means to say that Ælahtina should not be tasted, on its own or together with a local specialty in one of the wine cellars.

The famous dry white wine is made from an autochthonous grape variety that grows only in the vineyards on Krk. The wine is fresh and light and marries well with sheep’s cheese, all kinds of fish, crustaceans and shellfish and dishes prepared with white meat. It blends particularly well with a local pasta scampi dish, but it can also be enjoyed with dry cookies; it is excellent as an aperitif. It derives its name from the Slavic adjective ælahten, which means noble.

The recently improved wine growing methods have resulted in two new wines: the high quality Golden Vrbnik Ælahtina − Grand Cru, and the coastal sparkling wine Valomet, produced using the original champagne method. What distinguishes Valomet, the wine which bears the name of the wave-breaking rock below Vrbnik, from other sparkling wines and even from the common Vrbnik sparkling wine which matures in cellars, is a specific production method. The sparkling wine derived from the Golden Vrbnik Ælahtina is lowered into the sea, down to the depth of some 30 metres, where the temperature is 12 degrees. It stays there for 400 days, protected from oxygen, noise, movement and light, in conditions ideally suited for fermentation, which gives the coastal wine a special aroma. During that time, each bottle becomes creatively overgrown with algae and seashells, but true pleasure comes from their contents.

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son. This, of course, is only if you are spared a visit by maliËiÊi, krsnici, vile, mori and kudlaci, unusual creatures that live in Vrbnik’s legends.

Allegedly, in the oldest streets, people still remember the problems the inhabitants had which were caused by the playful maliËiÊi, who used to tease and play practical jokes on them. One little creature had even moved into a family’s attic and every day asked for a plate of pasta, which even the household members could not afford. August ©enoa’s verses recorded the legend of the Plague House which still stands in Smokovec Street in Vrbnik. Legend has it that the house was once inhabited by poor Jela and her son. Fearful and plagued by moral dilemmas, after blackmails and threats, and after a promise that her house would be spared the terrible disease and death, one night she agreed to bring the Plague into the town on her back. While waiting for his mother to return, Jela’s son decided to go to a neighbour’s house because he did not want to be alone. Allegedly, the Plague kept its promise and indeed spared Jela’s house, but it devastated all the other houses, and Jela’s treasured only son happened to be in one of those houses. Not all of Vrbnik’s legends are sad. One of the happy ones is the story of beautiful Duma and her love. An enamoured Venetian official had asked her to marry him offering her a life of opulence, but she loved another, a brave hero from Senj who sailed the stormy seas to claim her hand. His boat anchored under the rock below the presentday ©enoa’s Path.

Once you have seen whatever there is to see, when you have walked enough through the streets of Vrbnik and admired the views from Vidikovac (a lookout point), you deserve a break on one of Vrbnik’s lovely beaches: all of them bear a blue flag in recognition of their

cleanliness and care for the environment, and all are renowned for the crystal clear water of the sea. Many of those beautiful beaches are indeed accessible only from the sea. An interesting phenomenon is a submarine cave near the very entrance into Vrbnik harbour, 17 metres deep, with a chimney-like opening in its ceiling through which daylight reaches the cave’s interior. The countryside around Vrbnik is intersected with walking and cycling trails, from which you can safely explore the island and let the vistas take your breath away over and over again.

In the summertime, the locals organize many festivals and events which will acquaint you with their traditions, like the Festival of Ælahtina or the Days of Open Cellars, when you can taste the wine you have just read about. There is also Razgon, the pastoral fiesta of branding and separating the sheep, followed by their release into the open pastures. You will be able to buy delicious locally made cheeses or honey, the sweet gold captured in glass jars, fragrant fruit brandies and liqueurs, locally made sherry, pure olive oil, products made from lavender and other fragrant herbs. You will be able to learn a new skill in the workshop where wool is felted, or you can just listen to the songs and observe the dances performed by folk groups in their vivid costumes from all over the island of Krk. Tastes, sounds, fragrances and colours... The sea’s hues range from emerald to sapphire and reflect the colours of the sky. A constant breeze carries the sounds coming from bathers on the beach, sailing boats glide without noise, the smell of the summer rain pours down the cobblestone pavements which have been polished by millions of steps...take all of these with you as the most beautiful souvenirs of this proud town, Vrbnik above the sea. n

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■ FESTIVAL FESTIVALS

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a noÊ punog Mjeseca usred ljeta, Riva je osvijetljena bakljama i svjetlom svijeÊa. Brodovi se pretvaraju u ploveÊe πtandove na kojima se nudi sve od najbolje tunjevine i srdela slavnih kaljskih ribara do novigradskih dagnji. Starinske, privremene konobe posluæuju najraznolikija tradicionalna jela, od ninskog ©okola do smokava, sira, rakije i ostalih delicija. Niste li u prilici posjetiti okolicu Zadra i zadarske otoke te upoznati lokalni folklor i obiËaje, svakako posjetite NoÊ punog Miseca. Dojmit Êe vas se. NoÊ punog Miseca dogaa se, dakako, u noÊi punog Mjeseca, u subotu, 13. kolovoza 2011. godine.

Viπe od deset godina proπlo je otkad su se prvi put ugasila svjetla na Zadarskoj rivi kako bi nam se Mjesec pokazao u svojoj punoj raskoπi i zasjao u pravom sjaju, probudio u nama sjeÊanja na proπla vremena i naπe pretke. To mora da je najljepπi zalazak Sunca na svijetu!, promrmljao je i Alfred Hitchcock ispijajuÊi Maraschino na Zadarskoj rivi prije 45 godina, ne znajuÊi da je izlazak Mjeseca u tom istom kanalu joπ ljepπi.

NoÊ punog Miseca manifestacija je, festival kulture, hrane i obiËaja zadarskog kraja - vremeplov na dohvat ruke. Dana 13. kolovoza vratit Êe ponovno osmijeh na lice svima koji dou po njega. To je veËer koja nas na trenutak vraÊa u vrijeme kad je Zadar bio grad gospode, koji je uæivao u sretnoj simbiozi sa svojim priobaljem, otocima i zaleem. Vrijedni ribari i teæaci æivjeli su nekoÊ od trgovine s graanima, a u sadaπnjosti, svake godine iznova, Zadrani pozivaju njihove potomke i praunuke da ih barem te veËeri podsjete kako je to nekad bilo.

Susret bodulske i vlaπke kulture na jednome mjestu, jedinstveni mirisi s bogatih stolova, diple i mandolina ukomponirani u glazbu Morskih orgulja! Ugaπena javna rasvjeta, ferali i sviÊe, klape i plesovi, gosti iz drugih krajeva zemlje i gomila nasmijanih, zadovoljnih ljudi ispod velikog Mjeseca. www.tzzadar.hr

Manifestacija NoÊ punog Miseca, festival je kulture, hrane i obiËaja zadarskog kraja - vremeplov na dohvat ruke. Dana 13. kolovoza izmamit Êe osmijeh na lice svima koji dou.

Stjepan Felber

The Night of the Full Moon is an event, a festival of culture, cuisine and customs of the Zadar area − a time machine available to everyone. On 13 August, it will put a smile on the faces of all visitors.

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Velid JakupoviĂŠ

Arhiva TZ Zadra

Stjepan Felber

Stjepan Felber

n the night of the full moon in the middle of summer, the Riva is lit by torches and candlelight. Ships transform into floating shops offering all kinds of things, from the best tuna and pilchard caught by the famous Kali fishermen to the Novigrad mussels. Old-fashioned konobas, here for this occasion only, serve a variety of traditional dishes, from the Nin πokol ham to figs, cheese, rakija and other delights. If you are unable to visit the Zadar surroundings or the Zadar islands to learn about the local folklore and customs, be sure to visit the Night of the Full Moon. You will be impressed. The Night of the Full Moon will take place, naturally, in the night when the moon is full, on Saturday, 13 August, 2011.

It has been over ten years since the lights went out for the first time on the Zadar Riva to allow the moon to bask in its full glory and shine its true light, calling out to the memories of our ancestors and the times gone by. This must be the most beautiful sunset in the world!, said Alfred Hitchcock while sipping his Maraschino on the Zadar Riva 45 years ago, not knowing that the rise of the moon over that same canal is an even more enchanting sight.

The Night of the Full Moon is an event, a festival of culture, cuisine and customs of the Zadar area − a time machine available to everyone.

On 13 August, it will put a smile on the faces of all visitors. It is an evening that, for a brief moment, brings us back to the times when Zadar was a city of gentry, happily coexisting with its coastline, its islands and its hinterland.

Hard-working fishermen and farmers made their living by selling their goods to the citizens; today, once a year, Zadar invites their descendants and their great-grandchildren to remind them of the old days for this one night.

A meeting of the culture of boduli and vlasi, unique fragrances from opulent tables, diple and mandolins accompanied by the Sea Organ! Street lights replaced by lanterns and candles, klapa singing and dancing, guests from other parts of the country and crowds of smiling, happy people together under the big moon. www.visitzadar.net

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Piše/By Anelka MustapiÊ Fotografije/Photos Damir FabijaniÊ 106

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ARHITEKTURA ARCHITECTURE ■

Dioklecijanova palaËa u Splitu, nazvana po rimskom caru koji ju je sagradio za svoju starost, najznaËajniji je i najbolje oËuvani spomenik kasnorimske arhitekture. Ta je Careva palaËa starija barem desetak godina, koliko se gradila, od samoga Splita, koji je poËeo nastajati upravo na njezinim temeljima, premda je na prostoru danaπnje splitske luke bilo æivota i prije Dioklecijana, pa Ëak i u pretpovijesti.

Diocletian’s Palace in Split, named after the Roman emperor who built it for his retirement, is the most significant and the best preserved monument of late Roman architecture. There was life in the area of today’s harbour of Split even before Diocletian’s time, already in the prehistoric period. However, the city of Split began to grow from the palace’s foundation, which means that the Emperor’s Palace is at least ten years older than the city considering the time it had taken to build it.

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eliki rimski imperator Gaj Aurelije Valerije Dioklecijan (lat. Gaius Valerius Aurelius Diocletianus) u poËetku vojniËke karijere sanjao je o tome da jednoga dana postane carem cijeloga svijeta.

VeÊ i to πto je postao vojnikom, konjanikom, bio je veliki napredak, s obzirom na njegovo skromno podrijetlo iz seljaËke ili, prema nekim izvorima, pisarske, odnosno ËinovniËke obitelji. A o njoj se zna tek toliko da se pater familias zvao Juptar, da je Dioklecijanovo ime bilo Diokles (po mitoloπkom junaku koji se ærtvovao kako bi spasio æivot prijatelja) a nadimak Jovius. Ambiciozan, uporan, πutljiv i nenametljiv, u bitkama odvaæan, Dioklecijan je privukao pozornost cara Aurelijana, graditelja zidina oko Rima, prvoga rimskog cara koji je poËeo nositi dijademu i koji se proglasio Gospodarom i Bogom (Dominus et Deus).

Aurelijan je uveo kult πtovanja Nepobjediva Sunca (Sol Invictus), ali ono πto je za carstvo bilo joπ znaËajnije, on je izdræao i odbio barbarske napade i vratio Istok Rimu. Vladao je samo pet godina, ali, kao uËitelj, uvelike je utjecao na Dioklecijana i na kraju ga proglasio generalom. Deset godina nakon Aurelijeva ubojstva, igrom sluËaja, a moæda i osobnom upletenoπÊu u ubojstvu moguÊeg suparnika za prijestolje Lucija Flavija Apera, Dioklecijana je vojska izabrala za cara 17. rujna 284., i to kao Ëovjeka nuænoga rimskoj dræavi (vir rei 110

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publicae necessarius), a Senat ga potvrdio u kolovozu 285.godine.

Dioklecijan je zadræao titulu Gospodara i Boga, proglasio se reinkarnacijom Jupitera, pokazao se velikim vladarom, inovatorom i reformatorom. Za suvladara imenovao je prijatelja iz mladosti Maksimilijana i tako uveo diarhiju. Vlast je podijelio tako πto je sebi zadræao naslov senior augustus i vladavinu Istokom, odnosno azijskim dijelom dræave, Trakijom i Egiptom, s rezidencijalnom palaËom u Nikomediji, antiËkom gradu u Bitiniji, na obali Mramornog mora, a Maksimilijanu je dao vlast nad zapadnim dijelovima carstva, sa srediπtem u danaπnjem Milanu.

Nekoliko godina poslije, uvidjevπi da je carstvo preveliko za vladavinu dvojice augusta, uveo je tetrarhiju, vladavinu Ëetvorice, s tim πto je on ostao na svom teritoriju.

U dvadeset godina vladavine Dioklecijan je vodio velike bitke, osobito protiv Gota i Perzijanaca, a svaka je na kraju zavrπavala pobjedom njegove vojske, koja je na vrhuncu njegove slave imala 550.000 vojnika i 60 legija. Uz to, smatra se i velikim graditeljem. U Rimu je sagradio najveÊe terme u carstvu (graene su od 298. do 306. i zahvaÊale povrπinu 380x370 metara), obnovio je akvedukt u Rimu, amfiteatar u Veroni, teatar u Saloni, sagradio slavoluk arcus novus, mnoge ceste nazvane Strata Diocletiana, hipodrom i brojne graevine u svojoj prijestolnici Nikomediji…

Povijesno je pitanje: zaπto je Dioklecijan sagradio svoju carsku palaËu, πest kilometara od Salone, prijestolnice tadaπnje provincije Dalmacije, u koju se preselio 305., poπto je zbog bolesti, navodno reume, bio prisiljen abdicirati? Prema najprihvatljivijoj tezi ∑ Dioklecijan se pod starost vratio u Dalmaciju, tj. u svoj zaviËaj. Najvjerojatnije je roen 236. ili 237. u blizini antiËkoga grada Martia Iulia Valeria Salona, odnosno danaπnjeg Solina.

Biskup Ivan Malale, koji je æivio stoljeÊe i pol poslije Dioklecijana, opisao ga je kao mrπavoga i visokog Ëovjeka plavih oËiju, sijede kratke kose, kratke brade i svijena nosa.

Osim toga, kroniËari su zabiljeæili da je bio vrlo poboæan, mistiËni intelektualac i pristalica stoiËke filozofije. Iako je isprva simpatizirao krπÊane, potkraj vladavine postao je njihov progonitelj, unatoË tomu πto su mu, kako se pretpostavlja, supruga Priska i kÊer Valerija bile krπÊanke.

Svoju palaËu za stare dane Dioklecijan je poËeo graditi oko 295., dakle prije rimskih termi, a u nju se uselio nakon abdikacije, premda njezina gradnja joπ nije bila zavrπena.

Ne zna se tko su graditelji palaËe, ali uklesana grËka imena Zotikos i Filotas i grËka slova upozoravaju na to da je viπe graditelja potjecalo iz istoËnog dijela carstva, kojim je vladao Dioklecijan. Graevinski materijal dopreman je iz okolice: bijeli vapnenac s BraËa i iz Segeta kraj Trogira, opeka se izraivala u salonitanskim i drugim obliænjim radionicama, sedra se vadila iz korita rijeka na tom podruËju.

PalaËa je raskoπno ukraπena uvezenim granitnim stupovima i sfingama iz Egipta, mramorom iz Italije… potpuno je originalna i svojevrstan spoj vile i castruma, rimskoga vojnog logora. Prostire se na 30.000 Ëetvornih metara, bila je opasana pravokutnim zidovima dimenzija 175x181x216 metara, s Ëetiri ulaza (jedan s morske strane i tri s kopnene), koji su, pak, bili osigurani sa po dva osmerokutna tornja. Zanimljivo je takoer da su i dvije glavne ulice u palaËi, cardo i decumanus, postavljene po uzoru na dvije glavne ulice castruma: via praetoria i via principalis. PalaËa je podijeljena na dva dijela: u sjevernome su bili smjeπteni posluga i vojska, tu su se nalazila i skladiπta, a u juænome, reprezentativnijemu, bile su careve odaje s tzv. podrumima palaËe.

Najraskoπnije je bilo ukraπeno juæno proËelje, okrenuto prema moru, s malim otvorima i ulazom nazvanim Mjedena vrata (porta aenea).

IstoËno i zapadno proËelje nemaju ukrase, a njihova vrata zovu se Srebrna vrata (porta argentea) i Æeljezna vrata (porta ferrea). Glavni ulaz u palaËu s dvostrukim vratima i arhitravom nalazio se na sjevernom proËelju i zvao se Zlatna vrata (porta aurea). Na njima je leæao luk

s niπama u kojima su, kako se pretpostavlja, bile smjeπtene statue Jupitera i Ëetiri tetrarha.

Ulica cardo poËinjala je na Zlatnim vratima i vodila na peristil, arkadama ukraπen otvoreni prostor ispred careva stana, u koji se ulazilo s peristila preko vestibula. S lijeve strane peristila nalazio se osmerokutni carev mauzolej (danas je to katedrala sv. Dujma), a s desne strane Jupiterov, Kibelin i Venerin hram. ©to je palaËa znaËila Dioklecijanu u njegovoj starosti i bolesti najbolje ilustrira napomena kroniËara. Naime, kad su 307. godine meu tetrarsima nastale trzavice oko izbora, pozvali su na sastanak augusta u Carnuntumu i Dioklecijana i, ne uspijevajuÊi se meusobno dogovoriti, ponudili Dioklecijanu da se vrati na prijestolje. On im se zahvalio na tome glasovitom reËenicom: Da vam je moguÊe vidjeti u Saloni kupus, πto sam ga svojom rukom zasadio, zacijelo vam ne bi palo na um da to traæite od mene.

Slavni imperator Dioklecijan nije se borio zbog slave nego da bi dobio bitke, πto mu je uspijevalo i u sukobu s najljuÊim neprijateljima.

Poslije abdikacije osjeÊao se u svojoj splitskoj palaËi priliËno osamljeno, jer æena i kÊi ostale su æivjeti u Nikomediji. U palaËi je i umro 3. prosinca 316.g., po nekim izvorima, od gladi i æalosti za suprugom i kÊeri. A njih je, nekoliko mjeseci prije njegove smrti, dao ubiti august Licinije, jer bojao se da bi mu one, osobito udajom Dioklecijanove kÊeri za njegova protivnika, mogle ugroziti vlast. A Dioklecijanova palaËa, kao hrvatski spomenik, upisana je 1979. godine u Unescov popis svjetske kulturne baπtine. n

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t the start of his military career, the great Roman emperor, Gaius Aurelius Valerius Diocletianus, dreamed that he would one day become emperor of the entire world. The fact that he became a soldier and a Roman cavalry horseman was already a great success, taking into consideration his humble origins. According to some sources he came either from a peasant family or a family of scribes. There is not much information about his past other than his pater familias was Juptar, his parents named him Diocles (after the mythological hero who sacrificed himself to save his friend), and his nickname was Jovius. Ambitious, determined, quiet, unobtrusive, and courageous in battles, Diocletian attracted the attention of Emperor Aurelian. The emperor, who had the walls around Rome built, was the first of the Roman emperors to wear a diadem, and he was the self-proclaimed Lord and God (Dominus et Deus). Aurelian introduced a cult of the Unconquered Sun (Sol Invictus), however, what

was even more meaningful for the empire was that he held off and beat back barbaric attacks and reclaimed the East for Rome. His reign only lasted for five years, but he, as a teacher, had a huge effect on Diocletian, and in the end made him a general. Ten years after Aurelian’s assassination, by pure chance, or possibly by personal involvement in the murder of his greatest rival for the throne, Lucius Flavius Aper, Diocletian was elected by the army to be emperor on 17 September 284, as the man whom the State needed (VIR REI PUBLICAE NECESSARIUS). He was confirmed by the Senate in August 285.

Diocletian kept the title of Lord and God, he proclaimed himself the reincarnation of Jupiter, and he proved to be a great leader, innovator and reformer. He chose his childhood friend, Maximilian, to share power with him as co-emperor, and in this way he established a diarchy. The power was divided so that he himself kept the title of Senior Augustus and ruler of the East, that is the Asian part of the state, including Thrace and Egypt, with his residential palace in Nicomedia, the ancient city in Bithynia on the coast of the Black Sea. He gave Maximilian the power to rule over the western parts of the empire, with headquarters in today’s Milan. A few years later, realizing that the empire was too big to rule by just two Augusti, he established a tetrarch, the rule of four, and he remained the ruler of his territory.

Diocletian led many great battles during his twenty year reign, particularly against the Goths and Persians, with his army always defeating the enemy in the end. At the peak of his fame his army numbered 550,000 soldiers and 60 legions. He was also considered a great builder. In Rome he built the largest thermal spa in the empire (constructed from 298 to 306 and covering an area of 380 x370 meters), he renovated the aqueduct in Rome, the amphitheatre in Verona, the theatre in Salona, built the Arcus Novus (Arch of Diocletian), and the numerous roads called the Strata Diocletiana, a hippodrome and a number of buildings in his metropolis Nicomedia...

The historical question is: Why did Diocletian build his Emperor’s Palace six kilometres from Salona, the metropolis of the then Dalmatian province to which he moved in 305, after he was forced to abdicate because of his alleged problems with rheumatism? According to the most plausible thesis - Diocletian, in his old age, returned to Dalmatia, that is, to his homeland. He was most likely born in the year 236 or 237, near the ancient city of MARTIA IULIA VALERIA SALONA, present-day Solin.

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a half after Diocletian, described him as a tall thin man with blue eyes, short grey hair, with a short beard and a bent nose. In addition, chroniclers recorded that he was very religious, a gnostic intellectual and a supporter of stoic philosophy. Even though he sympathized with the Christians at first, towards the end of his reign he became their persecutor, despite the fact that it was assumed his wife Prisca and daughter Valeria were Christians.

Diocletian began to build his retirement palace around the year 295, before the Roman thermae, and he moved into the palace after abdication, even though it was still under construction. It is not known who built the palace, but the engraved Greek names Zotikos and Filotas and the Greek lettering lead us to believe that most of the builders hailed from the eastern part of the empire, which had been ruled by Diocletian. The building materials used came from the surrounding areas: white limestone from BraË and from Seget near Trogir; bricks were made in workshops

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in Salona and other nearby towns; and travertine was quarried from the river beds in that area. The palace was richly decorated with imported granite columns and sphinxes from Egypt, marble from Italy... it was completely original and a kind of combination between a villa and a castrum (a Roman military camp).

It spread out over a rectangular layout of 30,000 square metres, was encircled with a wall (dimensions 175x181x 216 m), and had four entrances (one on the side of the sea and three facing land, which were secured by two octagonal watchtowers each). It is also interesting that the two main streets in the palace: cardo and decumanus, were set up according to the pattern of the two main streets of the castrum: Via Praetoria and Via Principalis. The palace itself was divided into two parts: the northern area accommodated the servants and army, and the warehouses were also located there, while the southern more prestigious area housed the emperor’s chambers with the so-called palace cellars.

The most luxurious part was the ornate southern facade, which faced the sea and had a small opening and entrance called the Brass Gate (Porta Aenea). The eastern and western facades were not decorated and their gates were called the Silver Gate (Porta Argentea) and the Iron Gate (Porta Ferrea).

The main gate of the palace, located on the northern facade, had double doors and an architrave and was called the Golden Gate (Porta Aurea). Within the gate was a recessed arch in which, it is believed, was a statue of Jupiter and the four tetrarchs. The street cardo started at the Golden Gate and led to the Peristyle, an ornate open space with

arcades in front of the emperor’s apartment, in which he entered from the Peristyle across the vestibule. On the left side of the Peristyle was the emperor’s octagonal mausoleum (today the Cathedral of St. Dominus), and on the right side were the temples of Jupiter, Kibel and Venus.

What the palace meant to Diocletian during his retirement and illness is best illustrated by the records of chroniclers. Namely, in 307 when election-related discords arose between the tetrarchs, they called a meeting of the Augusti in Carnuntum and invited Diocletian to attend.

When they were unable to reach a mutually acceptable agreement, they suggested that Diocletian return to the throne. Diocletian thanked them and replied with his famous statement, If you could see the cabbage in Salona that I planted with my own hands, I am sure it would never enter your mind to ask this of me.

The famous emperor Diocletian never fought for fame, rather he fought to win battles, which indeed he did, even against the fiercest enemies. He was rather lonely in his palace in Split after his abdication because his wife and daughter had stayed in Nicomedia to live. He died in the palace on 3 December 316, and according to some sources he died from hunger and mourning for his wife and daughter who just a few months before his death were killed by Augustus Licinius. He had been afraid that they could jeopardize his power, especially Diocletian’s daughter who had married his enemy. Diocletian’s Palace, a Croatian monument, was included on the UNESCO World Cultural Heritage List in 1979. n

AZZEDINE ALAÏA, YVES SAINT LAURENT, GIVENCHY, BALMAIN, MAISON MARTIN MARGIELA, STELLA MCCARTNEY, C�LINE, CHLO�, BURBERRY PRORSUM, RICK OWENS, MIU MIU, MARNI, JIL SANDER, VIONNET, ALEXANDER WANG, ANTONIO BERARDI, ACNE JEANS, FALIERO SARTI, MAISON MICHEL, TOM BINNS, ERICKSON BEAMON, NATALIA BRILLI, GIUSEPPE ZANOTTI DESIGN, NICHOLAS KIRKWOOD, GIANVITO ROSSI, BURAK UYAN, CAMILLA SKOVGAARD, TOYWATCH, NOIS, RED LINE, STEIDL, TASCHEN, FLAMMARION, SKIRA Maria Zagreb, Masarykova 8, 01-4811011 Maria Dubrovnik, Sv. Dominika bb, 020-321330 Outlet Dubrovnik, Cvijete Zuzorić 3, 020-323495 www.mariastore.hr info@mariastore.hr

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Piπe/By Anika Rešetar

Fotografije/Photos Damir FabijaniÊ

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KorËula zbunjuje! Zbog ljepote prirode i naselja Ëovjek poæeli zastati i ne micati se. To je ljepota zbog koje male stvari u nama dou na svoje prirodno mjesto pa ubrzo duπa zatitra poput nekoga fino ugoenoga glazbala.

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The beauty of KorËula’s landscapes and settlements bedazzles; one really wishes to stay and keep still. Such beauty makes things inside us return to their natural places, making the soul purr like a finely tuned instrument.

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a KorËulu se moæe krenuti pripremljeno ili nepripremljeno. Ako se odluËite za prvu moguÊnost, tada veÊ unaprijed kao da upijate opise obiËaja i krajolika pa kad se na posljetku naete na otoku, sve se Ëini poznato i nekako milo. A poete li nepripremljeni, zbog ljepote prirode i gradnje ljudske ruke nakon posjeta poæeljet Êete o KorËuli saznati mnogo viπe.

Razlog je u ljepotama prirode i vrsti zajedniπtva meu ljudima. Bratovπtine i kumpanije, mnog o b o j n a k u l tu r n a i s p o r ts k a d r u π t va obiljeæavaju sloæno druæenje ljudi ovog otoka, a rodile su i raaju mnogobrojnim pothvatima koji su uljepπali i obiljeæili æivot cijelog otoka.

Posjet KorËuli stoga se ne moæe nikako ograniËiti na razgled prirodnih ljepota i spomenika kulture, nego mora ukljuËiti i doæivljaj autentiËnih plesova s maËevima - moreπke i kumpanije, a procesije Vele setimane ushiÊuju i iz godine u godinu privlaËe sve viπe gostiju koji se æele prikljuËiti takvoj pripremi proslave Uskrsa. Zanimljivo je kako gradovi srednje Europe blistaju u doba došašÊa i BoæiÊa πarenim sajmovima, a ravnoteæu svijetu nude dalmatinski otoci posve usredotoËeni pak na proslavu Uskrsa mnogim i dugotrajnim procesijama. Moæda je upravo zbog toga i posjet KorËuli najljepπi u proljeÊe. Iako voænja trajektom iz OrebiÊa traje priliËno kratko, uvijek je nekako sveËano otisnuti se s kopna i zaputiti se u pustolovinu ograniËenja πto ih zadaje otok. Tijekom voænje pogled pada i na otoËiÊe oko KorËule, kojih je Ëak pedeset. BuduÊi da je 61 posto povrπine otoka obraslo πumom i makijom, KorËula se ubraja meu najpoπumljenije otoke Jadrana. Alepski bor, Ëempres i dalmatinski crni bor najËeπÊe su crnogoriËne vrste, mnogo je gustih πuma Ëesevine, rogaËa, divlje masline, lovora, a u nosnice Ëesto iznenada prodru mirisi brojnih vrsta samonikloga aromatiËnoga i ljekovitog bilja. Upravo su guste πume i navele grËke doseljenike da otok nazovu Korkyra Melaina (Crna KorËula).

Prvi tragovi naseljenosti otoka prisutni su od neolitika (Vela ©pilja); tijekom 6. st. pr. Krista sve je više grËkih kolonizatora, a predmeti helenske naseobine iz 4./3. st. naeni su u Lumbardi. Iz tog doba datira i psefizma, kameni natpis pronaen 1877. godine. Tekst poËinje rijeËima Neka je sa sreÊom, zapis je to o osnutku polisa Isejaca, o raspodjeli zemljiπta i o stanovnicima i kao da saæima mir i dobrohotnost i danaπnjih stanovnika otoka.

Rimljani otok osvajaju u 1. stoljeÊu, a od njihove dugotrajne vladavine ostali su brojni arheoloπki spomenici kao πto su gospodarske vile, kameni natpisi, novac i kamenolomi. U 7. stoljeÊu otok naseljavaju Slaveni, a na otoËiÊima ispred KorËule naeni su tragovi

ranokrπÊanske arhitekture. Car Konstantin Porfirogenet spominje 949. godine veliki otok KorËulu na kojemu se nalazi i grad. Od tog vremena prati se povijest grada KorËule i gradskog æivota, o Ëemu svjedoËi proslov Statuta iz 1214. godine. Kasnija njegova verzija iz 1265. godine jedan je od najznaËajnijih spomenika hrvatske pravne i kulturne povijesti, iz doba je moÊnog kneza Marsilija Zorze koji obnavlja i gradi grad. Statut je za razvoj grada naËelo ureenja koje regulira odnose, gradi svijest o zajedniπtvu i omoguÊuje nastanak i njegu suæivota. I danas KorËulu mnogi vide kao idealan grad po mjeri Ëovjeka, kao okamenjenu idilu podignutu na uzviπenu poluotoËiÊu i sagraenu na riblju kost. KorËula je jedan od najbolje saËuvanih primjera planiranoga srednjovjekovnoga grada. Grad je s tri strane opkoljen morem, opasan zidinama i tornjevima, a glavna ulica dijeli grad na istoËnu i zapadnu polovicu, proπiruje se na tjemenu poluotoka i oblikuje trg pred katedralom sv. Marka (KorËula je postala sjediπte biskupije 1300. godine, kad u nju prelazi biskup Stona u vrijeme πirenja bogumilske hereze na Peljeπcu i njegovu kopnenom zaleu). Ulice koje vode prema istoku blago su zakrivljene i pruæaju zaπtitu od bure, juga i jake kiπe, a one sa zapadne strane slobodno propuπtaju ugodu ljetnog maestrala. Zato je dobro u predveËerje ponijeti i laganu vestu jer ljeti je u gradu na veËer ugodno svjeæe i za najveÊe vruÊine. U glavnoj ulici oduvijek su u prizemlju zgrada poslovni prostori. U njoj je bilo zabranjeno nadsvoivanje mostiÊima jer prijeËili bi procesije s kriæevima i svijeÊama i ometali prodor danjeg svjetla u prizemlja. I kao πto se gospoπtija neke vile ili dvorca procjenjivala po dimenzijama i lukovima stubiπta, tako je i za doæivljaj KorËule najbolje u grad uÊi raskoπnim kamenim stubiπtem kroz prizemlje kule pod slavolukom − Juænih vrata. Nemojte æuriti, usporite i bit Êete nagraeni mnoπtvom detalja s proËelja kamenih kuÊa, palaËa i vrtova koji cvatu u dvoriπtima korËulanskih znamenitih obitelji AndrijiÊa, Arnerija, Gabriellisa, ©paniÊa, Kapora i mnogih drugih. Uæivajte u konzolama, kamenim klupama, kruniπtima zdenaca, grbovima, portalima, voltama i mostiÊima nastalih uglavnom u 14., 15. i 16. st. A kad se umorite, sjednite negdje na Trgu Antuna i Stjepana RadiÊa i otpoËinite. »uvat Êe vas toranj Veliki Revelin, na Ëijemu je vrhu vidikovac koji spaja nebo s morem s jedne i Ëovjeka i prirodu s druge strane. U tornju je stalna izloæba posveÊena viteπkoj igri moreπki.

KorËula je jedinstvena i po tome πto na vrlo malom prostoru postoje dva razliËita tipa maËevnih plesova: lanËani plesovi s maËem

- kumpanije i bojevni maËevni plesovi − moreπke. Moreπke su stilizirane borbe dviju sukobljenih vojski koje su u doba renesanse bile popularan dramsko-plesni æanr, a izvodile su se u elitnim krugovima druπtva. Gracioznost koraka, ljepota dræanja, kiÊenost kostima, umjeπnost i odluËnost, borba Dobra i Zla uvijek zaokupe pozornost publike. Moreπka je kombinacija teksta, glazbe i koreografije.

Postoje Ëetiri lika: crni kralj, bijeli kralj, otac crnog kralja i bula, jedina æenska uloga, oko koje se tuku dvije vojske virtuoznim plesnim koracima i snaænim udarcima maËeva.

Junaπtvo, odluËnost, preciznost, smionost i zajedniπtvo odlike su kojima se divimo i danas.

Moreπka se ne temelji na povijesnom dogaaju, nego je to ljubavna priËa s naglaskom na borbi za æenu, u kojoj pobjeuju pravda i ljubav. Ljepotica i otmica motiv je koji od Homera æivi do danas kroz mnoge æanrove, a zov ljubavi i duænosti, spremnost na ærtvu i borbu za istinu i ljubav oblikuje emocionalni krajolik i danaπnjih naraπtaja.

Moreπkantom moæe postati svaki mladi momak koji je roeni KorËulanin i posjeduje sposobnosti i snagu za batit moreπku. To je osobita Ëast i obiteljska tradicija. I bule svoju ulogu doæivljavaju kao najveÊe priznanje, kao doæivotnu Ëast. Bula je u moreπki æena snaæne liËnosti koja se glasom i dræanjem bori za sebe, zna πto hoÊe i ne dopuπta da joj bitno otmu, bori se i brani, nije tek nemoÊna djevojËica. TuristiËka zajednica grada KorËule od 1997. godine ljeti organizira Festival viteπkih igara i mnogi tad imaju priliku uæivati u Ëaroliji igrokaza od kojega zastaje dah, a scenografiju tvori sâm grad. Uz toranj nalazi se Gradska vijeÊnica s prekrasnom loæom u prizemlju. Tu se vijeÊalo i donosilo odluke, javni æivot doista je bio javan! Prostor loæe povezan je s Kneæevim dvorom, zatvorom, æitnicom, arsenalom, cisternom, a u trokatnici na suprotnoj strani æivio je veÊ od 16. st. gradski lijeËnik. Sastavni je dio tog trga i crkva sv. Mihovila, koji blizu vrata uvijek πtiti grad od neprijatelja. Uz nju je i kuÊa Bratovπtine Blaæene Djevice Marije od utjehe. Mir i raskoπ, staloæenost i raznolikost grada plod su sposobnosti KorËulana za gradnju i njegu zajedniπtva. KorËulani svjesno nastoje oko sloge i uzajamne podrπke i upravo se u toj vrlini krije njihova snaga i izvor je njihova bogatstva. Statut iz 1214., moreπke i kumpanije, a nadasve bratovπtine, oblici su udruæivanja radi viπe svrhe i cilja koji se i danas pomno njeguju. U gradu KorËuli tako postoje tri bratovπtine: svih svetih iz 1301., sv. Roka iz 1575. i Gospe od utjehe iz 1603. godine. Iako su bratovπtine uvijek vezane uz crkvu i æupu, oduvijek su bile samostalne i upravu bi birale CROATIA AIRLINES

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tajnim glasovanjem, a moglo se uËlaniti vlastitom voljom ili prema obiteljskoj tradiciji. Uz njegu vjerskog æivota bratovπtine su imale i duænost uzajamnog pomaganja siromaπnijih Ëlanova, a u sluËaju smrti brinule bi se o ukopu i udovicama i djeci. Duænost je bila zalagati se za poboljπanje æivotnih prilika i kulturni napredak. Osnutak bratovπtine odobravao bi biskup, a Ëlanovi bi uz crkvu nabavili vjersku kuÊu za sastanke i za Ëuvanje liturgijske opreme. Sudjelovanje u sveËanim liturgijskim obredima jedna je od glavnih zadaÊa bratovπtine. »lanovi za te prilike odijevaju prepoznatljive tunike, nose procesijski nakit, znakove i svijeÊe − torce, a brinu se stoljeÊima i o obnovama svojih crkava, nabavljaju vrijedna umjetniËka djela, njeguju vlastite poboænosti i molitve, a njihove dvorane s vremenom postaju vrijedni mali muzeji.

Sve korËulanske bratovπtine diËe se vlastitim statutom (matrikulom) i obiËajnikom, a bdiju nad starim pjesmaricama koje izvode njihovi pjevaËi − kantaduri. Na Trgu sv. Marka uæivajte u ljepotama stare i umjetniËki vrijedne katedrale uz koju se nalazi biskupska palaËa u kojoj je danas smjeπtena Opatska riznica sa sjajnom zbirkom slika iz 15. I 16. st. i Djevicom Blaæa Trogiranina. U katedrali pak zastanite pred Pietom Ivana MeπtroviÊa i ispred Tintorettova Tri sveca. Veliki umjetnici uprisutnjuju æivot i njegove teme tako da im ogole i iznjedre bit, pa nakon toga duπa kao da zapjeva istinom. Cijenite li otmjene pustolove, neustraπive moreplovce i vrsne intelektualce, poite svakako do tornja u kojemu je, kaæu, bio roen znameniti istraæivaË Dalekog istoka Marko Polo (1254. − 1324.). A u parku pokraj zapadnih vrata smjeπtena je kamena Njegovateljica ruæa Frana KrπiniÊa roenoga u Lumbardi, kipara snaænih likova punih njeænosti, prisnosti i blagosti, autora himni intimnih veza koje ljudi tkaju meu sobom, osobito poznatih skulptura Pleti me, pleti, majËice, MajËina igra, Majka kupa dijete itd.

Nakon πetnje KorËulom dobro bi bilo zaputiti se u unutraπnjost otoka i posjetiti Blato. Mjesto se nalazi na izrazito plodnom tlu pa je poljoprivreda tvorila snaænu gospodarsku bazu.

Tridesetih godina 20. st. Blato je imalo osam tisuÊa stanovnika, a zbog bogatstva djeluje viπe kao ubav gradiÊ. Osobitost je Blata da ulice nemaju imena nego poput velikih ameriËkih gradova za snalaæenje rabe brojke. A 1. ulica, srediπnja je ulica koju ukraπava drvored lipa dug jedan kilometar − nakon berlinske Unter den Linden, 1. ulica u Blatu ima najduæi drvored lipa u Europi. Lipe su posaene i na pijaci i trgu pred crkvom svih svetih godine 1912., na vrhuncu ekonomske moÊi mjesta.

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je zbog plodnih polja i blizine vode i mora, ali s njega je prijetila stalna gusarska opasnost.

Zato nastaju kumpanije (spominju se veÊ u Statutu iz 1214.) koje brane stanovniπtvo sve do 19. st., kad poËinje redovito novaËenje mladiÊa. Kumpanije u selima Ærnovo, Pupnat, Smokvica, »ara, Blato i Vela Luka muπka su druπtva koja izvode lanËani ples s maËevima, organiziraju prividnu vlast u selu i prireuju gozbu za sve Ëlanove druπtva. U njihovu plesu maËevanje je sporedno, a naglasak na povezanosti plesaËa tako da svaki plesaË dræi vrπak maËa onoga ispred ili iza sebe. Tako povezani tvore lanac u kojemu se isprepliÊu razliËite plesne figure, zapliÊu se i raspliÊu na najrazliËitije naËine. U eri individualizma kumpanije su zorna nastava u snazi i ljepoti zajedniπtva i tradicija je to koju otoËani predano njeguju i danas. U blatskom sirotiπtu poËela je svoje djelovanje i hrvatska blaæenica Marija PetkoviÊ KovaË iz bogate veleposjedniËke obitelji. Osnovala je sestrinsku druæbu KÊeri milosra nakon Prvoga svjetskog rata, a sestre djeluju i danas po cijeloj Hrvatskoj, u Italiji, NjemaËkoj i u obje Amerike. Zemni ostaci blaæenice Ëuvaju se u svetiπtu u blatskom samostanu, a pohodi ga sve viπe hodoËasnika. Na zapadnoj obali KorËule prostire se Vela Luka. Jedna od najljepπih hrvatskih pjesama puna ljubavi, Ëeænje i tuge posveÊena je upravo tomu ribarskomu mjestu uz more.

Mjestaπce je osobito Ëarobno u nedjeljno jutro kad se sve joπ budi, barbe odlaze na prvi kafé i Êakulu, a none na misu. Vela Luka poznata je po snazi svoje puËke regate, ali najpoznatija je po najmoÊnijoj hrvatskoj pjevaËkoj ekipi po broju hitova roenih VeloluËana kao πto su Oliver DragojeviÊ, Jasna ZlokiÊ, Luky, klapa Kumanija, a kad im se pridruæi joπ i Meri CetiniÊ iz Blata, pomislite da ste u glazbenom raju.

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ne can head to KorËula prepared or unprepared. If you opt for the former, then already in advance it is as though you have soaked in the descriptions of traditions and the landscapes, so when you get there everything seems familiar and somehow sweet. Should you come unprepared, the beauty of KorËula’s nature and the manmade buildings will make you want to learn a lot more about the island. The reason lies in the natural charms and the collective spirit sensed among the people. Fraternities and companies, numerous cultural and athletic associations have marked the harmonious socialising of this island’s people, and they have bred many ventures that have graced and marked the life of the island in its entirety.

Thus, a visit to KorËula cannot be limited to

sightseeing, natural beauty and culture, it has to include the experience of the authentic sword dances − Moreπka and Kumpanija − while the Holy Week processions fascinate and attract more and more visitors each year who wish to join these kinds of preparations for the Easter celebration. It is interesting how Central European cities shine in Advent and Christmas time and organise colourful fairs, which makes a nice balance with the Dalmatian islands and their dedicated focus on the Easter ceremonies in numerous and long processions. Perhaps that is why visiting KorËula might be the most beautiful in springtime. Even though the ferry ride from OrebiÊ is quite short, casting off from the shore and heading towards an adventure that is limited to an island is always a solemn event. The ride reveals a view of as many as fifty other small islands around KorËula. Since 61 per cent of the island’s surface consists of forests and shrubs, KorËula is considered one of the most forested islands in the Adriatic. Aleppo pine, cypress and European black pine are the most common conifer species, there are many dense forests of holy oak, carob, olive and laurel trees, and there are frequent sudden burst of smells from the many species of wild aromatic and medical plants. The dense forests were exactly the reason why Greek immigrants named the island Korkyra Melaina (Black KorËula). The first traces of mankind date back to the Neolithic period (Vela ©pilja/ Big Cave). The 6th century BC witnessed a growing number of Greek colonisers, while there are objects from a 4th/3rd century Helene settlement found in Lumbarda. The psephism, the stone inscription discovered in 1877, dates from that period. The text begins with May luck be with you and is a record about the establishment of an Issaian polis, land distribution and inhabitants, and it seems to summarise the peace and benevolence of today’s islanders. The Romans conquered the island in the 1st century, leaving behind numerous archaeological monuments, such as villas, stone inscriptions, money and quarries as signs of their long rule. In the 7th century, the Slavic people inhabited the island, leaving traces of early Christian architecture on the islands in front of KorËula. In 949 Emperor Constantine Porphyrogennetos mentioned the great island of KorËula on which there is also a town. From that moment on, the history of the town of KorËula and its urban life has been carefully recorded, which is also evident from the preface to the Statute from 1214. Its later version from 1265 is one of the most significant monuments of Croatian judicial and cultural history, dating from the era of the

powerful Duke Marsilio Zorzi, who renovated and built the town.

The Statute sets forth principles for the development of the town, including the regulation of relations and building of mutual awareness, thus enabling the creation and advancement of coexistence. Today, KorËula is still perceived as an ideal place to live, as a petrified idyll erected on a small elevated peninsula and built in the shape of a fishbone.

KorËula is one of the best preserved examples of a planned medieval town. The town is surrounded by the sea on three sides, protected by walls and towers, while the main street separates the eastern and western halfs, broadening at the peninsula’s vertex and shaping the square in front of St. Mark’s Cathedral (KorËula became the seat of the diocese in 1300, when the bishop of Ston passed through the town at the time of the expansion of Bogomil heresy on the Peljeπac peninsula and its hinterland). The eastbound streets are mildly curved and provide shelter from the Bora and Scirocco winds and heavy rain, while the westbound streets channel the pleasant breeze of the summer Mistral wind.

Therefore, it is advisable to have a sweater in the evening, because at night the town is

pleasantly chilly even during the highest temperatures. Shops have always been located on the ground floors of the buildings in the main street. Building bridges across the main street was prohibited because it would hinder the processions with crucifixes and candles, and prevent daylight from penetrating into the ground floor spaces. As the aristocratic qualities of a villa or a castle were judged by their stairwell’s dimensions and arches, KorËula is best experienced if you enter the town through the magnificent stone stairwell on the ground floor of the arched tower − the South Gate. There is no rush, slow down, and you will be rewarded with the myriad of details on the facades of the stone houses, palaces and gardens blossoming in the yards of the famous KorËulan families AndrijiÊ, Ameri, Gabriellis, SpaniÊ, Kapor and many others. Enjoy the cantilevers, stone benches, wells and their battlements, coats of arms, doorways, vaults and bridges originating mainly from the 14th, 15th and 16 th century. When you get tired, take a seat and rest somewhere in Antun and Stjepan RadiÊ Square. You will be guarded by the Veliki Revelin Tower, whose belvedere on the top blurs the boundary between the sky and sea, between man and nature. There is a

permanent exhibition in the tower dedicated to the ancient sword dance of Moreπka. Another unique quality of KorËula is the existence of two different types of sword dances: chain sword dances − Kumpanija − and combat sword dances − Moreπka. Moreπka is an adapted version of a fight between two clashing armies, a very popular performance genre in the Renaissance period, uniting drama and dance. It was performed in elite circles. The graceful steps, beauty of posture, ornate costumes, artistry, determination and combat between Good and Evil have always captured audience’s attention. Moreπka is a combination of text, music and choreography.

There are four characters: the black king, the white king, the black king’s father and Bula, the only female character, the object of the two armies’ battle, which is executed with magnificent dance moves and powerful sword strikes. Heroism, determination, precision, daringness and unity are the qualities we still admire. Moreπka is not based on a historic event; it is a love story focusing on the fight for a woman, with justice and love being the winners. The abduction of a beautiful woman has been a motif that lives from the times of Homer until today in many genres, while the CROATIA AIRLINES

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call of love and duty, preparedness for a sacrifice and the fight for truth and love shapes the emotional landscape of today’s generations. Every young fellow born in KorËula and possessing the abilities and strength to fight Moreπka can become a Moreπkant. It is a very special honour and a family tradition. Bulas also perceive their role as a great recognition, a lifetime honour. In Moreπka, the Bula is a woman with a powerful personality, who with her voice and attitude defends herself.

She knows what she wants and will not let anyone steal what she holds dear; a woman who fights and defends, not just a helpless girl. The town of KorËula Tourist Board has been organising the summer Festival of Sword Dances since 1997, and many people have had the chance to enjoy the magic of the breathtaking plays, with the town itself as the stage. City Hall, with a beautiful ground floor loggia, is located right next to the tower. It was the place of deliberating and decision-making, the public sphere was truly public at that time.

The loggia space is connected with the Duke’s Palace, prison, granary, arsenal and water tank, while the town doctor has lived in the three-storey house on the opposite side since the 16th century. The Church of St. Michael is another constituent part of the square, protecting the town from enemies. Next to it is the building belonging to the Fraternity of Our Lady of Comfort. The town’s peace and lavishness, stability and diversity are the result of the KorËulans’ capability to build and foster common endeavours. KorËulans consciously make an effort regarding unity and mutual support, and this quality is the source of their strength and wealth. The 1214 Statute, the Moreπka and Kumpanija, and most of all the fraternities are forms of socializing for a higher purpose and cause, which are still encouraged today. Moreover, there are three fraternities in the town of KorËula: All Saints from 1301, St. Rok from 1575, and Our Lady of Comfort from 1603. Although the fraternities have always been related to the church and parish, they are independent. They have always selected their management by secret vote and one could become a member by one’s own free will or based on family tradition. In addition to promoting religious life, the fraternities have had the duty of helping their destitute members, and in the case of death they took care of the funeral, as well as the widows and children. Their duty was to encourage the improvement of living conditions and cultural progress. The establishment of a fraternity would be approved by the bishop, while the members would purchase religious premises near the church for meetings and 138

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the safekeeping of liturgical equipment.

Participating in solemn liturgical ceremonies was one of the fraternities’ main tasks. On such occasions, the members would wear characteristic tunics, procession jewellery, symbols and candles − torches − and for centuries they have taken care of their churches’ renovation, acquired valuable artworks, and fostered their own pieties and prayers, while over time their premises have become small valuable museums. All the fraternities in KorËula take pride in their statutes (matricule) and books of common prayers, and they watch over the old collections of songs, performed by their singers − kantaduri. In St. Mark’s Square one can enjoy the beauty of the ancient and valuable cathedral, located next to the Bishop’s Palace, the present day Abbot’s Treasury containing an outstanding collection of 15th and 16th century paintings and the Virgin by Blaæ Trogiranin. Inside the cathedral, take a minute in front of Pietà by Ivan MeπtroviÊ or Three Saints by Tintoretto.

Great artists materialise life and its motifs by denuding and extracting their essence, making the soul burst into a song of truth. If you like noble adventures, fearless seamen and exceptional intellectuals, make sure to visit the tower where they say the famous Far East explorer Marco Polo (1254 − 1324) was born. In the park next to the Western Gate is A Young Woman Tending a Rose, a stone statue

by Frano KrπiniÊ, who was born in Lumbarda.

He sculpts powerful characters full of grace, intimacy and generosity. He is the author of hymns about intimate relationships interwoven between people, and in particular the notable sculptures Mother, Braid My Hair, Mother’s Play, Mother Bathing a Child, etc.

After a walk around the town of KorËula, it would be a good idea to head for the island’s interior and visit Blato. The town is located on extremely fertile ground, making agriculture a strong economic foundation. In the 1930s, Blato had eight thousand inhabitants, and its wealth gave it an air of gentility. Blato’s particularity is that the streets have no names, only numbers, like large American cities. The central street is 1st Street, adorned as an avenue of lime trees which is a kilometre long.

After Unter den Linden in Berlin, 1st Street in Blato features the longest lime tree avenue in Europe. Lime trees were also planted in the piazza and square in front of the All Saints Church in 1912, at the peak of the town’s economic power. Blato’s hinterland location is favourable because of its fertile fields and closeness to water and the sea, even though that brought perpetual threats from pirates.

That was why companies (kumpanije) were

formed (mentioned already in the 1214 Statute), which defended the population until the 19th century, when the regular conscription of young men began. Companies from the villages of Ærnovo, Pupnat Smokvica, »ara, Blato and Vela Luka are all-male associations which perform the chain sword dance, organise virtual governments in villages and arrange festivities for all the members of the association. Sword-fighting is of lesser importance, the dance underlines the connection between the dancers so that each dancer holds the tip of the sword held by the dancer in front or behind him. They are connected in such a way so that they form a chain in which they are intertwined in various dance moves, winding and unwinding in the most diverse ways. In the era of individualism, companies are a manifest continuation of the strength and beauty of togetherness, and a tradition carefully fostered by the islanders until this day. Beatified Marija PetkoviÊ KovaË, a woman from a rich patrician family, began her charitable activities in the orphanage in Blato. She founded the sorority association of the Daughters of Mercy after World War I, whose sisters are still active throughout Croatia, Italy, Germany and the Americas. Her relics are kept in the shrine of the monastery in Blato and are visited by a growing number of pilgrims. On the western coast of KorËula lies Vela Luka. One of the most beautiful Croatian songs, filled with love, longing and sorrow, is dedicated to this small fishing village by the sea. The town is especially magical on Sunday mornings, when the landscape awakens, the old men leave for early morning coffee and chit-chat, and the old women head for church. Vela Luka is known for the importance of its regatta and the powerful host of Croatian A-list singers who were born in Vela Luka, such as Oliver DragojeviÊ, Jasna ZlokiÊ, Luky, and the Kumanija chorus, and if they are joined by Meri CetiniÊ from Blato, one might think they have gone to a musical heaven.

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roπle jeseni turska TV serija 1001 noÊ potukla je sve rekorde gledanosti u Hrvatskoj i probudila iznenadno zanimanje za Istanbul. Spektakularne noÊne snimke grada s glamuroznom arhitekturom financijskih Ëetvrti Maslak i Levent, Kiz kulesi (DjevojaËkom kulom) usred Bospora i mostom koji povezuje dva kontinenta, iz veËeri u veËer mjesecima su uvodile gledatelje u romantiËnu ljubavnu priËu o arhitektici ©eherezadi i njezinu odabraniku Onuru, raenu na temelju jedne od najljepπih iranskih priËa o mudroj pripovjedaËici i πahu ©ahrijaru. ©to su nastavci odmicali, raslo je zanimanje i booking za tursku metropolu, jedan je domaÊi trgovaËki lanac doveo u Hrvatsku glavne glumce kao promidæbeni mamac, a turistiËke su agencije poËele organizirati dodatne aranæmane za obilazak grada na Bosporu.

SliËno je bilo i na jugu Europe i u arapskim zemljama koju godinu prije toga. Zbog turskih sapunica koje su pruæanjem nove kvalitete, svjeæih lica i drukËijih zapleta postale viπe od sapunica, istanbulski je turizam biljeæio do tada nevien bum na arapskom træiπtu, od Saudijske Arabije i Bahreina do Kuvajta.

SluËajno ili ne, u doba najveÊe soap-groznice 2008., promet Meunarodne zraËne luke Atatürk poveÊao se za 25,5 posto. Zrakoplovne su kompanije s arapskim prijestolnicama uvodile nove linije, glasnogovornici su im bile zvijezde TV trakavica, a uz povijesni Topkapi i Aja Sofiju u turistiËki bi obilazak obvezno bilo ukljuËeno i neko povijesno mjesto snimanja.

Dakako, Istanbul je neizrecivo viπe od popriπta izmiπljenih televizijskih priËa, ali to je dokaz viπe o moÊi danaπnjih medija. I bez turistiËkih TV sapunica, promet dviju istanbulskih meunarodnih zraËnih luka svjedoËi o æivosti megametropole s 14,000.000 stanovnika, jedinoj metropoli na dva kontinenta, koja je joπ 1901. bila velika kao danaπnji Zagreb, a tek je osamdesetih proπloga stoljeÊa eksplodirala do danaπnjih gabarita, rastegnuvπi se Bosporom u 39 Ëetvrti od Crnoga do Mramornog mora. Kroz Atatürk International Airport lani je proπlo viπe od 32,000.000 putnika, a meu stotinjak svjetskih aviokompanija Ëiji zrakoplo-

vi na nj redovito slijeÊu, od ovoga se svibnja nalazi i Croatia Airlines.

Nekad izvan grada, Istanbul je zraËne luke nezaustavljivim πirenjem usisao u svoje gusto tkivo, na Ëijim je ulicama uvijek tako æivo i krcato prolaznicima da vam se Ëini kao da graani metropole neprestano neπto masovno protestiraju. A u gradu u kojemu mnogi æive u Europi, a rade u Aziji i obrnuto, gradski je prijevoz vitalno znaËajan, pa nije Ëudno πto je elegantni Bosporski most jedan od najprometnijih u svijetu. Uskom avenijom Istiklal polako se probijaju tramvaji meu neprekinutom rijekom πetaËa, Bosporom klize trajekti, prometuju brodovi izmeu stare luke u rukavcu Zlatni Rog, Mramornoga i Crnog mora, provlaËe se brodice na putu za manje, privatne gradske marine.

Nekada davno ovamo je stizao i poznati Orient Express. Pod zemljom juri druga, poslije londonske, najstarija podzemna æeljeznica na svijetu, najviπe se cijeni umjetnost parkiranja i mimoilaæenja automobilom u strmim, uskim uliËicama, a voænja za stranca neponovljiva je pustolovina. To je ono πto megagrad Istanbul, jedan od 21 u svijetu veÊih od deset milijuna stanovnika, sa svojom neumornom energijom stavlja uz bok New Yorka, Tokija i Seoula, ali obojen orijentalnim temperamentom.

A u sedamnaestom stoljeÊu od Londona do Carigrada putovalo se mjesecima kroz trbuh Europe i balkanske gudure, poput dubrovaËkog fiziËara, astronoma i matematiËara Ruera BoπkoviÊa. PutujuÊi u prijestolnicu Osmanlijskog Carstva s engleskim poslanikom i njegovom pratnjom, a zatim natrag preko Poljske, poznati je znanstvenik iskustva s tog puta saæeo u Dnevniku putovanja iz Carigrada u Poljsku. Od toga je vremena moÊno Osmanlijsko Carstvo proπlo uzbudljiv put od svjetske sile do zemlje koja danas traæi svoje mjesto u Europi, a Istanbul je vjeËno ogledalo u kojemu se zrcali sva nekadaπnja moÊ i sva danaπnja æilavost suvremene Turske.

Rodio se kao grËki Bizantium u 7. st. prije Krista, ime mu je promijenjeno u Konstantinopol ∑ katkad skraÊeno Stambol, za Slavene Carigrad ∑ poπto ga je car Konstantin I. proglasio prijestolnicom Bizanta ili IstoËnoga Rimskog

Piše/By Davorka Vukov ColiÊ Fotografije/Photos Damir FabijaniÊ

Poput New Yorka u SAD-u, i Istanbul je u Turskoj svojevrsni svijet za sebe, metropola novog doba, ali za razliku od New Yorka, raste na zasadama stoljetne fascinantne proπlosti, obnavljajuÊi se i mijenjajuÊi iz dana u dan, iz proπlosti u buduÊnost.

Just like New York in the USA, Istanbul in Turkey is a world of its own, a new era metropolis.

However, unlike New York, it has grown from the foundations of a fascinating past which spans hundreds of years; the city visibly changes day in and day out, and transform itself from the past into the future.

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Carstva. Gospodarsko, politiËko i duhovno srediπte grËke kulture i krπÊanstva, to je ime zadræao i nakon 1453. godine, kada ga je Sultan Mehmed II. OsvajaË zauzeo i proglasio prijestolnicom novoga Otomanskog Carstva, a Istanbulom ga je nazvao otac nacije, Kemal Atatürk nakon proglaπenja Ankare za glavni grad sekularne Republike Turske.

U srednjemu je vijeku bio najveÊi i najbogatiji grad zapadnog svijeta, a i danas je perjanica Turske s trideset pet milijardera prema podacima magazina Forbes iz 2008. godine. Uz bok Jeruzalemu i Rimu, dio je toga magiËnog trolista koji je krojio naπe kulturno, religijsko, filozofsko, politiËko, duhovno i estetsko naslijee. Poput Rima, i Istanbul zovu grad na sedam breæuljaka, gdje je na svakome sagraena jedna dæamija. Sultan Mehmed II. pretvorio ga je preko noÊi u otomanski biser, preobrazivπi dojuËeraπnji bedem krπÊanstva u veliËanstveni simbol islamske kulture. TisuÊu godina najveÊa katedrala na svijetu, Aja Sofija postala je dæamija, izdigla se sluæbena rezidencija sultana Topkapi, poËela je gradnja Velikog bazara, nicale su imperijalne dæamije i javna kupaliπta, a pod utjecajem europske arhitekture avenija Istiklal u 18. je stoljeÊu, u vrijeme najveÊe moÊi, popunjena nizom palaËa, uglavnom ambasada u neobaroknom stilu. Turski su majstori dokazali svu umjeπnost i umjetnost u arhitekturi, keramici, minijaturi, filigranstvu, kaligrafiji i zaËudnu maπtu u proizvodnji tkanina i sagova.

Sve to i mnogo viπe moæe se i danas vidjeti, opipati i kupiti na Kapali Carsi, Velikome ili Natkrivenom bazaru. U tem Stambolu, svega na volju, kaæe jedna stara pjesma kao da opisuje majku svih bazara u Turskoj. Preæivjela je deset poæara i dva potresa, ali neprestano je rasla. U tome orijentalnome trgovaËkome mallu na povrπini od 31 hektara niz cijelo brdo Eminonu smjestilo se viπe od 4000 trgovina s restoranima, dæamijama, fontanama i Ëajanama, 24 hana (gostionice-prenoÊiπta), 65 ulica i 22 izlaza, a veÊ u doba Mehmeda II. dosegao je treÊinu danaπnjih razmjera. U labirintu beskonaËnog mora robe lako se izgubite i u pratnji vrsnog vodiËa, jer nemoguÊe je odoljeti svoj toj ponudi keramike, sagova, nakita, koænih jakni, breæuljaka zaËina, brda baklavica i planina lokuma, uz stalne pozive trgovaca na πalicu Ëaja i prijateljsko cjenkanje.

A Ëini se da svaka istanbulska veduta poËinje i zavrπava Aja Sofijom, Hagiom Sofijom ili Crkvom svete mudrosti. Danas je spomenikmuzej (u muzej ju je pretvorio Atatürk 1935.), a u njoj godinama neprekinuto teku restautorski radovi, jer ispod mnogobrojnih naslaga stoljeÊa neprestano se otkrivaju neki novi Ëudesni detalji. Aja Sofija monumentalnoπÊu 146

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i mistiËnom snagom podsjeÊa na moÊan svemirski brod prizemljen iz nekoga drugog svijeta i vremena. To znaËi da su graditelji u prvom stoljeÊu doista uspjeli u namjeri kad su je podizali na pepelu dviju starih crkvava s idejom da veliËinom i slavom nadmaπi bilo koji ikad graen spomenik Bogu. Godine 1204.

Kriæari su je oskvrnuli, opljaËkali i ogulili do kosti − bila je to konaËna podjela krπÊanstva na ortodoksno i rimokatoliËko − a uπavπi u grad Ëetiri stoljeÊa poslije, Mehmed II. stigao je prije svega ostaloga pred Aja Sofiju i zazvao Alaha.

Za razliku od monumentalne Aja Sofije, Topkapi s nizom manjih graevina zapravo je svojevrsni koncept pustinjskih πatora (Turci su ionako nekad bili nomadi), bez pretjeranih europskih razmjera jednog Versaillesa.

Sagraena na ruπevinama Konstantinove carske palaËe, na jednome od sedam breæuljaka povijesnog poluotoka, Ëetiri je stoljeÊa bila sluæbena palaËa sultana s dræavnom administracijom i vojnom upravom, svjedok moÊi turske sile i nepresuπni izvor golicavih legendi o æivotu u haremu. Njezini gabariti na prvi pogled ne odaju da je u doba najveÊeg sjaja tu æivjelo tri tisuÊe dvorjana, a u haremu tri stotine sultanovih konkubina. Topkapi bljeπti priguπenim sjajem, a keramiËari su ovdje, nepresuπnim geometrijskim motivima, doista dali oduπka maπti, osobito ukraπavanjem ploËicama mnogobrojnih vodoskoka i kupaliπta palaËe.

O tome kultnom odnosu prema Ëistom tijelu i pranju, u gradu i danas svjedoËe mnoga javna kupaliπta, iako prenamijenjena u nove svrhe, najËeπÊe elegantne galerije slika ili antiknih tepiha. A posjetitelja Istanbula moæda najveÊe iznenaenje Ëeka pod zemljom, u Yerebatan Sarayu ili Cisterni Bazilici. Nazivaju je joπ Utonulom palaËom, a rijeË je o najveÊemu od nekoliko stotina antiËkih rezervoara vode iz 6. stoljeÊa, koji leæe ispod grada. Sagradio ju je joπ car Justinijan, osobno nadgledajuÊi radove, a voda se dovodila akveduktom iz izvora udaljenoga 20 kilometara. S oslikanim stropom, zbog Ëega je zovu Cisterna Bazilika, i 336 mramornih stupova visokih devet metara, donesenih iz Apolonova hrama u Didimu, Yerebatan Saray podsjeÊa na mistiËni vodeni podzemni grad. Dok drvenim mostiÊima prolazite iznad golemog bazena 140 sa 70 metara, gdje stane 80.000 kubnih metara vode, osjeÊate se kao na premijeri Fantoma u operi.

A gore, iznad zemlje, raste suvremeni duh Istanbula, Europski grad kulture 2010. godine, sa æivahnom, a Ëesto zanemarenom suvremenom scenom, koja tek u posljednje vrijeme privlaËi meunarodnu pozornost.

Muzej suvremene umjetnosti nudi neku novu, malo poznatu Tursku i pogled na Bospor od kojega zastaje dah. Najpopularnija avenija Istiklal Caddesi u Ëetvrti Beyoglu æivi danju i noÊu, krcata buticima, slastiËarnicama i galerijama, kafiÊima u kojima uz tursku kavu moæete kupiti knjigu ili CD i nizovima restorana s Ëijih terasa uz delikatne okuse turske kuhinje moæete promatrati neprekinutu rijeku πetaËa, od æena s rupcima, do djevojaka u majicama Donne Karan.

Od obiËnih zalogajnica, do elitnog restorana na vrhu restaurirane elegantne zgrade Misir iz 19. stoljeÊa, pune popularnih umjetniËkih galerija, ovdje se nae svega za svaËiji dæep.

A u Istanbul doselili su se svi svjetski hotelski lanci, iako moæete birati i neko skromno prenoÊiπte s lokalnim πarmom. U muzeju Pera ponudit Êe izloæbe nekih od svjetskih imena, poput one meksiËkih autora Fride

Kahlo i Diega Rivere iz kolekcije Gelman ovoga proljeÊa, a u nekadaπnjem skladiπtu na obali Bospora, preureenome u galeriju Istanbul Modern, moæete uæivati u izboru slika i skulptura domaÊih suvremenih autora, a istodobno kuπati nove kombinacije turskoeuropske kuhinje. Ili u preureenoj pekarnici s oslikanim svodovima kluba Geto sluπati progresivni dæez.

U gradu moæete osjetiti neπto i od francuskog duha, kao u Fransiz Sokagi, Francuskoj ulici, restauriranoj prije nekoliko godina. U obnovi su sudjelovali francuski arhitekti, a iz Pariza su Ëak stigle uliËne plinske svjetiljke. Dvadesetak minuta voænje od trga Taksim, u preureenoj nekadaπnjoj elektrani, nalazi se muzej Santral Istanbul, turska galerija Tate…

I tako dalje. Primjera je pregrπt, a grad se obnavlja i mijenja iz dana u sat, iz proπlosti u buduÊnost. Poput New Yorka u SAD-u, i

Istanbul je u Turskoj svojevrsni svijet za sebe, koji juri u novo doba, ali, za razliku od New Yorka, raste na zasadama stoljetne fascinantne proπlosti na razmeu svjetova. n

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ast year, the Turkish soap opera 1001 Nights broke all TV viewing records in Croatia and inspired a sudden surge of interest in Istanbul. For months, evening after evening, the spectacular night shots of the city with the glamorous architecture of the financial districts Maslak and Levent, Kiz Kulesi (Maiden’s Tower) in the Bosporus and a bridge that spans two continents set the stage for a romantic story featuring the architect Scheherazade and her love interest Onur, based on one of the most beautiful Iranian stories about a wise story teller and Shah Shahryar. As the story progressed, one episode after another, the numbers of those

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who wanted to book a holiday in the Turkish metropolis went up. A Croatian retail chain brought the two main protagonists to Croatia as a promo stunt, while tour agents started putting together extra packages for holiday breaks in the city on the Bosphorus.

The situation was similar in the southern part of Europe and in the Arabic countries a few years before. Owing to Turkish soap operas, which offered a new quality, fresh faces and different plots, and have thus become more than just soap operas, the tourists’ interest in Istanbul recorded an unprecedented boom in the Arabian market, from Saudi Arabia and Bahrain to Kuwait. By pure coincidence or not, when the soap opera fever peaked in 2008, the turnover recorded by International Airport Atatürk increased by 25.5 per cent.

Airline companies introduced new lines to connect Arab capitals with Istanbul; their spokespersons were the soap opera stars.

Together with the staple Topkapi and Aya Sofia, the guided tours of the city included historical scenes where the soap opera had been recorded.

Needless to say, Istanbul is much more than a stage for imaginative television stories, but all of the above is yet another proof of the power of modern media. Even without the TV soap operas, the turnover of the two international airports in Istanbul bears witness to the liveliness of this mega metropolis with 14,000,000 inhabitants, the only metropolis that straddles two continents. In 1901, it was the size of today’s Zagreb, and in the 80s of last century it exploded to reach the current dimensions, with its 39 districts stretching along the Bosporus from the Black Sea to the Sea of Marmara.

More than 32,000,000 passengers passed through the Atatürk International Airport last year; as of this May, Croatia Airlines is one of the hundred or so international airlines whose aircraft regularly land there.

The two airports used to be located outside of the city, but they have been sucked into the city’s web due to its unstoppable growth. The city’s streets are always so lively and packed with passers-by that you have the impression that the inhabitants of the metropolis are always staging large scale protests. In a city where many live in Europe and work in Asia, and vice versa, local transport is of vital importance. It is therefore not surprising that the elegant Bosporus Bridge is one of the busiest in the world. Trams move painstakingly slowly along the narrow Istiklal Avenue through the uninterrupted stream of pedestrians. Ferries glide along the Bosporus, boats sail between the old Golden Horn Harbour, the Sea of Marmara and the Black Sea; little 148

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boats negotiate their passage on the way to smaller, private city marinas.

Once upon a time, the famous Orient Express train pulled into Istanbul. Underground trains rush from one side of the city to the other through one of the oldest underground networks in the world, second only to the one in London. The highest regarded skills are parking and driving past other cars while negotiating the steep and narrow streets. A car ride is nothing short of an exciting adventure for a foreigner. This is what puts the mega city Istanbul, one of 21 in the world with more than 10 million inhabitants, on a par with New York, Tokyo and Seoul; there is the same unrelenting energy, but the temperament is coloured in oriental colours.

In the 17th century, a journey from London to Istanbul took months, through the belly of Europe and the Balkan ravines. Among those who made the journey was the Dubrovnik physicist, astronomer and mathematician Ruer BoπkoviÊ, who accompanied an English envoy and his escorts to the capital of the Ottoman Empire and returned via Poland. The famous scientist summarized the experience in his Diary of the Voyage from Istanbul to Poland. Since then, the mighty Ottoman Empire has made an exciting journey from being a world power to becoming a state which is looking for its place in Europe. Istanbul has always remained a mirror which reflects the one-time power and the current resilience of modern-day Turkey.

The city was born as the Greek Byzantium in the 7th century B.C. Its name was changed into Constantinople or Stamboul for short.

The Slav alternative has always been Carigrad (The Emperor’s City), ever since Emperor Constantine I proclaimed it the capital of Byzantium or the Eastern Roman Empire.

The economic, political and spiritual centre of the Greek culture and Christianity kept that name until 1453, when Sultan Mohamed II Conqueror occupied it and proclaimed it the capital of a new Ottoman Empire. The father of the nation, Kemal Atatürk, named it Istanbul after the proclamation of Ankara, the capital of the secular Republic of Turkey.

In the Middle Ages it was the largest and richest city in the western world. Today, it is the flagship city of Turkey, with 35 billionaires in 2008, according to Forbes magazine. Together with Jerusalem and Rome, it is one of the threesome of cities which have tailored our cultural, religious, philosophical, political, spiritual and aesthetic heritage. Like Rome, Istanbul is also known as a city on seven hills, with a mosque on each of them. Sultan Mohamed II turned it into an Ottoman pearl

practically overnight, having transformed a city which had been the bulwark of Christianity into a magnificent symbol of Islamic culture. Aya Sofia, formerly the biggest cathedral in the world, became a mosque; the official sultan’s residence, Topkapi, emerged; the construction of the Grand Bazaar started; imperial mosques and public baths mushroomed; and in the 18th century, at the peak of power, the Isiklal Avenue filled up with palaces, mostly embassies in the Baroque style under the influence of European architecture. Turkish master craftsmen demonstrated the extent of their skills and artistry in architecture, ceramics, miniature painting, filigree work and calligraphy, and showed wondrous imagination in the weaving of fabrics and rugs.

All that and much more can be seen, touched and purchased today in Kapali Carsi, the Grand or the Covered Bazaar. There is everything galore in Stamboul, goes an old song as if describing the mother of all bazaars in Turkey. It has survived ten fires and two earthquakes, and it has kept on growing. The oriental shopping mall that spreads on a footprint of 31 hectares along the entire Eminon Hill houses over 4,000 shops with restaurants, mosques, fountains and teashops, 24 hans (eateries-cum-hostels), 65 streets and 22 exits. Already under the reign of Mohamed II it reached one third of the present-day scale.

It is easy to get lost in the labyrinth of the endless sea of goods, even in the company of an experienced guide. It is simply impossible to resist the vast selection of ceramics, rugs, jewellery, leather jackets, mounds of spices, heaps of baklavas and mountains of Turkish delight, while merchants constantly beckon, offering cups of tea and a friendly barter.

It seems that every view in Istanbul begins and ends with Aya Sofia, Hagia Sofia or the Holy Wisdom Church. Today it is a monument − museum (it was Atatürk who turned it into a museum in 1935), where restoration works have been going on for years, revealing some new wonderful details under the numerous layers left by the centuries. In terms of monumentality and mystic power, the Aya Sofia reminds of a powerful space ship that has landed from a different world and a different time. This means that its builders in the 1st century really succeeded in their intention when they erected it from the rubble of two older churches. The underlying idea was for the new church to overwhelm every hitherto monument built to God with its size and glory.

In 1204, crusaders desecrated, looted and stripped it to the bone − thus marking the final division of Christianity into the Orthodox and Roman Catholic streams. When he en-

tered the city four centuries later, Mohamed II stopped in front of Aya Sofia before he stopped anywhere else and invoked Allah.

Unlike the monumental Aya Sofia, Topkapi, with its string of smaller edifices, actually follows a concept of desert tents (Turks used to be nomads) without any excessive European dimensions of a Versailles. It was erected on the ruins of Constantine’s imperial palace, on one of the seven hills of the historical peninsula. For four centuries it was an official palace of the sultans, housing the state and military administrations, a witness to the might of Turkish power and an unfailing source of saucy legends about the harem life. At first glance, its dimensions do not reveal the fact that at the peak of its splendour it was home to three thousand courtiers, and three hundred of the sultan’s concubines who resided in the harem. The Topkapi Palace exudes a subdued splendour. Ceramic masters gave wings to their imaginations when they decorated the palace with geometrical motifs, particularly on the myriads of tiles which adorn the numerous fountains and baths in the palace.

Many public baths still bear witness to the cultlike references to a clean body and washing that was cherished in the city, although many of the baths have been redefined and turned into elegant painting galleries or showrooms of antique rugs. The visitors of Istanbul are in for possibly the biggest surprise underground, in the Yerebatan Saray or the Basilica Cistern.

It is also known as the Sunken Palace and it is the largest of the several hundred ancient

cisterns that lie beneath the city of Istanbul.

It was commissioned in the 6 th century by Emperor Justinian, who oversaw the works himself. The water was brought by an aqueduct from a source 20 kilometres away. With its richly decorated ceiling, which earned it the title Basilica Cistern, and 336 marble columns each 9 metres high, that had been brought from the Apollo Temple in Didim, the Yerebatan Saray reminds of a mystical underground water city. While crossing the wooden bridges over a huge cistern, 140 by 70 metres in size, which can hold 80,000 cubic metres of water, you feel like a spectator at the premiere of The Phantom of the Opera.

Right above it, above the ground, the modern spirit of Istanbul grows; the 2010 European City of Culture, with a vivid, often neglected modern scene which has only recently started attracting international attention. The Museum of Contemporary Art offers a glimpse into a new, little known Turkey and a breathtaking view of the Bosporus. The most popular avenue, Istiklal Caddesi in the Beyoglu district, lives day and night, overflowing with boutiques, pastry shops, galleries and cafes where you can have a cup of Turkish coffee and buy a book or a CD, with restaurants which offer delicate flavours and from whose terraces you can observe the interrupted flow of people, including women with headscarves and young girls in Donna Karan T-shirts.

From simple eateries to the elite restaurant on the top of the restored elegant Misir building from the 19th century, which is full of popular

art galleries, there is something for every pocket. All major hotel chains have moved into Istanbul, but you can also find modest lodging that offers an abundance of local charm. In the Pera Museum are exhibitions by some world renowned names such as Mexican authors Frieda Kahlo and Diego Rivera, whose works from the Gellman Collection are on display this spring. A former warehouse on the shores of the Bosporus, renovated and transformed into the Istanbul Modern Gallery, offers a selection of paintings and sculptures by local contemporary authors, and at the same time you can taste new combinations of Turkish and European cuisine. Or you can listen to progressive jazz music in a refurbished bakery with painted ceilings nowadays known as the Geto Club.

In the city you can experience a taste of the French sprit, for example in Fransiz Sokagi, French Street, restored a few years ago. The restoration works involved French architects, and the street’s gas lights arrived from as far away as Paris. A twenty minute drive from Taksim Square, a former electric power plant houses the museum Santral Istanbul, the Turkish variant of the Tate Gallery.

The story goes on. There are a handful of examples, and the city keeps changing its face and being reinvented by the hour, from the past to the future. Like New York in the USA, Istanbul in Turkey is a world of its own, which is rushing into a new era. However, unlike New York, it is growing on a centuries old foundation and a fascinating past, at the crossroads of different worlds. n

BURAK ÖZÜGERGIN TURSKI VELEPOSLANIK U HRVATSKOJ TURKEY”S AMBASADOR TO CROATIA OVDJE JE SVE BLIZU… Nenad Reberšak

EVERYTHING IS SO CLOSE HERE …

Piše/By Ksenija Žlof

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urak Özügergin, turski veleposlanik u Hrvatskoj, u naπu je zemlju doπao prije godinu dana. Razgovarali smo o njegovu doæivljaju Hrvatske, kulturno-povijesnim, ali i zraËnim mostovima izmeu naπih dviju zemalja te o tome kako on ocjenjuje suradnju izmeu dvaju nacionalnih avioprijevoznika.

Kako doæivljavate Hrvatsku sada, godinu dana poπto ste preuzeli mjesto veleposlanika?

- Veoma sam æelio doÊi u Hrvatsku kao velep os l a nik. © tov iπe, Ë a k s a m to osob no i traæio. U Hr vatskoj sam bio i prije. Hrvatska je skriveni dragulj. O vaπoj predivnoj zemlji joπ se ne zna dovoljno.

Zato su letovi izmeu Zagreba i Istanbula, koje je uveo Croatia Airlines, izvrstan potez. Dakako, mnogo je ljudi Ëulo kako je lijepa hrvatska obala, ali meni je veoma draga i kontinentalna Hrvatska, osobito priroda…

Kako je æivjeti u Zagrebu? Kako se ovdje osjeÊate?

- Sretan sam πto æivim u Zagrebu, jer to je grad koji poπtuje prirodu. Zbog toga volim πetati Zagrebom. Velika prednost glavnoga hrvatskoga grada jest upravo to πto æivi u miru i u skladu s prirodom. U diplomaciji sam veÊ dugo, vidio sam mnoge velike gradove CROATIA AIRLINES

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koji se natjeËu s prirodom. Najprije uniπte taj sklad, a onda ga umjetno nastoje vratiti. To nije dobro i ta se napetost osjeÊa. Naprotiv, kad je grad u miru s prirodom i njegovi su graani opuπteniji. OsjeÊam taj mir u Zagrebu, i to je sjajno. ©to biste preporuËili svojim sunarodnjacima, koji Êe jednog dana posjetiti Zagreb i Hrvatsku, kamo da odu?

- Hrvatska i Turska dovoljno su sliËne da se turisti u obje zemlje mogu opustiti i osjeÊati kao kod kuÊe, ali, opet, dovoljno su razliËite i drukËije da bi bile meusobno zanimljive.

Najpoznatiji su hrvatski gradovi u Turskoj Dubrovnik i Zagreb, ali svakako bih im preporuËio da posjete Split, Zadar, ©ibenik, Opatiju… Znam da Êe se svugdje dobro osjeÊati… Osim πto je grad bogate kulture i baπtine, pa uistinu posjetitelji mogu mnogo toga i ovdje doæivjeti, glavni grad Zagreb ima i prednost πto je uistinu sjajno smjeπten. Za sat, dva moæete biti na moru. ZaËas moæete biti i u nekoj drugoj europskoj zemlji: Austriji, Italiji, Maarskoj, Sloveniji, Bosni… Prijateljima, koji me dou posjetiti, kad poemo na izlet, uvijek kaæem: Za svaki sluËaj, ponesite i putovnicu. Nikad ne znate gdje Êemo zavrπiti, ovdje je sve blizu… ©to biste savjetovali turistima koji se iz Hrvatske zapute u Tursku?

- Dakako, posjet Istanbulu nezaobilazan je. Ali Turska nije samo Istanbul. Kad se nauæivaju Istanbula, neka istraæuju dalje, jer Turska uistinu mnogo toga moæe ponuditi.

Turskoj je turizam veoma vaæan pa njeguje razliËite vrste turizma: kulturni, zdravstveni, sportski, na primjer rafting na nemirnim vodama ili paragliding, vjerski turizam…

Primjerice, turisti dou u Tursku samo da bi posjetili rodno mjesto Djevice Marije − Efes.

Izmeu Hrvatske i Turske ima priliËno kulturnih i prijateljskih poveznica, mnogo viπe nego πto se Ëini na prvi pogled.

- Definitivno. Zbog toga se u Hrvatskoj ne osjeÊam kao u stranoj zemlji. Svaki dan pronalazim sliËnosti u kulturi, gastronomiji, stilu æivota… Turska, kao i Hrvatska, visoko cijeni obiteljske vrijednosti, volimo sliËne stvari…

Ako su meu nama u povijesti i bili podignuti neki nevidljivi zidovi, oni nisu bili opravdani.

Zato se oni sada ruπe, a uvjeren sam da Êe i letovi Croatia Airlinesa pridonijeti joπ ËvrπÊim vezama izmeu naπih dviju prijateljskih zemalja i joπ boljemu meusobnom upoznavanju.

Zrakoplovne kompanije Turkish Airlines i Croatia Airlines, obje Ëlanice Star Alliancea, velike i ugledne svjetske udruge zraËnih prijevoznika koja putnicima jamËi kvalitetu usluge, godinama dobro surauju.

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- To je prirodna suradnja. Letovi Croatia Airlinesa u Istanbul i iz Istanbula bit Êe korisni i za Turkish Airlines, jer potiËu putovanje, omoguÊuju ljudima pokretljivost. Za putnike koji iz Dalekoga i Srednjeg istoka dolaze u Europu i u Hrvatsku, Istanbul je prirodni hub. Croatia Airlines i Turkish Airlines mnogo su viπe partneri nego konkurenti. To je suradnja u kojoj dobivaju oba avioprijevoznika. n

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urak Özügergin, Turkey’s ambassador to Croatia came to our country a year ago. We spoke about his impressions of Croatia, the cultural and historical links, but also the air connections between our two countries, and about his assessment of the cooperation between the two national air carriers.

What is your impression of Croatia now, a year after you took the post of the ambassador?

- I was very eager to come to Croatia as ambassador. In fact, I personally requested the post. I had visited Croatia before. Croatia is a hidden jewel. Not enough is known about your beautiful country. Therefore, establishing Croatia Airlines flights connecting Zagreb and Istanbul, is an excellent move. Of course, many people have heard about the beauty of the Croatian coast, but I also very much appreciate continental Croatia, especially its nature…

What is living in Zagreb like? How do you feel here?

- I’m happy to be living in Zagreb because this city respects nature. Therefore, I like walking around Zagreb. The Croatian capital’s great advantage is that it lives in peace and harmony with nature. I’ve been a diplomat for a long time now, and I’ve seen large cities which are struggling or competing with nature. First they destroy the harmony, and then they try to restore it in an artificial way.

This isn’t good and one can feel the tension.

On the other hand, when a city is at peace with nature, its citizens are more relaxed too. I feel this peace in Zagreb, and it’s very rewarding.

What would you recommend to your fellow nationals who will one day visit Zagreb and Croatia, where should they go?

- Croatia and Turkey are similar enough that tourists from each country can relax and feel at home in the other one, and still they are different enough to be mutually interesting.

The best known Croatian cities in Turkey are Dubrovnik and Zagreb, but I would definitely recommend that they visit Split, Zadar, ©ibenik, Opatija… I know they would feel good

anywhere… Besides being a city with a rich culture and heritage, which gives visitors the opportunity to experience a lot of things here, the capital Zagreb also has the advantage of having a truly great location. Within an hour or two you can be on the coast for an excursion. It takes just a short time to get to other European countries: Austria, Italy, Hungary, Slovenia, Bosnia… When my friends come here to visit me, whenever we go for an excursion, I always tell them as we leave home: Bring your passport, just in case. We never know where we’ll end up. Everything is so close here …

On the other hand, what advice would you give to Croatian tourists going to Turkey?

- Of course, visiting Istanbul is a must. However, Turkey is not just Istanbul. When they get their fill of Istanbul, they should explore further, as Turkey has indeed so much to offer. Tourism is very important for Turkey, and it offers different types of tourism: cultural and health tourism, sports tourism like white-water rafting and paragliding, religious tourism… For example, some tourists come to Turkey only to visit Virgin Mary’s home − Ephesus.

There are many cultural and friendy links between Croatia and Turkey, many more than are evident at first glance.

- Definitely. This is why in Croatia I don’t feel like I’m in a foreign country. Every day I find similarities between the cultures, cuisines, lifestyles… Just like Croatia, Turkey holds family values in high regard, we like similar things… If there were certain invisible walls between us in history, they weren’t justified. They are, therefore, being pulled down now, and I’m convinced that Croatia Airlines’ flights will contribute to even stronger connections between our two friendly countries, and an even better knowledge of each other.

Turkish Airlines and Croatia Airlines ∑ both members of the Star Alliance, a large and eminent world association of air carriers which guarantees quality service for the passengers − have had a good cooperation for years.

- This is a natural cooperation. Croatia Airlines’ flights to and from Istanbul will also be useful for Turkish Airlines, as they will benefit from increased interest that the new flights will generate. For passengers coming to Europe and Croatia from the Far and Middle East, Istanbul is a natural hub. Croatia Airlines and Turkish Airlines are much more partners, rather than competitors. It will be a win-win situation for both carriers. n

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Damir FabijaniÊ

■ OBLJETNICE ANNIVERSARIES

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Velikom izloæbom DubrovaËkih muzeja Hrvatska slavi svoga genija u povodu 300. obljetnice roenja.

Ruer BoπkoviÊ ponovno je u rodnom Dubrovniku.

Croatia celebrates her genius − Ruer BoπkoviÊ − with exhibition at the Dubrovnik Museums, which marks the 300th anniversary of his birth.

Piše/By Julijana AntiÊ BrautoviÊ

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A

ko je ikada postojao DubrovËanin koji ima pravo da ga slavimo i budemo mu zahvalni, to je BoπkoviÊ.

Tim je rijeËima poËeo svoj hvalospjev Rueru BoπkoviÊu u poznatome posmrtnom govoru Bernard Zamanja (1735.-1820.), BoπkoviÊev student i jedan od mnogih dubrovaËkih velikana koji je, izmeu ostaloga, 1777. godine u Sieni objavio prijevod Homerove Odiseje na latinski.

Apostrofirao je oπtrinu njegova intelekta, dubinu i ËistoÊu njegovih misli, te visoku reputaciju koju je uæivao u inozemstvu, od Rima do Milana, od Londona do BeËa, od Pariza do Istanbula.

Zamanju je pozvalo Veliko vijeÊe DubrovaËke Republike da BoπkoviÊu odræi posmrtni govor u dubrovaËkoj prvostolnici.

Nedugo zatim Zamanja je napisao i epigram u slavu svoga bivπeg profesora u kojemu, obraÊajuÊi se DubrovaËkoj Republici, naglaπava kako, iako malena, nije beznaËajna.

Je li to moguÊe, pitaπ? Zar nisi domovina Ëovjeka kojemu nema premca i sliËan kojem se neÊe roditi? Kao πto je Ruer superioran drugim ljudima, tako i ti zasigurno nadmaπujeπ druga podruËja. ©vicarski je povjesniËar Jean de Müller sliËno razmiπljao kad je u 18. stoljeÊu zapisao kako grad koji je tisuÊu godina uspijevao oËuvati svoju slobodu, vladavinu, snagu, kulturu i obiËaje, usred divljih naroda sklonih razbojniπtvu, izmeu tolikih uspona i buËnih padova tolikih susjednih mu kraljevstava, takav je grad dostojan da se otme zaboravu. Njegova hrabrost i mudrost zasluæuju svaku pozornost povjesniËara.

NemoguÊe je bez uzbuenja proËitati ni najskromniju stranicu njegove povijesti. DubrovaËka je dræava zauzimala samo 40 talijanskih milja po duæini i 2-3 milje po πirini jadranske obale. A ipak je prouËavanje njene proπlosti od neprocjenjive koristi, jer u velikim se povijestima male znaËajne crte gube, a ËovjeËanstvo se odraæava baπ u malim republikama. Ruer BoπkoviÊ najsvjetliji je dokaz da je Müller imao pravo.

I danas mnogi misle poput Zamanje i Müllera.

VodeÊi su hrvatski znanstvenici 2000. godine za hrvatskog znanstvenika tisuÊljeÊa, u svojevrsnoj anketi, koju je organizirao Jutarnji list, izabrali upravo BoπkoviÊa. Ove godine slavimo 300. obljetnicu roenja toga hrvatskog svestranog znanstvenika, jednoga od posljednjih svjetskih polihistora, renesansnoga univerzalnog Ëovjeka, koji je æivio dvjesto godina nakon renesanse.

Sabor Republike Hrvatske proglasio je Godinu Ruera BoπkoviÊa. ©irom Êe dræave biti realizirani mnogi projekti posveÊeni velikom znanstveniku, meu kojima je najsveobuhvatniji projekt koji su pokrenuli DubrovaËki muzeji s ciljem podizanja razine znanja o BoπkoviÊu kao znanstvenom geniju, DubrovËaninu i Hrvatu. Okosnica je tog projekta velika izloæba u Kneæevu dvoru, koja 154

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je postavljena na BoπkoviÊev roendan 18. svibnja i koju Êe biti moguÊe razgledati puna Ëetiri mjeseca, sve do 18. rujna.

Glavni je autor izloæbe dr. sc. Ivica MartinoviÊ, bez sumnje jedan od najveÊih poznavatelja BoπkoviÊa uopÊe, a izloæba je realizirana u suradnji s Dræavnim arhivom u Dubrovniku i DubrovaËkim knjiænicama Dubrovnik, te mnogim drugim institucijama koje su za potrebe izloæbe ustupile svoju grau.

Cjelokupan BoπkoviÊev æivot i djelo prezentirani su preko prikaza njegove obitelj i Dubrovnika BoπkoviÊeva djeËaπtva, BoπkoviÊa kao knjiæevnika i diplomata, ali i vrhunskog znanstvenika u mnogim znanstvenim podruËjima, od statike, fizike, geodezije, hidrotehnike, optike, meteorologije pa do arheologije, astronomije i matematike. RijeË je o jedinstvenoj kompletnoj prezentaciji BoπkoviÊa u sklopu proslave 300. obljetnice njegova roenja.

Zanimljiv dio izloæbe svakako je i BoπkoviÊeva prepiska s obitelji, prijateljima, vlastodrπcima i znamenitim znanstvenicima svoga vremena, koja Êe πiroj javnosti biti prvi put prezentirana na dubrovaËkoj izloæbi. RijeË je, naime, o Ëak 51 dokumentu, koji je, mikrofilmiran, upravo pristigao iz Bancroft Library SveuËiliπta Berkeley u Kaliforniji, gdje se Ëuva vrlo opseæna i vrijedna graa u kolekciji pod nazivom Ruggero Giuseppe Boscovich papers. Bancroft Library kupila je grau 1962. godine od Nikole MiroπeviÊa Sorga, ambasadora Kraljevine Jugoslavije u Vatikanu tijekom Drugoga svjetskog rata, koji je nakon rata æivio u Londonu, gdje je i umro 1966. godine. Ambasador je, navodno, bogatu arhivu koju je naslijedio nudio i poratnoj Jugoslaviji, koja nije pokazala zanimanje za takvu grau, bilo zbog disidentskog statusa bivπeg ambasadora ili zbog navodno visoke otkupne cijene koju je traæio.

Ruer Josip BoπkoviÊ roen je 18. svibnja 1711. godine u Dubrovniku kao osmo dijete i πesti sin Pave Betterea i Nikole BoπkoviÊa. Osnovnu je naobrazbu stekao u DubrovaËkom kolegiju, u kojemu su prva znanja stjecali mnogi glasoviti DubrovËani poput –ura Baglivija, poznatog lijeËnika dvaju rimskih papa i profesora anatomije na rimskom SveuËiliπtu Sapienza. DubrovaËki gost, lijeËnik Alberto Muzarelli, 1818. godine, piπuÊi o Gradu, zapisao je i kako je internat jezuita zadojio mlijekom obrazovanja i tu omladinu koja je, obdarena oπtroumnim duhom, dala ne male izdanke uËenih ljudi, meu kojima su Baglivi, Ghetaldi, BoπkoviÊi, TuniÊi, Stayi, Zamagne i Gagliuffi. U istom je razdoblju, u izvjeπÊu austrijskoj carici Mariji Tereziji, zapisano i kako su crkva i kolegij moæda najljepπa i najsavrπenija zgrada Dubrovnika. Bez sumnje, rijeË je o najljepπemu baroknom kutu u Dubrovniku, a mnogi tvrde − i u cijeloj Dalmaciji. Barokna skalinada, sliËna, ali

savrπenija od one s Piazze di Spagna u Rimu, s GunduliÊeve poljane vodi na onu koja nosi ime Ruera BoπkoviÊa i koja se prostire ispred crkve sv. Ignacija i danaπnje Biskupske klasiËne gimnazije, takoer nazvane po BoπkoviÊu. U svome je rodnom gradu BoπkoviÊ dobio i ulicu, onu u kojoj se rodio, te spomen−ploËu u katedrali.

Ruera su kao Ëetrnaestogodiπnjaka iz Colegiuma Ragusinuma poslali u rimski novicijat sv.

Andrije kao djeËaka velikih nada. Kao Ëlan isusovaËkog reda, u kojemu je ostao redovnik sve do ukinuÊa reda 1773. godine, u srediπnjemu je isusovaËkom uËiliπtu - Rimskom kolegiju pohaao retoriku, te studirao filozofiju i teologiju, a postao je i profesor matematike. Ondje je matematiËke znanosti poduËavao punih dvadeset godina, tijekom kojih je objavio mnoge utjecajne znanstvene radove, piπuÊi, izmeu ostaloga, i o SunËevim pjegama, polarnoj svjetlosti, te utjecaju gravitacije. Od objave prvog rada O SunËevim pjegama, koji je potpisao vlastitim imenom i prezimenom, jer dotad je objavljivao anonimno kao svaki poËetnik isusovac, nije proπla ni jedna godina Ruerova æivota, a da nije objavio barem jedan znanstveni rad.

Ubrzo je postao poznat diljem Europe, te je postao i Ëlanom londonskog Royal Societyja, kao i mnogih drugih akademija znanosti πirom Europe, ukljuËujuÊi i Rusku, te Francusku, u kojoj je stekao status dopisnog Ëlana. U zemlji pod vlaπÊu Luja XV. BoπkoviÊ je stekao i dræavljanstvo, te status ravnatelja optike u mornarici. Uæivao je i status plemiÊa u Senatu Republike Lucca.

Na temelju reputacije vrhunskog matematiËara, papa Benedikt XIV. povjerio mu je 1742. godine ekspertizu za sanaciju pukotina na kupoli crkve sv. Petra u Rimu, kao i mjerenje meridijana Rim-Rimini, πto je rezultiralo i prvom egzaktnom kartom Papinske dræave. Uza sve to, DubrovËanin je utemeljio i opremio zvjezdarnicu u Breri, uËinivπi je najboljom zvjezdarnicom onog doba. Rasprostranjeno je i miπljenje da je, upravo zahvaljujuÊi BoπkoviÊu, papa uklonio Kopernika iz liste zabranjenih knjiga. Sigurno je, naime, da je BoπkoviÊ bio gorljivi zagovornik Kopernikovog heliocentriËnog sustava. Godinu dana prije ukidanja Crkvene zabrane, u jednome je rimskom zborniku objavljen njegov epigram o heliocentriËnoj slici svijeta. U rasporedu planeta Zemlja je izmeu Marsa i Venere, zapisao je BoπkoviÊ, opjevavπi vjeËni izbor srca izmeu ljubavi i mrænje, ali i heliocentriËnu sliku svijeta.

Ruer je rado pisao stihove u slavu lijepih æena, vlastodræaca i pokojeg pape, svoje gotovo Ëetverogodiπnje znanstveno putovanje po Europi dijelom je opisao u putopisu Dnevnik putovanja od Carigrada do Poljske, a u vrijeme redovniËke dokolice bavio se arheoloπkim istraæivanjima.

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Meu mnoπtvom izvrsnih znanstvenih doprinosa, najznaËajnije BoπkoviÊevo djelo ipak je Theoria philosophiae naturalis, u kojoj je razradio izvornu teoriju sila, koja objaπnjava strukturu tvari, te sve dotad poznate prirodne pojave. Dokazao je da zakon neprekinutosti vrijedi u prirodi i geometriji te oblikovao vlastitu krivulju sila, na naËelu koje je zatim razvio i opisao prvu teoriju atoma. S pravom se, dakle, moæe reÊi kako je BoπkoviÊ praotac atoma, jer da je on nije objasnio, veliko je pitanje bi li Niels Bohr razumio strukturu atoma − i zatim dobio Nobelovu nagradu.

Njegova su znanstvena istraæivanja pokretala tri motiva. Prvi impuls otkrivaju matematiËka i astronomska djela, nastala u okvirima temeljnog zaduæenja, πto ga je 1740. godine odredio rektor Orazio Borgondio, koji se kao BoπkoviÊev profesor matematike osvjedoËio o njegovim talentima i odabrao ga za svoga nasljednika. Drugi je istraæivaËki smjer zadan nalozima pape Benedikta XIV., kad su nastala djela koja su BoπkoviÊa promaknula u vodeÊeg eksperta u tehniËkim znanostima. TreÊi smjer oblikuju raznorodna djela po mjeri BoπkoviÊeva intimnog izbora: rasprave iz filozofije prirode, stihovi i arheoloπka izvjeπÊa. Svima im je bila zajedniËka BoπkoviÊeva stvaralaËka strast, zapisao je dr. sc. Ivica MartinoviÊ.

Ruer BoπkoviÊ se, nakon odlaska na πkolovanje, u rodni grad vratio samo jedanput, 1747. godine, i zadræao se neπto manje od tri mjeseca. Ipak, redovito je odræavao veze s obitelji i prijateljima u Gradu. Iako je o Italiji govorio kao o pravoj i slatkoj majci, za sebe je tvrdio da nije Talijan, nego Dalmatinac iz Dubrovnika, istiËuÊi kako nije zaboravio hrvatski jezik. Za Republiku je obavljao komplicirane i vaæne diplomatske poslove, poput rjeπavanja sporova vezanih za Rusko-turski rat i neutralnost Dubrovnika. Narav su mu ocjenjivali kao vatrenu, a poslije i silovitu. Potkraj 1786. godine lijeËnici

su utvrdili kako boluje od duπevne bolesti, a 13. veljaËe sljedeÊe godine u 11 sati BoπkoviÊ je umro u Milanu zbog komplikacija bolesti pluÊa.

BoπkoviÊ je Hrvat s najuspjeπnijom meunarodnom znanstvenom karijerom tijekom koje je objavio viπe od 75 kapitalnih znanstvenih radova. Vrhunski suvremeni svjetski znanstvenici, poput teorijskog fiziËara Johna D. Barrowa sa SveuËiliπta u Cambridgeu ili nobelovca Leona M. Ledermana, priznaju BoπkoviÊu prvenstvo u otkriÊu neprekinutoga zakona sila i u zakljuËku kako je tvar sastavljena od Ëestica koje nemaju dimenziju. n

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f ever there was a Dubrovnik man who has the right to be celebrated and to whom we should be grateful, it is BoπkoviÊ. These were the opening words of the eulogy to Ruer BoπkoviÊ in the funeral speech given by Bernard Zamanja (17351820), another of Dubrovnik’s many great men, who was a student of BoπkoviÊ and published a translation of Homer’s Odyssey into Latin in Sienna in 1777. He stressed the sharpness of BoπkoviÊ’s intellect, the depth and clarity of his thoughts and the high esteem he enjoyed in various countries, from Rome to Milan, from London to Vienna, from Paris to Istanbul.

Zamanja had been invited by the Dubrovnik Republic High Council to hold a funeral speech for BoπkoviÊ at Dubrovnik’s cathedral.

Not long afterwards, Zamanja wrote an epigram to his former professor in which he addresses the Dubrovnik Republic, pointing out that it may be small but is not without significance.

Is it possible, you ask? Aren’t you the homeland of the man second to none, a man whose equal shall never be born? Just as Ruer is superior to other men, so you surely excel in other areas.

Swiss historian Jean de Müller shared this thought when he wrote in the 18th century that a city that for a thousand years has managed to hold on to its freedom, sovereignty, strength, culture and customs, amidst savage, banditlike peoples, amidst numerous rises and clamorous falls of neighbouring kingdoms, a city like that deserves to be saved from oblivion.

Its courage and wisdom deserve the close attention of historians. Not even the humblest page in its history can be read without exaltation. The state of Dubrovnik covered only 40 Italian miles in length and 2-3 miles in width on the Adriatic coast. Nevertheless, studying its history is a priceless task because small but significant features are lost in great histories, and it is precisely these small republics in which humanity is reflected. Ruer BoπkoviÊ is the finest example of how right Müller was.

Many people today share the opinions of Zamanja and Müller. In a survey conducted by the Jutarnji List daily in 2000, the leading Croatian scientists chose BoπkoviÊ as the Croatian scientist of the millennium. This year we celebrate 300 years since the birth of this versatile Croatian scientist, gifted in many disciplines, one of the world’s last examples of a Renaissance man, who lived two hundred years after the Renaissance period. The Croatian Parliament has declared this year to be the Year of Ruer BoπkoviÊ. There will be many projects around the country dedicated to this great scientist, the most comprehensive being the one launched by the Dubrovnik Museums with the purpose of informing the public about BoπkoviÊ as a scientific genius, a man of Dubrovnik and a Croat. The cornerstone of the project is the big exhibition at the Rector’s Palace, opened on BoπkoviÊ’s birthday, 18 May, and remaining open for four months, until 18 September.

The chief curator of the exhibition is Ivica MartinoviÊ, PhD, certainly one of the best

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experts on BoπkoviÊ. The exhibition is staged in cooperation with the State Archives in Dubrovnik and the Dubrovnik Libraries, as well as with numerous other institutions which offered material for this occasion.

The exhibition covers BoπkoviÊ’s life and work and includes his family and the Dubrovnik of his boyhood, BoπkoviÊ as writer and diplomat, and BoπkoviÊ as a scientist excelling in many scientific fields, from statics, physics, geodetics, hydrotechnics, optics and meteorology to archaeology, astronomy and mathematics.

This is a unique and comprehensive presentation of BoπkoviÊ’s life as part of the celebration of the 300th anniversary of his birth.

An interesting part of the exhibition consists of BoπkoviÊ’s letters to family, friends, power holders and famous scientists of his time, which are presented to the general public for the first time. The collection includes 51 documents on microfilm, just arrived from the Bancroft Library of Berkeley University in California, home of a very large and valuable collection called The Ruggero Giuseppe Boscovich Papers. The Bancroft Library purchased this material in 1962 from Nikola MiroπeviÊ Sorgo, who was ambassador of the Kingdom of Yugoslavia to the Vatican during the Second World War and who, after the war, lived in London, where he died in 1966. The ambassador had allegedly offered these inherited archives to the newly formed Yugoslavian state, which demonstrated no interest at all, either due to the dissident status of the former ambassador or due to the asking price which was said to have been very high.

Ruer Josip BoπkoviÊ was born on 18 May, 1711, in Dubrovnik, as the eighth child and the sixth son of Pavla Bettera and Nikola BoπkoviÊ.

He acquired his elementary education at the Dubrovnik Colegium, attended before him by many famous Dubrovnik citizens, such as –uro Baglivi, doctor to two Roman popes and professor of anatomy at Sapienza University in Rome. Doctor Alberto Muzarelli, when staying in Dubrovnik in 1818, wrote that the Jesuit school fed this youth the milk of education that, endowed with bright intellect and spirit, produced many important educated men, including Baglivi, Ghetaldi, BoπkoviÊi, TuniÊi, Stayi, Zamagne and Gagliuffi. A report for the Austrian Empress Maria Theresa from the same period states that the church and the colegium are perhaps the most beautiful and the most perfect building in Dubrovnik. This is without doubt the prettiest baroque corner in Dubrovnik, maybe even, as claimed by many − in the whole of Dalmatia. The baroque staircase is similar but better accomplished than the one at Piazza di Spagna in Rome and it takes you 158

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from GunduliÊeva Poljana up to the square bearing the name of Ruer BoπkoviÊ, the space in front of the Church of St. Ignatius and what is today the Diocesan Classical Gymnasium, also named after BoπkoviÊ. There is also a street named after him in Dubrovnik, the street he was born in, as well as a memorial plaque in the cathedral.

As a fourteen-year-old, Ruer was sent from the Colegium Ragusinum to the novitiate of St. Andrew in Rome, as a boy of great expectations. As a member of the Jesuit order, in which he remained as a monk until the order was dissolved in 1773, he studied rhetorics, philosophy and theology at the Roman Colegium, the central Jesuit school, going on to become a teacher of mathematics. He spent twenty years there, teaching mathematical sciences and writing numerous influential scientific papers on, among other things, sunspots, the northern lights and the effect of gravity. He initially published his works under a pseudonym, like all Jesuit novices. His first work published under his real name was On Sunspots. After that, not a year passed without him publishing at least one scientific paper.

BoπkoviÊ soon became known throughout Europe and was made a member of the London Royal Society as well as of many other European academies of sciences, including the Russian and the French ones. In France, at the time of Louis XV, he obtained French citizenship, was a correspondent member of the French Academy and was appointed Head of Navy Optics. He was awarded nobility status at the Senate of the Republic of Lucca.

Owing to his reputation of an excellent mathematician, in 1742, Pope Benedict XIV entrusted BoπkoviÊ with the repair work on the cracks in the dome of St. Peter’s Church in Rome, as well as the measurement of the Rome-Rimini meridian, the result of which was the first exact map of the Papal state. In addition, he founded and equipped the observatory in Brera, making it the most modern observatory of the time. It is widely believed that it was thanks to BoπkoviÊ that the Pope finally removed Copernicus from the List of Prohibited Books.

What is certain is that BoπkoviÊ was a fervent supporter of Copernicus’s heliocentric system.

A year before the revocation of the church ban, a Roman journal published his epigram on the heliocentric image of the world. In the distribution of planets, Earth comes between Mars and Venus, BoπkoviÊ wrote, describing in verse the eternal choice of the heart between love and hate but also the heliocentric image of the world. Ruer liked to write verse in praise of beautiful women, power holders and some popes; he described parts of his

four-year scientific travels around Europe in his travelogue Travel Diary from Istanbul to Poland. He passed his leisure time as a monk in archaeological research.

BoπkoviÊ’s many outstanding contributions to science include Theoria philosophiae naturalis, in which he elaborates on the basic theory of forces, explaining the structure of matter as well as of all natural phenomena known at the time. He proved that the law of continuity applies both to nature and to geometry, and went on to draw his own curve of forces, which he later used to develop and describe the first atomic theory. It can thus be said that Ruer BoπkoviÊ is the father of the atom because, had he not explained it, who knows if Niels Bohr would have been able to understand its structure − and win the Nobel prize.

His scientific research was inspired by three stimuli, wrote Ivica MartinoviÊ. His first path of research, his mathematical and astronomical works, resulted from his basic duties set in 1740 by Rector Orazio Borgondio, his mathematics teacher, who recognized his talent and chose him as his successor. His second path of research was determined by the orders of Pope Benedict XIV, resulting in works that established BoπkoviÊ as a leading expert in the technical sciences. The third path was formed by diverse works on BoπkoviÊ’s own preferred topics: treatises in natural philosophy, poetry and archaeological reports. What they all had in common was BoπkoviÊ’s creative passion.

After leaving his hometown for schooling, Ruer BoπkoviÊ returned only once, in 1747, and stayed for a little under 3 months. Nevertheless, he regularly maintained his connections with his family and friends in Dubrovnik. Even though he spoke of Italy as his true and sweet mother, he did not call himself Italian but a Dalmatian from Dubrovnik, stressing that he had not forgotten the Croatian tongue. He worked on complex and important diplomatic tasks for the Republic, such as resolving disputes concerning the Russian-Turkish War and the neutrality of Dubrovnik.

His character was described as fiery, later even as furious. In late 1786, doctors concluded he was suffering from a mental illness. He died in Milan at 11 a.m. on 13 February 1787 from complications of a pulmonary condition.

BoπkoviÊ is the Croat with the most successful international scientific career. He published more than 75 capital scientific works.

Leading contemporary scientists, such as theoretical physicist John D. Barrow of the University of Cambridge and Nobel Prize winner Leon M. Lederman, acknowledge BoπkoviÊ’s lead in the discovery of the law of continuity and his conclusion that matter consists of non-dimensional particles. n

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oæete ovdje imati samo svoju uvalu, uæivati u najljepπim zalascima sunca, a nedugo zatim prisustvovati vrhunskim priredbama hrvatskih i svjetskih umjetnika. U konobi ili vrhunskom restoranu, uz more ili u unutraπnjosti, kao Robinzon ili kao lice s naslovnice, uæivat Êete ovdje u vrhunskoj usluzi te pamtiti boje, mirise i okuse vrijedne povratka.

- Mnogo je toga πto u ovoj najjuænijoj hrvatskoj regiji vrijedi vidjeti, doæivjeti i, dakako, okusiti.

Jednako kao i mnogi gosti koji ovamo dolaze iz cijelog svijeta zrakoplovima, brodovima ili cestom, i vi Êete veÊ poslije prvog posjeta reÊi: ovamo se æelim vratiti. Doista, ta je regija istinski magnet!

DubrovaËka regija i otoci To je istinski magnet!

Uæivajte u prekrasnom koncertu svjetskih glazbenika u Kneæevu dvoru u Dubrovniku.. ProπeÊite dubrovaËkim Stradunom ili uskim mediteranskim uliËicama Cavtata, KorËule, Stona… Zaplovite kristalno Ëistim morem, uæivajte u tiπini prekrasnih juænodalmatinskih uvala ili se pridruæite brojnoj publici na koncertima i kazaliπnim predstavama pod vedrim nebom. I te kako zvjezdanim nebom! Upoznajte tradiciju i bogate adrenalinske i rekreativne moguÊnosti unutraπnjosti. Obiite DubrovaËke il pak hodajte Stonskim zidinama, od kojih je duæi jedino Kineski zid. Plovite, plivajte, pjeπaËite, otiite na fotosafari - æivite punim pluÊima i uæivajte u svakom novom danu i brojnim moguÊnostima da − πto god izabrali - danaπnji dan uËinite ljepπim od juËeraπnjeg ali i sutraπnji joπ bogatijim doæivljajima od proπloga. Ta najjuænija hrvatska regija istinski je magnet!

Svevremenski grad Za mnoge, Dubrovnik je sinonim za ljepotu i zaπtitni znak hrvatskog turizma. Grad upisan u svjetsku baπtinu Unesca ali i meu vodeÊim gradovima na svjetskim rang-ljestvicama ljepote i popularnosti.

Njegovu veliËanstvenost najbolje Êete shvatiti hodajuÊi zidinama dugaËkima oko dva kilometra, πirokima od Ëetiri do πest metara te visokima oko 25 metara, koje - utvrene tvravama i pojaËane tornjevima - zaokruæuju cijeli gradski prostor.

ProπeÊite dubrovaËkim Stradunom, prepoznajuÊi nerijetko u prolaznicima pripadnike svjetskog jetseta koji se, jednako kao i vi, klanjaju ljepoti toga vjeËnoga, bezvremenskoga grada.

Iako bi bilo teπko reÊi πto je u tom gradu-spomeniku Dubrovniku ljepπe i zbog Ëega gosti viπe dolaze, nedvojbeno je da svi − uz ljepotu njegovih graevina i kvalitetu turistiËkih usluga prestiænih hotela ali i drugih oblika smjeπtaja u gradu i cijeloj regiji - uæivajte u bogatim kulturnim programima grada festivala, specifiËnoj atmosferi te njegovoj vrhunskoj enogastronomskoj ponudi.

Cijela regija − turistiËka riznica Dubrovnik je, nema dvojbe, najsnaæniji motiv za dolazak u ovu poznatu turistiËku regiju i najuvjerljivija pozivnica. Ali, ne i jedina…. Moæete ovdje imati samo svoju uvalu, uæivati u najljepπim zalascima sunca a nedugo zatim prisustvovati vrhunskim priredbama hrvatskih i svjetskih umjetnika. U konobi ili vrhunskom restoranu, uz more ili u unutraπnjosti, kao Robinzon ili kao lice s naslovnice, uæivat Êete ovdje u vrhunskoj usluzi te pamtiti boje, izvorne mirise i okuse vrijedne povratka. U bisere regije svakako se ubraja Nacionalni park Mljet, Elafitski otoci, kao i otok KorËula. Taj je posljednji postojbina putopisca i istraæivaËa Marka Pola, privlaËi mnoge turiste koji uz obalnu ponudu sve viπe otkrivaju i unutraπnjost otoka te njegova nadaleko poznata vina…KorËuli je najbliæe kopno poluotok Peljeπac i njegovo turistiËko srediπte OrebiÊ. Zbog specifiËne obalne 160

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razvedenosti i bujnoga biljnog svijeta, mnogo πume te vrijedne kulturne baπtine, zapadni dio joπ jedne prirodne atrakcije, otoka Mljeta, proglaπen je nacionalnim parkom. Na tom otoku nalazi se joπ jedan fenomen - dva jezera s morskom vodom. S obzirom na moguÊnosti hotelskog smjeπtaja i sportske rekreacije, Mljet je cijenjeno odrediπte za odmor.

I najjuæniji hrvatski gradiÊ Cavtat, nadomak Dubrovnika, prava je prigoda za odmor u idiliËnoj prirodi na istoËnom rubu Æupskog zaljeva. Bujno sredozemno i suptropsko raslinje, lijepe uvale, plaæe i okolni otoËiÊi, folklorom i moguÊnostima rekreacije bogati Konavli - sve to kao da je okvir za sliku toga æivopisnoga gradiÊa, znaËajnoga turistiËkog srediπta, ali i ishodiπta za aktivan odmor. Jedna od nedvojbenih atrakcija te regije Stonske su zidine duge Ëak 5,5 kilometara, po veliËini druge u svijetu, odmah poslije Kineskog zida. Svake godine sve viπe turista dolazi i u dolinu Neretve, kamo ih privlaËi ljepota i oËuvanost prirode, tradicija i gastronomska ponuda.

I mnogo je joπ toga πto vrijedi vidjeti, doæivjeti i, dakako, okusiti. Jednako kao i mnogi gosti koji u dubrovaËku luku, jednu od najpopularnijih na Mediteranu, dolaze kruzerima, i vi Êete - bez obzira na to dolazite li zrakoplovom, brodom ili automobilom - veÊ poslije prvog posjeta reÊi: ovamo se æelim vratiti. Doista, ta je regija istinski magnet!

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ere you can have your own bay, enjoy the most beautiful sunsets and afterwards attend excellent performances by Croatian and worldwide artists. Whether in a tavern or in a top restaurant, by the sea or in the inland like Robinson or like a famous person from a cover, you will definitely enjoy the top service remembering all the colours, scents and tastes worthy of your comeback.

- Many things of the southernmost Croatian region are worth seeing, experiencing and, of course, tasting. Just like many other guests who come here from all over the world by planes, ships or by road, after the first visit you will also be the one to say: I want to come back here. This region is a real magnet!

The region of Dubrovnik with its islands It’s a real magnet!

Enjoy a beautiful concert by world known musicians in the Kneæev dvor Palace in Dubrovnik.

Walk along the main street of Dubrovnik − Stradun − or along many narrow Mediterranean streets of Cavtat, KorËula, Ston, Sail along the crystal clear sea, enjoy the silence of beautiful southern Dalmatian bays or be a part of numerous audience that attends concerts and theatrical performances under the clear blue sky covered in stars. Discover the tradition and various recreational opportunities of the inland which make your adrenaline rise. Walk along the Walls of Dubrovnik or along the Wall of Ston - the second longest wall in the world after the Great Wall of China. Sail, swim, walk, go on a photo safari − live to the fullest and enjoy each new day as well as many possibilities so that − whatever you choose − you make the present day more beautiful than the previous one, but the next day even richer in experience than the present one. This region situated in the south of Croatia is a real magnet!

The timeless town For many people Dubrovnik is a synonym for the beauty and a trademark of Croatian tourism. The town is added to the World Heritage of UNESCO and is among the leading towns in the worldwide rank lists when it comes to its beauty and popular-

ity. You will experience and understand its magnificence by walking along the walls (length: two km, width: four to six km, height: cca 25 metres) which, fortified by fortresses and towers, encircle the entire surface of the town. Walk along the Stradun Street of Dubrovnik where you can recognise world known jetsetters who, as well as you, bow to the beauty of this eternal and timeless town.

Although it would be difficult to say what is more beautiful in this monumental town and what is the reason of numerous guests’ arrivals, it is without a doubt that − along the beauty of its buildings and the quality of tourist services in the prestigious hotels, but also in other forms of accommodation in town and in the entire region − they enjoy the rich cultural programs during the town’s festivals, its specific atmosphere and its top enogastronomic offer.

The region of Dubrovnik − a touristic treasury Being without a doubt the strongest motive for coming to this well-known touristic region, Dubrovnik itself is its most persuasive invitation.

Nevertheless, it isn’t the only one … Here you can have your own bay, enjoy the most beautiful sunsets after which you can attend excellent performances by Croatian and worldwide artists.

Whether in a tavern or in a top restaurant, by the sea or in the inland like Robinson or like a famous person from a cover, you will definitely enjoy the top service remembering all the colours, scents and tastes worthy of your comeback. The pearls of this region are: National Park of Mljet, the Elafiti Islands, as well as the Island of KorËula. The latter is a hometown of a famous travel writer and explorer Marko Polo. It attracts numerous tourists who, along the coastal offer, have been discovering the inland of the island and its well-known wines. The nearest mainland to the island is the peninsula of Peljeπac and its touristic centre of OrebiÊ. Due to its specific geographical appearance of its coast − richness in islands, peninsulas and bays − and to its lush vegetation, many forests and valuable cultural heritage, the western part of another natural attraction heritage − the Island of Mljet − is also declared a national park. The island is famous for another phenomenon − there are two lakes filled with sea water. Considering the possibilities of hotel accommodations and of sport recreation, Mljet is a denominated destination for a vacation.

The southernmost Croatian town of Cavtat, situated in the vicinity of Dubrovnik, represents a real opportunity for a vacation in an idyllic nature at the eastern edge of the Æupski Bay. Rich Mediterranean and subtropical plants, beautiful bays, beaches and nearby isles, the town of Konavli, which offers rich folklore and many recreational opportunities − represents a picture frame for this picturesque town, important as a touristic centre, but also as a destination for an active vacation.

One of the undoubted attractions of this region are the Wall of Ston with the length of even 5,5 km, which makes it the second largest wall in the world, right after the Great Wall of China. Each year more and more tourists come to the valley of Neretva attracted by the beauty and the intactness of the nature, but also by the tradition and its gastronomic offer.

There are many things worth seeing, experiencing and, of course, tasting. As well as numerous guests who arrive on cruisers in the Port of Dubrovnik, one of the most famous ports of the Mediterranean, no matter whether you arrive by plane, ship or car, after the first visit you will also say: I want to come back here. This region is a real magnet!

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Damir FabijaniÊ

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ol na otoku BraËu, ljetno odrediπte Croatia Airlinesa glasovito po Zlatnom ratu, jednoj od najsunËanijih i najljepπih plaæa na hrvatskom Jadranu, ali i πire, ovoga je ljeta domaÊin uglednim znanstvenicima iz svih krajeva svijeta, koji se ondje okupljaju na jednome od najvaænijih ovogodiπnjih skupova na svjetskoj razini. Naime, jedan od najprestiænijih ovogodiπnjih znanstvenih dogaaja iz forenziËke i antropoloπke genetike te staniËne i genske terapije 7th ISABS Conference in Forensic, Anthropologic and Medical Genetics and Mayo Clinic Lectures in Translational Medicine, odræava se u Bolu (hotel Elaphusa), od 20. do 24. lipnja. Organizatori su skupa Meunarodno druπtvo primijenjenih bioloπkih znanosti (International Society for Applied Biological Sciences, ISABS) sa sjediπtem u Republici Hrvatskoj (www.isabs. hr) i jedna od vodeÊih ameriËkih zdravstvenih institucija Mayo Clinic. Pokrovitelj je kongresa Hrvatska akademija znanosti i umjetnosti, a suorganizatori Penn State University, University of New Haven, European Science Foundation, SveuËiliπte u Splitu, SveuËiliπte u Osijeku, SveuËiliπte u Rijeci, Hrvatsko druπtvo za humanu genetiku, St. Catherine’s Hospital (Zabok, Croatia), Institute for Medical BioMathematics, The Henry C. Lee Institute of Forensic Sciences, Genos-Forensic DNA Laboratory, Eye Clinic Svjetlost, The Future Network itd.

Sluæbeni je Ëasopis Croatian Medical Journal (CMJ). Dosad je objavljeno sedam tematskih brojeva toga Ëasopisa posveÊenih kongresima ISABS-a, a u njima je publicirano viπe od 150 znanstvenih radova, koji su vrlo Ëesto citirani u vodeÊim svjetskim znanstvenim indeksima.

U radu ovogodiπnjeg skupa, koji je podræala i farmaceutska tvrtka Pliva, sudjeluje viπe od 500 polaznika i 75 predavaËa, ukupno iz 45 dræava svijeta. Meu sudionicima bit Êe i viπe od 100 studenata koji dolaze iz niza dræava, od SAD-a do Australije.

Ideju o osnivanju ISABS-ovih skupova (prije osnivanja ISABS-a 2004. skupovi su se vodili pod nazivom European − American Intensive Course in PCR Based Clinical and Forensic Testing) pokrenuo je joπ 1997. godine ugledni hrvatski znanstvenik dr. Dragan Primorac, a podræali su je i odmah se ukljuËili u rad kao suorganizatori dr. Moses Schanfield s George Washington University i dr. Stanimir

Piše/By Ksenija Žlof

Naše ljetno odredište Bol na BraËu u poËetku ljeta postalo je sjedište znanstvene elite. Najugledniji svjetski znanstvenici letjeli su zrakoplovima Croatia Airlinesa.

At the beginning of summer, our summer destination, Bol on the island of BraË, was the center of the world scientific elite. The most distinguished world scientists flew on Croatia Airlines’ aircraft.

Vuk-PavloviÊ s klinike Mayo. Meunarodno druπtvo primijenjenih bioloπkih znanosti, svjetske prepoznatljivosti, neprofitna je udruga osnovana s ciljem promicanja, razvitka i unapreenja primijenjenih bioloπkih znanosti, osobito u podruËjima kliniËke i molekularne medicine, molekularne biologije (genetike, genomike i proteomike), forenziËkih znanosti i biotehnologije.

U radu kongresa tradicionalno sudjeluju vodeÊi svjetski struËnjaci iz podruËja kliniËke i molekularne medicine, iz poznatih svjetskih institucija poput Mayo Clinic, Cleveland Clinic, Harvard School of Medicine, University of New Haven, National Institutes of Health (NIH), Max Planck Institute, Thomas Jefferson University, Hadassah Medical Center, Weizmann Institute of Science, George Washington University, Baylor College of Medicine, Penn State University, Federal Bureau of Investigation-FBI, Armed Forces DNA Identification LaboratoryAFDIL, Technion-Israel Institute of Technology, International Commission on Missing Persons (ICMP), Connecticut State Police, Penn State University i mnoge druge.

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Od prvoga kongresa odræanoga u Splitu 1997. godine pa do danas (Split 1997., 2007. i 2009., Dubrovnik 2001. i 2005., te Zagreb 2003. godine), u radu kongresa sudjelovalo je viπe od 2000 sudionika i 200 predavaËa, ukupno iz πezdesetak dræava. Prepoznatljivost je kongresa i u tome πto u njegovu radu sustavno sudjeluju i dobitnici Nobelove nagrade (dosad su kao predavaËi sudjelovali dr. Robert Huber i dr. Richard J. Roberts), a za ISABS-ov kongres 2013. godine potvreno je sudjelovanje dr. Ade Yonath, dobitnice Nobelove nagrade za 2009. godinu.

Teme ovogodiπnjeg kongresa iz podruËja forenziËkih znanosti ukljuËuju analizu DNA u sudsko-medicinskoj praksi, analizu biljne i æivotinjske DNA radi forenziËkih vjeπtaËenja, vrijednosti DNA baza podataka u otkrivanju poËinitelja kaznenih dijela, molekularnu antropologiju i istraæivanje podrijetla naroda, DNA identifikacije ærtava masovnih katastrofa, itd.

U radu forenziËkog dijela skupa puna Ëetri dana vodeÊi ameriËki forenziËari iz Penn State University, University of New Haven, New York State Police, Connecticut State Police, George Washington University, Harvard University, University of California-Davis raspravljat Êe o novim tehnologijama i postupcima u borbi protiv organiziranog kriminala i meunarodnog terorizma. Jedan je od predavaËa i dr. Henry

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Lee, jedan od najpoznatijih svjetskih forenziËara, poznat po rjeπavanju najkompleksnijih sluËajeva od kojih su struËnjaci davno digli ruke zbog nedostatka dokaza. Legendarni je istražitelj poznat po tome što pronalazi i najsitnije tragove. U posljednjih 40 godina Lee je sudjelovao u istragama više od 6000 sluËajeva, meu kojima su bili zloËini u Bosni i Hrvatskoj, samoubojstvo Vincea Fostera, bivšega pravnog savjetnika u Bijeloj kuÊi za vrijeme Clintonove administracije, revizija atentata na predsjednika Johna Kennedyja te smrt JonBennet Ramsey.

Od ranih devedesetih godina dr. Henry Lee, u suradnji s hrvatskim forenziËarima, posebice s vodeÊim hrvatskim struËnjakom za forenziËku genetiku dr. Draganom Primorcem, ukljuËen je u procese identifikacije skeletnih ostataka pronaenih u masovnim grobnicama u Hrvatskoj i Bosni i Hercegovini. PredavaË je i dr.

Mitchel Holland, direktor forenziËkog programa na Penn State University, jedan od vodeÊih svjetskih znanstvenika za analizu mitohondrijske DNA, koji je niz godina radio kao direktor DNA laboratorija u sklopu Instituta za patologiju ameriËke vojske u Rockwilleu, gdje su se prvi put metodom DNA identificirali skeletni ostaci pronaeni u Vijetnamu i Koreji.

U radu forenziËkog dijela skupa sudjelovat Êe i Christopher Asplen, pomoÊnik dræavne od-

vjetnice SAD-a, tijekom mandata Janet Reno, koji je imao veliku ulogu u rjeπavanju zakonskih okvira pri uvoenju forenziËke analize DNA u SAD-u. Obnaπao je i duænost direktora Nacionalnog povjerenstva za forenziËku DNA analizu u SAD-u. Povjerenstvo je imalo kljuËnu ulogu u implementaciji DNA tehnologija u kaznenopravnom sustavu SAD-a.

Osobito zanimljivo izlaganje u vezi je s radom dr.

Manfreda Kaysera (University Medical Center Rotterdam, Netherlands), koji Êe odræati predavanje o temi Human Appearance: Genetic Basis, DNA Prediction, and Forensic Application. Dr. Kayser, kao vodeÊi svjetski struËnjak iz podruËja Forensic DNA phenotyping, bavi se istraæivanjem razliËitih aspekata biologije i genetike, koji mogu razviti nove moguÊnosti u rjeπavanju do sada nerazrijeπenih forenziËkih sluËajeva. Uspio je mapirati gene vaæne za odreivanje boje oËiju, i na osnovi toga razvio test za forenziËku aplikaciju na temelju Ëega se moæe lakπe identificirati poËinitelj kaznenog djela.

U kliniËkom dijelu kongresa ove Êe se godine posebno obraditi novi molekularni postupci i metodologije pri ranoj dijagnostici karcinoma, kliniËko znaËenje cirkulirajuÊih tumorskih stanica, imunoterapija u lijeËenju karcinoma, novi postupci u lijeËenju side, genska i staniËna terapija u regeneraciji hrskaviËnoga i koπtanog

tkiva, primjena nanotehnologije u medicini, neinvazivna prenatalna dijagnostika, staniËna terapija nakon infarkta miokarda, individualizirana medicina.

Osobito zanimanje vlada za sekciju iz antropoloπke genetike, gdje Êe vodeÊi svjetski znanstvenici iz ovog podruËja, poput dr. Petera Underhilla (University of Stanford, USA), dr.

Eskea Willersleva (University of Copenhagen, Denmark), dr. Marka Stonekinga (Max Planck Institute, Germany), dr. Richarda Villemsa (University of Tartu, Estonia), predstaviti najnovije rezultate analize Y kromosoma i mitohondrijske DNA u svrhu istraæivanja podrijetla naroda.

Tematski broj Croatian Medical Journala objavit Êe i dugo oËekivani pregledni Ëlanak dr. Dragana Primorca, dr. Damira MarjanoviÊa, dr. Pavla Rudana, dr. Petera Underhilla i dr. Richarda Villemsa o genetskom podrijetlu Hrvata. U toj sekciji predavanja Êe odræati i dr. Pavle Rudan (Croatian Academy for Art and Sciences, Croatia) te dr. Kristin Young (University of Kansas, Medical Center, USA).

U skladu s dosadaπnjom tradicijom, meu sudionicima skupa koji su prijavili saæetak u sklopu neke od kongresnih tema, odabrat Êe se najbolji mladi znanstvenici koji Êe dobiti priliku za usmenu prezentaciju svoga rada, a uz to Êe im biti dodijeljeno osobito

priznanje kao i atraktivna novËana nagrada.

Informacije o odræavanju kongresa, kao i prethodnih godina, objavljene su u znaËajnim svjetskim znanstvenim kalendarima kao πto su Nature Events (Nature Publishing Group), Academy News (American Academy of Forensic Sciences), EMBO events list (European Molecular Biology Organization) itd. Najave kongresa kao i zbivanja tijekom njegova odræavanja uvelike su medijski popraÊeni u Hrvatskoj i inozemstvu u obliku dnevnih vijesti, opseænih tematskih priloga, posebnih televizijskih emisija s gostovanjem eminentnih znanstvenika predavaËa, njihovih intervjua u ilustriranim tjednicima i sl. n

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ol, a resort on the Island of BraË, is the Croatia Airlines summer destination.

Its claim to global fame is the so-called Golden Horn or Zlatni Rat as the locals call it, arguably one of the most sun drenched and most beautiful beaches on the Croatian side of the Adriatic coast and even further afield. This year, it plays host to prominent scientists from all over the world who gather there for one of this year’s most important global meetings.

Namely, one of the most prestigious scientific events dealing with the topics of forensic and anthropological genetics and cell and gene

therapy, the 7th ISABS Conference in Forensic, Anthropologic and Medical Genetics and Mayo Clinic Lectures in Translational Medicine is held in Bol (Hotel Elaphusa) between 20th and 24th June. The organizers of the conference are the International Society for Applied Biological Sciences (ISABS) based in the Republic of Croatia (www.isabs.hr) and one of the leading American healthcare institutions, the Mayo Clinic. The patron of the meeting is the Croatian Academy of Sciences and Arts and its co-organizers are Penn State University, the University of New Haven, the European Science Foundation, the University of Split, the University of Osijek, the University of Rijeka, the Croatian Society for Human Genetics, St. Catherine’s Hospital (Zabok, Croatia), the Institute for Medical BioMathematics, The Henry C. Lee Institute of Forensic Sciences, the GenosForensic DNA Laboratory, the Eye Clinic Svjetlost, The Future Network, and others. The Croatian Medical Journal (CMJ) is its official magazine. So far, seven CMJ issues dedicated to the topics of ISABS conferences have published 150 scientific papers which are regularly cited in leading scientific indexes all over the world.

This year, the meeting supported by Pliva Pharmaceuticas, gathers over 500 participants and 75 lecturers from a total of 45 countries all around the world. The list of participants

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includes over 100 students who will come from a number of different countries, spanning the globe from the USA to Australia.

The idea of ISABS conferences (before the ISABS was established in 2004, the gatherings were organized under the name European − American Intensive Course in PCR Based Clinical and Forensic Testing) is the brainchild of Croatian scientist Dr. Dragan Primorac, who launched it in 1997. The idea was supported by Dr. Moses Schanfield from George Washington University and Dr. Stanimir Vuk-PavloviÊ from the Mayo Clinic, who immediately became involved in the project as its co-organizers, as well as the International Society for Applied Biological Sciences (ISABS), a globally recognized non-profit organization founded to promote, enhance and extend research, development and education in molecular biology as applied to clinical and molecular medicine, particularly focusing on molecular genetics, genomics, proteomics, forensic and anthropological genetics, and biotechnology.

It has become a tradition for leading international experts in the area of clinical and molecular medicine to participate in the work of the ISABS conferences. They come from prominent institutions from across the world, such as the Mayo Clinic, the Cleveland Clinic, Harvard School of Medicine, the University of New Haven, the National Institutes of Health (NIH), the Max Planck Institute, Thomas Jefferson University, the Hadassah Medical Center, the Weizmann Institute of Science, George Washington University, Baylor College of Medicine, Penn State University, the Federal Bureau of Investigation-FBI, the Armed Forces DNA Identification Laboratory-AFDIL, the Technion-Israel Institute of Technology, the International Commission on Missing Persons (ICMP), the Connecticut State Police, Penn State University and many others.

Since the first conference in Split in 1997 until the present day (Split 1997, 2007 and 2009, Dubrovnik 2001 and 2005, and Zagreb 2003), over 2,000 participants and 200 lecturers from a total of some 60 different countries have taken part in the work of the conferences.

The high profile that the conference enjoys lies also in the fact that its work is systematically supported and involves the engagement of Nobel Prize winners (so far, Dr. Robert Huber and Dr. Richard J. Roberts have participated as lecturers). The participation of Dr. Ada Yonath, a Nobel Prize winner in 2009, has already been confirmed for the 2013 ISABS conference.

The topics of this year’s conference on forensic sciences include forensic DNA analysis, genetic analysis of forensic non-human material, forensic DNA databases and their role in the 166

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detection of perpetrators of crime, molecular anthropology and the analysis of ancient DNA in the study of the origins of peoples, the DNA analysis of victims of mass disasters, etc.

Throughout the entire four days of the forensic part of the conference, leading American forensic experts from Penn State University, the University of New Haven, the New York State Police, the Connecticut State Police, George Washington University, Harvard University and the University of California-Davis will discuss new technologies and procedures used in fighting organized crime and international terrorism.

One of the lecturers is also Dr. Henry Lee, one of the leading practitioners of forensic science, famous for solving even the most complicated cold cases that had been long abandoned by many other experts due to the lack of evidence.

The legendary investigator is known for finding the tiniest clues. Over the past 40 years, Lee assisted in the investigations of more than 6,000 cases, including war crimes in Bosnia and Herzegovina and Croatia, the suicide of President Clinton’s former White House attorney, Vince Foster, a review of the JFK assassination, and the death of JonBennet Ramsey. Since the early 90s, Dr. Henry Lee has worked with Croatian forensic experts, particularly with the leading Croatian authority on forensic genetics, Dr. Dragan Primorac. He has been involved in the processes of identifying skeletal remains that were found in the mass graves in Croatia and Bosnia and Herzegovina. One of the lecturers is also Dr. Mitchel Holland, Director of Forensic Science at Penn State University and one of the leading international experts in mitochondrial DNA analysis. For a number of years, Dr. Holland held the position of Director of the DNA Identification Laboratory Armed Forces Forensic Laboratory (AFDIL) in Rockville. Dr. Holland was responsible for the DNA-assisted identification of the skeletal remains of the soldiers who had been killed in Vietnam and Korea.

Another expert who will participate in the forensic part of the conference is Christopher Asplen, a former assistant US attorney for Janet Reno, who played a major role in drafting laws on forensic analysis in the USA. He was also appointed as the Executive Director of the National Commission on the Future of DNA Evidence in USA. The commission’s mission was to maximize the potential of DNA technology in the criminal justice system.

A particularly interesting presentation will be based on the work of Dr. Manfred Kayser (University Medical Center Rotterdam, the Netherlands). The topic of his lecture is Human Appearance: Genetic Basis, DNA Prediction, and Forensic Application. Dr. Kayser is a leading international expert on forensic DNA phenotyp-

ing. He investigates various aspects of human biology and genetics that potentially provide solutions to currently unsolvable questions in forensics. For instance, he mapped genes involved in eye color, demonstrated that a few genetic markers are sufficient to accurately estimate eye color from DNA and developed a forensically validated DNA test for eye color prediction available for practical applications.

This year, the clinical part of the conference will deal particularly with new molecular procedures and methods for the early diagnosis of cancer; the clinical importance of circulating tumor cells; cell cancer immunotherapy; new methods in the treatment of AIDS; gene and cell therapy for the regeneration of cartilage and bone tissue; the use of nanotechnology in medicine; non-invasive prenatal diagnostics; cell therapy for cardiac arrest and individualized medicine.

A lot of interest has been expressed in the section on anthropological genetics. Leading global experts in the field, such as Dr. Peter Underhill (University of Stanford, USA), Dr. Eske Willerslev (University of Copenhagen, Denmark), Dr. Mark Stoneking (Max Planck Institute, Germany) and Dr. Richard Villems (University of Tartu, Estonia) will present the most recent results of Y chromosome and mitochondrial DNA analysis in the investigation of the origins of peoples. A thematic issue of the Croatian Medical Journal will publish the long-awaited review by Dr. Dragan Primorac, Dr. Damir MarjanoviÊ, Dr. Pavle Rudan, Dr. Peter Underhill and Dr. Richard Villems on the Genetic Origin of Croats. During this section, lectures will also be given by Dr. Pavle Rudan (Croatian Academy of Sciences and Arts) and Dr. Kristin Young (University of Kansas, Medical Center, USA).

In keeping with tradition, the best young scientists will be selected among the authors who have submitted abstracts about one of the conference topics. They will have the opportunity to present their papers, and they will also receive a special certificate and an attractive monetary reward.

Just like the years before, conference announcements have been published in the most significant international scientific calendars such as Nature Events (Nature Publishing Group), Academy News (American Academy of Forensic Sciences), EMBO Events List (European Molecular Biology Organization), etc. So far, conference announcements and the conference itself have had exceptionally big media coverage in Croatia and abroad in terms of daily reports and news, extensive thematic stories, special television shows with prominent scientists and lecturers as guests, as well as their interviews in illustrated magazines, etc. n

Ugledna svjetska imena na okupu Top-notch professionals’ get-together U forenziËkom dijelu skupa predavanje Êe odræati i jedan od vodeÊih autoriteta iz podruËja forenziËke genetike / In the part dedicafed to forensics lectures will be given by a number of speakers, including dr. Moses Schanfield (George Washington University, USA), dr. Timothy Palmbach, direktor forenziËkog programa pri University of New Haven / Director of Forensic Science at University of New Haven, dr. Zoran Budimlija (Office of Chief Medical Examiner, New York), dr. Cassandra Calloway (Children’s Hospital and Oakland Research Institute, USA), dr. Katja DrobniË (Forensic Science Center, Ministry of Interior, Slovenia), dr. Edwin Huffine (Bode Technology Group, USA), dr. Dragan Primorac (University of Split, University of Osijek, Croatia, The Pennsylvania State University, University of New Haven USA), dr. ©imun AnelinoviÊ (University Hospital Split), dr. Damir MarjanoviÊ (Institute for Genetic Engineering and Biotechnology, Sarajevo), dr. Erin

(Regenerative Medicine, USA), dr. Giulio Pompilio (Univer-

Williams (The Congressional Research Service, USA), dr.

sity of Milan, Italy), dr. Mahendra Rao (Life Technologies

Federation), dr. Gordan Lauc (University of Zagreb, Cro-

Daniel Vanek (Forensic Science Center, Prague), dr. Fred

Corporation, USA), dr. Moran Elishmereni (Institute for

atia), dr. Erdmann Rapp (Max Planck Institute, Germany),

Bieber (Harvard School of Medicine, USA), koji je radio na

Medical BioMathematics, Israel), dr. Yuri Kogan (Institute

dr. Manfred Wuhrer (Leiden University, The Netherlands),

identifikaciji ærtava nakon teroristiËkog napada na svjetski

for Medical BioMathematics, Israel), dr. Gunnar Kvalheim

dr. Hakon Leffler (Lund University, Sweden).

trgovinski centar / who was involved in the identification

(Norwegian Radium Hospital, Norway), dr. Boris Martinac

of victims after the terrorist attack on the World Trade

(Victor Chang Cardiac Research Institute, Australia).

Center, dr. Marilyn Menotti-Raymond (National Cancer

Tijekom kliniËkog dijela skupa vodeÊi struËnjaci iz Izraela

Institute, USA) i/and dr. Sree Kanthaswamy, (University

/ During the clinical part of the conference leading Israeli

of California, Davis, USA), koji Êe prezentirati najnovije

expertes dr. Eliezer Shalev (Technion-Israel Institute of

rezultate u analizi æivotinjske DNA u forenziËke svrhe / who

Technology), dr. Ron Tepper (Sapir Medical Center, Israel),

will present the most recent developments in the forensic

dr. Stavit Shalev (Technion-Israel Institute of Technology),

analysis of animal DNA, dr. Antti Sajantila (University of

dr. Esther Guetta (Sheba Medical Center), dr. Simcha

Helsinki, Finland) govorit Êe o vaænosti farmakogenomike

Yagel (Hadassah Medical Center) i/and dr. Ofer Klein

pri forenziËkim vjeπtaËenjima / who will speak about the

(Rebecca Sieff Medical Center and BioCep), posebno

significance of pharmacogenomics in forensic analyses,

Êe obraditi nove postupke i metodologije u neinvazivnoj

dr. Theresa Caragine, (Chief Medical Examiner, New

prenatalnoj dijagnostici / will specially deal with new proce-

York, USA), govorit Êe o analizi DNA u vrlo kompleksnim

dures and methods for non-invasive prenatal diagnostics..

sluËajevima pronalaæenja mjeπavina bioloπkih tragova

European Science Foundation sponzorira cijelu sekciju

više poËinitelja kaznenih djela / who will discuss the issue

posveÊenu razumijevanju glikolizacije proteina u svrhu di-

of DNA analysis in very complex cases with biological

jagnostike i terapije, a u radu sekcije sudjeluju prominentni

evidence belonging to several different perpetrators.

znanstvenici / The European Science Foundation is the

Dr. Carol Henderson, (Stetson University, USA) i bivπa

sponsor of the entire section of the conference dedicated

predsjednica AmeriËke akademije za forenziËke znanosti

to the understanding of the glycolysation of proteins for

/ a former president of the American Academy of Forensic

diagnostic and therapeutic purposes. The work of this

Sciences (American Academy of Forensic Sciences) i/and

section will involve prominent scientists such as dr. Pauline

dr. David Kaye (Penn State University, USA) govorit Êe o

Rudd (The National Institute for Bioprocessing Research

legalnim aspektima forenziËke DNA analize / will discuss

and Training, Ireland), dr. Thierry Hennet (University of

the legal aspects of forensic DNA analysis.

Zurich, Switzerland), dr. Nicolai Bovin (Shemyakin and

Ovchinnikov Institute of Bioorganic Chemistry, Russian

Mitch Holland, Dragan Primorac

U kliniËkom dijelu kongresa predavanja Êe odræati vodeÊi struËnjaci s Mayo Clinic / In the clinical part of the conference lectures will be held by leading experts from the Mayo Clinic (dr. Dennis Gastineau, dr. Matthew Ferber, dr. Jean-Pierre Kocher, dr. Andre Terzic, dr. George Vasmatzis, dr. Duπica BaboviÊ-VuksanoviÊ, dr. David Smith, dr. Karmen Terzic, dr. Stanimir Vuk-PavloviÊ), s/with Harvard School of Medicine (dr. Christopher Evans, dr. Arezou Ghazani, itd.), te/and dr. Malcolm Brenner (Baylor College of Medicine, USA), dr. Giorgio Palu (University of Padova, Italy) s/with dr. Doron Lancet (The Weizmann Institute of Science, Israel), dr. Marc Penn (Cleveland Clinic, USA), dr. Daniela Steinberger (Justus Liebig University, Germany), dr. Henning Madry (Saarland University Hospital, Germany), s/with dr. Henryjem Erlichom (Roche Molecular Systems, USA), dr. Karin HaLevi (Institute for Medical BioMathematics, Israel), dr. Samuel Volchenboum (University of Chicago, USA), dr. George Wu (University of Connecticut, Health Center, USA), dr.

Stipan JonjiÊ (Faculty of Medicine-University of Rijeka, Croatia), dr. Zwi Berneman (University of Antwerp, Belgium), dr. Filippo Castiglione (NRC Institute for Computing Applications, Italy), dr. Artemis Simopoulos (The Center for Genetics, Nutrition and Health, USA), dr. Robert Deans

Nobelovac dr. Robert Huber, dr. Dragan Primorac i jedan od vodeÊih svjetskih forenziËara dr. Henry Lee CROATIA AIRLINES

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VodiË za dobar tek

Gourmet guide Konoba Amoret Desestogodiπnja tradicija najbolja je pozivnica za posjet konobi Amoret na poËetku boravka u Dubrovniku, jer zacijelo Êete se poæeljeti vratiti. U starom gradu, uz jedan od najpoznatijih prizora s dubrovaËke razglednice, baroknu katerdralu, konoba Amoret nudi uæitak objedovanja s prekrasnim pogledom. VeËera uz svijeÊe i æivu akustiËnu glazbu uËinit Êe taj prizor joπ dojmljivijim, a vaπ posjet posebnim doæivljajem.

With its decade long tradition, Amoret is a place best visited at the beginning of your stay in Dubrovnik. After all, you will surely be looking to come back. Located next to one of Dubrovnik’s most famous sights, the Baroque style Cathedral, Restaurant Amoret offers a chance to enjoy a wonderful view while enjoying your meal. Evening dining accompanied by candle light and live acoustic music makes the scenery even more magical and your visit a very special experience.

Od Pustjerne bb, Dubrovnik, tel./fax. 020 323 739, mob. 099 2121751; 098 427 382 e-mail: abitanga@gmail.com Victoria Restaurant Nenadmaπan pogled na dubrovaËke zidine i gradsku jezgru upotpunit Êe idilu vaπe veËeri u restoranu Victoria, a izbor s jelovnika nikoga neÊe ostaviti ravnoduπnim. KoristeÊi samo svjeæe i, po moguÊnosti, organski uzgojene namirnice, naπ kuharski tim osmislio je maπtovita jela koja Êe nagraditi vaπa osjetila.

Enjoy magnificent views of Dubrovnik’s Old City from one of the most enchanting restaurants on the Adriatic coast. Victoria’s menu concept is simple - we use the freshest ingredients, local produce and organic products whenever possible. Our chefs’ imaginative signature dishes will delight your senses. If you are a globally conscious gourmand, come discover how delicious sustainable farming can be.

Frana Supila 14, Dubrovnik, tel. 020 440 555 www.victoria-restaurant.com Spinaker Seafood Grill Novootvoreni restoran Spinaker pravo je otkriÊe za ljubitelje ribe i morskih specijaliteta.

Smjeπten uz samu obalu mora na cavtatskoj πetnici i okruæen borovom πumom, taj ekskluzivni restoran nudi ponajbolji izbor svjeæe ulovljene ribe i dalmatinskih specijaliteta u istinskome mediteranskom ugoaju prekrasnoga cavtatskog zaljeva.

Seafood lovers will adore this newly renovated restaurant. Experience a true Mediterranean summer at Spinnaker Seafood Grill with locally caught fish and grilled specialties inspired

by Dalmatian cuisine. Spend an afternoon or evening tucked away at a cozy table along the seashore, surrounded by pine trees, right on the town promenade, enjoying the fresh breeze and splendid views of Cavtat Bay. Gentle waves are just a stone’s throw away...

Frankopanska 10, Cavtat, tel. 020 475 555 www.hotelcroatia.hr Pizzeria Baracuda Od otvorenja 1979. godine, Baracuda je jedna od najcjenjenijih i najjeftinijih pizzeria u gradu.

Tik uz Stradun, pizzeria nudi tjesteninu (lasagne, πpagete) salate, zajutrak kao i uobiËajeni izbor pizza za cijelu obitelj. Nije stoga Ëudno πto je pizzeria Baracuda omiljena cijelo ljeto.

In business since 1979, this is the city’s most revered, and one of its cheapest, pizzerias.

Set just off Stradun, it serves pastas (lasagne, spaghetti), salads and breakfasts as well as the usual family-friendly range of pizzas that makes this a popular place all summer long.

Nikole BoæidareviÊa 10, Dubrovnik, tel. 020 323 160

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VodiË za dobar tek

Gourmet guide Restoran Nova Restoran Nova veganski je restoran, koji veÊ dvadeset godina spravlja veganska jela prema makrobiotiËkim naËelima. Zaljubljenike u vegansku kuhinju, no i mnoge ljubitelje zdravih i ukusnih jela, oduπevljava originalnim specijalitetima. Njegove su posebnosti: uvijek svjeæa jela spravljena od organskih namirnica, zdrave i ukusne slastice bez πeÊera, organski sladoled, organska vina i napitci. Pogodan i za proslavu roendana, poslovne sastanke ili kratak predah od uæurbane svakodnevice.

The vegan restaurant Nova has been offering vegan macrobiotic dishes for 20 years.

Its original recepies never cease to delight vegan cuisine lovers as well as all those who value healthy and tasteful food. The restaurant’s specialites are dishes made of organically grown ingredients, healthy and deliciously tasting desserts without sugar, organic ice creams, organic wines and beverages.The restaurant is more than accommodating to host birthday parties, business meetings or patrons needing a short break from the hustle and bustle of everyday life.

Ilica 72/1, Zagreb, tel. 01 4810 059, www.novarestoran.com.hr Restoran Wine Vault Svojim gostima nudi enofokusiran gastronomski doæivljaj koji spaja tradicionalnu francusku kuhinju i bogatu vinsku kartu s viπe od 550 razliËitih etiketa iz Hrvatske i svijeta. Doæivite kulinarsku pustolovinu i ljepotu malog remek-djela na tanjuru u ambijentu stvorenome za hedonistiËku relaksaciju.

The Wine Vault Restaurant offers its guests an enologically focused, gastronomic experience that blends traditional French cuisine with an abundant wine list containing more than 550 different labels from Croatia and the world. Experience the culinary adventure and the beauty of a small masterpiece on your plate in an ambience perfect for hedonistic relaxation.

A. Smareglie bb, Rovinj, tel. 052 636 017 e-mail: winevault@maistra.hr, www.winevault.com.hr Restaurant Kanova Kempinski Hotel Adriatic Prvi hrvatski luksuzni Golf & Spa resort na moru, Kempinski Hotel Adriatic, odiπe uspjeπnom fuzijom suvremenoga luksuznog dizajna i tradicionalnih istarskih obiËaja. Smjeπten tik uz more, restoran Kanova nudi izvorni istarski gastronomski ugoaj s otvorenim ognjiπtem, roπtiljem i terasom. U skladu s podnebljem i sezonalnoπÊu proizvoda restoran nudi specijalitete poput tartufa, mesa istarskog goveda boπkarina, ribljih specijaliteta, sve to uz veliki izbor kvalitetnih vina i djeviËanskog maslinovog ulja.

The first Croatian luxurious seaside Golf & Spa resort, the Kempinski Hotel Adriatic is a successful fusion of contemporary luxurious design and traditional Istrian customs.

Located on the seashore, the restaurant Kanova offers an authentic Istrian gastronomic atmosphere in a setting featuring an open fireplace with a grill and a terrace. In keeping with the climate and seasonality of local ingredients, the restaurant offers specialties such as truffles, the Istrian boπkarin beef, fish specialties, accompanied by a wide choice of high quality wines and virgin olive oil.

Kempinski Hotel Adriatic, Alberi 300 A, Savudrija, tel. 052 707 000 www.kempinski.com/istria Restaurant Kralj Tomislav Restoran Kralj Tomislav u Sheraton Zagreb Hotelu vaπe je idealno mjesto bilo za poslovno druæenje, obiteljski ruËak ili intimnu veËeru, jer kulinarske je delicije najbolje podijeliti uz Ëaπu vina i u dobrom druπtvu u tom restoranu. Vrhunski i nagraivani kuhari pred vama pripremaju slasne obroke i jela s roπtilja. Uza zvuke klavira, restoran Kralj Tomislav pravo je mjesto za zabavu i druæenje.

Restoran Kralj Tomislav in the Sheraton Zagreb Hotelu is your ideal place for informal business meeting, family lunch or an intimate dinner. Because culinary delights are better when shared. Wine and dine at the King Tomislav restaurant and share a delicious meal over a glass of wine.

Sheraton’s internationally recognised and multi-award winning chefs prepare exquisite meals and grilled dishes utilising the show-cooking concept at the restaurant. Enjoy the live piano music and share the beautiful moments at King Tomislav restaurant.

Kneza Borne 2, Zagreb, tel. 01 4599 129 e-mail: restaurant.KraljTomislav@sheraton.com CROATIA AIRLINES

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■ POZNATI U NA©EM ZRAKOPLOVU CELEBRITIES IN OUR AIRCRAFT

Ivo Gamulin Gianni, tenor, osvojio je hrvatsku scenu. Nadasve je skroman u svom uspjehu, iako je pred njim svjetska karijera.

Ivo Gamulin Gianni, tenor, having conquered the Croatian scene, remains above all humble in his success, even with an international career awaiting him.

Tekst i fotografije / Text and Photos Star travel

Z

atvorite oËi....

Zamislite anele ....

Zamislite njihovu pjesmu....

A onda zamislite glas...

Glas koji vam govori o ljepoti æivota, glas koji predvodi aneoski zbor...

Glas koji daje æivot, kao πto Sunce obasjava bilje, kao πto Ljubav iz dana u dan poraa Svijet.

Zamislite svjetlost dok æmirite. Svjetlost u mraku.

Zamislite i posluπajte Ivu Gamulina Giannija....i vidjet Êete Svijet.

Iako ga ne vidite, osjetit Êete Raj premda ga ne vidite, osjetit Êete Ljubav makar je ne vidite, osjetit Êete Mir, iako ga moæda ne osjeÊate....

Kad se meu nama rodi onaj koji je oznaËen boæanskim darom, onda svi moramo uæivati u njegovu daru, onda svi moramo biti sretni 170

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sluπajuÊi ga, onda svi trebamo uæivati u blagodati njegova talenta.

Ivo Gamulin Gianni potjeËe iz skromne otoËke obitelji, a æelio je biti sveÊenik i predavati glazbu. Ali, æivot ga je uputio prema Zagrebu, gdje je postao Ëlan ansambla Hrvatskoga narodnog kazaliπta. Kad je upoznao svoga sadaπnjeg menadæera Alena KljuËe, put mu se promijenio te u suradnji s mnogim nadarenim umjetnicima u Hrvatskoj, a osobito s prepjevima velikih mainsream hitova, postaje jedan od vodeÊih hrvatskih pjevaËa.

Pod svjetlima reflektora osjeÊa se suvereno.

Lijepo je bio doËekan i kao najmlai od petero braÊe u velikoj jelπanskoj obitelji. Posebice je bio miljenik oca Giannija, Ëije ime njegov raspjevani sin nosi kao umjetniËko, a i malo ga tko zove Ivo. Publiku u metropoli naviknuo je na vrhunske solistiËke koncerte, uvijek u druπtvu velikih dama glazbe, od Tereze Kesovije, Radojke ©verko, Doris DragoviÊ, Valentine FijaËko...do svjetski poznate Glorije Gaynor s kojom je za svoj novi nosaË zvuka, zvan BoæiÊna priËa, snimio u duetu pjesmu The First Noel. Slavna po diskohitu I Will Survive s Giannijem je pjevala na njegovu blagdanskome prosinaËkom koncertu u Lisinskom 2010., a ovoga Êe ljeta odræati dva zajedniËka koncerta na hrvatskoj obali: 3. kolovoza u Bolu na otoku BraËu u sklopu luksuznog kompleksa Bluesun hotels i resorts te 6. kolovoza u veliËanstvenoj pulskoj Areni. Tako Gianni samo uËvrπÊuje svoju reputaciju kao ambasador hrvatskog turizma.

Osim solo turneje koja obuhvaÊa dvadesetak hrvatskih gradova, Gianni je osobito ponosan na ove zahtjevne projekte i nastavak suradnje s Glorijom Gaynor.

Anna Oxa, Natalie Cole i spomenuta Gloria Gaynor bile su njegove goπÊe na dosadaπnjim gala koncertima, a i za kraj godine Gianni priprema iznenaenje, no dok ugovori nisu potpisani, neÊe spomenuti ime dive koju Êe dovesti u Zagreb.

Neki bi, moæda, na njegovu mjestu izigravali muπiÊavu zvijezdu, razbacivali se medijski priËama o visokim honorarima, bili distancirani od svakodnevice i svijeta oko sebe, no Gianni je uistinu samozatajnik, skroman Ëovjek koji se najugodnije osjeÊa kad jutrom pjeπke krene sljemenskom πumom.

O sebi Gianni kaæe: − Nikad nisam teæio nekim velikim uspjesima.

U æivotu su me uvijek zadovoljavale male stvari, sitnice koje su me u tom trenutku usreÊile i na neki naËin ispunjavale moj duh.

Danas, kad se osvrnem, vidim da su te male stvari u biti bile veliki koraci koji su me doveli tu gdje sam, do ovih uspjeha. Mnogi moji snovi ne bi bili ostvareni da nisam imao potporu prijatelja, glazbenika i svih onih koji su mi na razliËite naËine pomagali u izgradnji karijere. »ovjek je samo Ëovjek i vjerujuÊi u svoja stremljena ide dalje, kao ptica koja iskuπava let, kao bilo tko od nas koji nastoji biti sve bolji i sretniji. Ivo Gamulin Gianni moæe nas sve nauËiti da naπ izbor nije jedino πto od æivota oËekujemo... I ne oËekujuÊi, idemo dalje, onamo kamo pripadamo, gdje sretna zvijezda i naπ aneo Ëuvar Ëekaju na nas. n

C

lose your eyes.

Imagine angels.

Imagine their song.

And then imagine a voice.

A voice telling you about the beauty of life, a voice leading the angelic choir.

A voice that gives life, like the Sun shines on the plants, like Love gives birth to the World day after day.

Imagine a voice coming to you from God, imagine the sound that connects you with the being itself, with your own being.

Imagine a light as you close your eyes. A light in the dark.

Imagine and listen to Ivo Gamulin Gianni... and you will see the World.

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You will feel Heaven even if you may not see it, you will see Love even if you may not see it, you will feel Peace even if you may not feel it.

When someone who is marked by a gift of God is born among us, then we must all enjoy his gift, then we must all be happy listening to him, then we must all enjoy the blessings of his talent.

Ivo Gamulin Gianni was born into a humble family on an island, he wanted to become a priest and teach music. However, life took him to Zagreb, where he became a member of the Croatian National Theatre ensemble.

His path changed completely when he met his current manager, Alen KljuËe, who recognized his talent. Working with many talented Croatian artists, he created remakes of mainstream hits and became a of leading Croatian vocalist.

He feels at home in the spotlight, like a prince, which is how he was welcomed into his large family in the town of Jelsa. The youngest of five brothers, he was the favourite of his father, Gianni, whose name has become his stage name; very few people call him Ivo today.

Zagreb audiences are used to his dazzling performances, always accompanied by the great ladies of music, from Tereza Kesovija, Radojka ©verko, Doris DragoviÊ and Valentina FijaËko to world-famous Gloria Gaynor, with whom he recorded the duet The First Noel for his new record BoæiÊna priËa (The Christmas Story). Famous for her disco-hit I Will Survive, Gloria sang with Gianni at his Christmas concert at the Lisinski Hall in December 2010, and this summer the pair plan to hold two concerts on the Croatian coast: on 3 August in Bol on the island of BraË, at the luxury Bluesun Hotels & Resorts, and on 6 August at the magnificent Pula Arena. This is yet another example of Gianni being a true ambassador of Croatian tourism. Besides a solo tour covering twenty Croatian towns, Gianni is particularly proud of these demanding projects and his continued cooperation with Gloria Gaynor.

Anna Oxa, Natalie Cole and Gloria Gaynor have all been his guests in gala concerts, and Gianni has another surprise for the end of this year, although he refuses to disclose the name of the diva who will join him in Zagreb until all the contracts have been signed.

While some in his position might act like a star, play to the press and become removed from reality and the world around them, Gianni has remained a truly unpretentious, humble man whose greatest pleasure is 172

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to take a morning walk through the Sljeme woods.

This is how he describes himself: - I have never aimed for great success.

I have always found pleasure in the little things in life, things that made me happy in a given moment and fulfilled me in one way or another. Today, when I look back, I realize that these little things were in fact big steps that brought me to where I am today, to this success. Many of my dreams would never

have come true without the support of my friends, musicians and others who helped me in various ways to move forward in my career.

We are all only human. We believe in our goals and go toward them like a bird trying to fly, striving to be better and happier. Ivo Gamulin Gianni teaches us all that our choice is not all we expect out of life. Even not expecting, we still move forward, to where we belong, where our lucky star and our guardian angel await us. n

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KALENDAR DOGA–ANJA U HRVATSKOJ LIPANJ/JUNI Dubrovnik Dubrovnik Fashion Week International & Sensor Fest 2011 (23.-25. lipnja/23-25 June) Tvrava Revelin/ Revelin Fortress Zadar 17. zadarsko kazaliπno ljeto/17th Zadar Theatrical Summer (30.lipnja-4. kolovoza/30 June-4 August )

SRPANJ/JULY Dubrovnik Libertas Film Festival (2.-6. srpnja/2-6 July) DubrovaËke ljetne igre, najstariji i najugledniji hrvatski festival/ Dubrovnik Summer Festival, The oldest and most reputable Croatian festival (10. srpnja-25. kolovoza/10 July-25 August) Pula Koncert Seala, turneja The Commitment 2011/Seal Concert, The Commitment 2011 tour (5. srpnja/5 July) Arena Koncert Jacka Johnsona/ Jack Johnson Concert (26. srpnja/26 July) Arena Koncert Tonyja Cetinskog/ Tony Cetinski Concert (30. srpnja/30 July) Arena Split Splitsko ljeto/Split Summer Festival (14. srpnja-14. kolovoza/14 July-14 August) Zadar Donat festival, 51. glazbene veËeri u Sv. Donatu/Donat Festival, 51st Musical Evenings in St. Donat Church (5. srpnja-15. kolovoza/5 July-15 August) Crkva sv. Donata/St. Donat Church The Garden Festival, zadarski festival klupske glazbe/ The Garden Festival, A festival of club music in Zadar (6.-13. srpnja/ 6-13 July) ISAF Svjetsko juniorsko prvenstvo jedriliËara/ISAF Youth Sailing World Championship (7.-16. srpnja/7-16 July) DM Millennium jump 2011 (16. srpnja/16 July) Zadarska riva/Zadar Seafront 174

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Zagreb Koncert Eltona Johna/Elton John Concert (3. srpnja/3 July) Arena Zagreb Koncert grupe Skunk Anansie/ Skunk Anansie Concert (5. srpnja/5 July) Aquarius

KOLOVOZ/AUGUST Dubrovnik JedriliËarska regata Kup Elafita/ The Elafiti Cup Sailing Regatta (20. kolovoza/20 August) Festival komorne glazbe Julian Rachlin & Friends/Julian Rachlin & Friends Chamber Music Festival (27. kolovoza-8. rujna/27 August-8 September) Pula Koncert Ive Gamulina Giannija i Glorije Gaynor/Ivo Gamulin Gianni and Gloria Gaynor Concert (6. kolovoza/ 6 August) Arena Koncert –ora BalaπeviÊa/–ore BalaπeviÊ Concert (13. kolovoza/13 August) Arena Koncert Gibonnija/Gibonni Concert (27. kolovoza/27 August) Arena Split Enter Festival, Summer Music Festival 2011 (4.-6. kolovoza/4-6 August) Zadar 11. noÊ punog Miseca Tradicionalni festival kulture, hrane i obiËaja zadarskog kraja/11th Night of the Full Moon - A traditional festival of culture, food and the customs of the Zadar Region (13. kolovoza/13 August) Zadarska riva/Zadar seafront Film Forum Zadar (23. kolovoza/23 August)

CALENDAR OF EVENTS IN CROATIA RUJAN/SEPTEMBER Dubrovnik Meunarodni festival rane glazbe Dubrovnik/Dubrovnik International Early Music Festival (15.-20. rujna/15-20 September) JedriliËarska regata Gradelana/ Gradelana Sailing Regatta (17. rujna/17 September) KoloËepski kanal/KoloËep Channel Split 16. splitski filmski festival, meunarodni festival novog filma/ 16th Split Film Festival, International festival of new films (10.-17. rujna/10-17 September)

Zagreb Koncert Georgea Michaela, Symphonica, europska orkestralna turneja/George Michael Symphonica Concert, European Orchestral Tour (20. rujna/20 September) Arena Zagreb

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176

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SADRÆAJ/CONTENTS 178 NOVOSTI/NEWS 183 NAGRADITE SVOJU VJERNOST/ LET YOUR LOYALTY BE REWARDED 186 U NA©EM ZRAKOPLOVU/ABOARD OUR AIRCRAFT 189 FLOTA/FLEET 191 ZEMLJOVID ODREDI©TA/A MAP OF DESTINATIONS 193 ZRA»NA LUKA ZAGREB/ZAGREB AIRPORT 194 ZA©TO VOLITE PUTOVATI/ WHY DO YOU LOVE TO TRAVEL 196 ADRESE/ADDRESSES CROATIA AIRLINES

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CROATIA AIRLINES NOVOSTI

CROATIA AIRLINES NEWS

20. godina prvoga doma∆ega komercijalnog leta Croatia Airlinesa

Prije dvadeset godina, toËnije, 5. svibnja, prvi zrakoplov MD-82 s oznakama Croatia Airlinesa poletio je u redovitome domaÊem prometu na prvome inauguracijskom letu Zagreb − Split. Dvadesetu obljetnicu prvoga leta obiljeæili smo istog datuma na letu Croatia Airlinesa OU654 Zagreb − Split. Tijekom leta SreÊko ©imunoviÊ, glavni direktor Croatia Airlinesa, darovao je jednom od putnika (Sofija BabiÊ iz Zagreba) dvije povratne zrakoplovne karte za neko od odrediπta tvrtke, prema izboru putnika.

20th Anniversary of the First Croatia Airlines Domestic Commercial Flight

Twenty years ago, more specifically on 5th May, the first MD-82 aircraft with Croatia Airlines’ insignia took off from Zagreb on its first regular commercial flight to Split. We marked the 20th anniversary of the first flight on the same date, on the Croatia Airlines OU654 flight from Zagreb to Split. SreÊko ©imunoviÊ, the CEO of Croatia Airlines, presented one of the passengers (Sofija BabiÊ from Zagreb) with a gift of two return tickets on any of the company’s flights of the passenger’s choice.

Usluga web check-ina i u zra»noj luci Split

Od 13. svibnja 2011. uslugom online prijave za let moæete se koristiti i u zraËnoj luci Split, koja je sada 23. zraËna luka u kojoj se moæete prijaviti za let preko naπe web stranice.

Web check-in available also at Split Airport

Since 13 May 2011, online check-in has also been available at Split Airport, which is currently the 23rd airport offering the online check-in service via our web pages.

E-commerce novosti Croatia Airlinesa

Croatia Airlines uskoro uvodi joπ jednu moguÊnost plaÊanja svojih usluga, a rijeË je o usluzi NetPay unutar Net Bankinga Erste banke, koja vam omoguÊuje fleksibilnost plaÊanja i joπ je jedno unapreenje cjelokupne ponude Croatia Airlinesa.

Za korisnike telefona Nokia dostupna je nova mobilna aplikacija s moguÊnoπÊu pretraæivanja reda letenja, informacija o letu i drugih servisnih informacija. Mobilna aplikacija Croatia Airlinesa uskoro Êe biti dostupna i korisnicima mobilnih ureaja iPhone.

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Croatia Airlines E-commerce news

Croatia Airlines will soon introduce another way of paying for its services: NetPay, as part of the Erste Bank Net Banking. The flexibility in terms of payment means another improvement in the overall Croatia Airlines offer.

The users of Nokia mobile phones now have access to a new mobile application which allows them to search the flight schedule, check flight updates and get other service information.

This Croatia Airlines mobile application will soon be available for iPhone mobile users as well.

Nova izravna linija Dubrovnik Istanbul

Od 26. lipnja Croatia Airlines uvodi novu izravnu liniju iz Dubrovnika u Istanbul, a prometovat Êe nedjeljom. PodsjeÊamo i da s poËetkom ljetnog reda letenja izravno povezujemo Zagreb i Istanbul utorkom, Ëetvrtkom i nedjeljom.

A new direct line from Dubrovnik to Istanbul

As of 26 June, Croatia Airlines will launch a new direct line from Dubrovnik to Istanbul on Sundays. Let us remind you that during the summer flight schedule we operate direct flights from Zagreb to Istanbul on Tuesdays, Thursdays and Sundays.

Nova europska sjedala

Dana 20. svibnja Lufthansa je u Zagrebu predstavila Novu europsku kabinu hrvatskim medijima i najvaænijim klijentima. RijeË je o petom zrakoplovu njemaËkoga nacionalnog avioprijevoznika, u kojega su struËnjaci tehniËkih sektora Croatia Airlinesa ugradili nova putniËka (EU) sjedala, a u skladu s Lufthansinim pro-

jektom NEK (Die Neue Europakabine). Radovi se izvode u novom hangaru Croatia Airlinesa, a do kraja rujna u Zagrebu Êe se obaviti promjena interijera u joπ Ëetiri Lufthansina zrakoplova Airbus 320. Tijekom 2012. godine u planu je ugradnja takvih, visokokvalitetnih sjedala i u Airbuseve Croatia Airlinesa, dakako u skladu s vizualnim identitetom i dizajnom hrvatskoga nacionalnog avioprijevoznika.

NEW EUROPEAN CABIN

On 20th May Lufthansa presented its New European Cabin to Croatian media and top customers in Zagreb. This is the German flag carrier’s fifth aircraft which was fitted with new passenger (EU) seats by Croatia Airlines’ engineers and maintenance experts, in accordance with Lufthansa’s NEK (Die Neue Europakabine) project. The works are being carried out in the new Croatia Airlines hangar. By the end of September, the restructuring of the interior of four other Lufthansa Airbus A320 aircraft will be completed in Zagreb. In 2012 Croatia Airlines plans to implement such high-quality seats in the company’s own Airbus aircraft, in accordance with the visual identity and design of the Croatian flag carrier.

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NAŠI ZAPOSLENICI VAMA NA USLUZI OUR STAFF AT YOUR SERVICE INES LON»ARI∆: Putnici su naša glavna motivacija Pasengers are the main motivation

Z

rakoplovna karta nije samo komadiÊ papira. Svaka je zrakoplovna karta priËa za sebe. Putnici æele s vama podijeliti razlog svoga putovanja. To moæe biti poslovni uspjeh, veselje zbog godiπnjeg odmora ili zbog posjeta obitelji u Hrvatskoj nakon duljeg izbivanja u inozemstvu, a katkad je to i tuæni oproπtaj od voljene osobe. Upravo taj ljudski element Ëini naπ posao tako lijepim…

Tako govori Ines LonËariÊ, naπa prodajna predstavnica u Bruxellesu, zaposlena u Croatia Airlinesu veÊ deset godina. Imala je Ëetiri godine kad se iz Zagreba s roditeljima doselila u malo mjesto do Antwerpena. BuduÊi da su njezini roditelji uvijek inzistirali na poznavanju hrvatskog jezika i vezi s Hrvatskom, Ines se nakon nekog vremena zaposlila u hrvatskom veleposlanstvu u Bruxellesu, a kad joj je istekao mandat, odluËila se vratiti u Zagreb i ondje nastaviti raditi u Ministarstvu vanjskih poslova.

Ali, priznaje, nedostajala joj je Belgija. Vratila se u Bruxelles, a kako govori nekoliko jezika, dobila je ponudu da se zaposli u tamoπnjem predstavniπtu Croatia Airlinesa.

- Posao mi je tada bio prodaja karata individualnim putnicima. Veoma sam zavoljela taj posao iako, dakako, katkad ima i teπkih trenutaka.

Ali tako je i u svakome drugom poslu. Katkad ujutro krenem na posao s planom rada za taj dan, a onda se dogodi da pri dolasku u zraËnu luku saznam kako Êe nam sve planove pokvariti neki posve neoËekivani dogaaj, primjerice, vulkanski oblak koji uzrokuje kaπnjenja, odgode letova i sliËno. Tada nam je jedini zadatak pobrinuti se πto je bolje moguÊe za naπe putnike.

Dakako, u skladu s naπim moguÊnostima i pravilima struke.

U poËetku 2006. godine Ines je postala Sales Manager. Otad joj je glavni zadatak svakodnevna komunikacija s turoperatorima, turistiËkim agencijama, tvrtkama i udruæenjima, nazoËnost na sastancima Star Alliancea te voenje opÊe i financijske administracije naπega briselskog ureda. Ali i danas je Ines najdraæi dio posla kontakt s individualnim putnicima, iako, zbog 180

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opÊe informatizacije, internetskih rezervacija i web check-ina neposredni je kontakt sve manji.

- Osobito me veseli πto joπ ima putnika koji su veÊ sve rijeπili preko interneta, ali svejedno nazovu da nam zaæele sretan Uskrs ili BoæiÊ, ili samo navrate na πalter da nas pozdrave prije polaska zrakoplova. Eto, zato toliko volim ovaj posao.

Za Ines posao je uvijek bio na prvome mjestu.

U tome ima i veliku podrπku roditelja koji su je, kako je rekla, uvijek podræavali u svim njezinim odlukama. A kako provodi slobodno vrijeme?

- U slobodno vrijeme najdraæe mi je opustiti se u prirodi s kuÊnim ljubimcima. Oboæavam vrtlarstvo i uzgajanje cvijeÊa, osobito ruæa. A svaki godiπnji odmor iskoristim da posjetim Hrvatsku, moje Krapinske Toplice, Zagreb i, dakako, Jadransko more - kaæe Ines te preporuËuje putnicima koji æele posjetiti Belgiju da razgledaju Bruxelles, Antwerpen, Brugge i Gent.

- Flandrija je regija u kojoj moæete vrlo ukusno jesti, a i degustirati stotinjak razliËitih vrsta piva - preporuËuje Ines, koja se takoer koristi ovom prigodom da zahvali svim naπim dragim i vjernim putnicima.

- Vi ste naπa glavna motivacija - kaæe Ines, istiËuÊi kako se nada da Êemo se uskoro vidjeti na jednome od naπih letova iz Bruxellesa. ■

A

n airline ticket is not just a piece of paper.

Each ticket is a story in itself. Passengers want to share the reason for their journey with you. It can be a business success, excitement because of an upcoming holiday or a visit to their Croatian families after a longer period abroad, and sometimes it is a sad farewell from their loved ones. It is precisely this human element that makes our job so special...

These are the words of Ines LonËariÊ, our sales representative in Belgium, a Croatia Airlines employee for ten years now. She was four when she and her parents moved from Zagreb to a small town near Antwerp. Since her parents had always insisted on her know-

ing Croatian and having strong connections with their homeland, after a while she got a job at the Croatian embassy in Brussels, and when her term of office expired she decided to return to Zagreb and continue working at the Ministry of Foreign Affairs. However, she admits she missed Belgium. Upon her return to Brussels, and given her knowledge of several foreign languages, she was offered a job at the local Croatia Airlines branch.

- At that time my job was selling tickets to individual passengers. I came to love that job very much even though, sometimes, there were difficult moments. But then again, it is just like that at any other job. Sometimes I would go to work in the morning with a specific plan for the day, and then on my way to the airport I found out that our plans had changed because of a completely unexpected event, such as a volcanic ash cloud which was causing delays, cancellations, etc.

Our only task then was to take care of our passengers as fast as possible. Naturally, we did this in line with our capabilities and rules of the profession.

Early in 2006 Ines became the Sales Manager.

From that point on her main duty was to communicate with travel agencies, tour-operators, companies and associations, attend Star Alliance meetings and manage the general and financial administration of our Brussels branch. Even today, Ines’s favourite part of the job is contact with individual passengers, even though general IT advances, e-booking and web check-in have reduced that direct contact.

- I am especially pleased that there are still passengers who take care of everything online, but still call to wish us Happy Easter or Merry Christmas, or at least stop by the counter to say hello before their departure. That is why I like this job so much.

Ines has always put work first. Her parents are a great support, as they have always supported her decisions. We wanted to know about her free time.

- Outside of work I prefer relaxing in nature with my pets. I adore gardening and growing flowers, especially roses. Every holiday I spend visiting Croatia, my favourite places are Krapinske Toplice, Zagreb and of course the Adriatic.

Ines says that she recommends to all passengers who wish to visit Belgium to walk around Brussels, Antwerp, Bruges and Ghent.

- In the region of Flanders you can have a tasty meal and try around one hundred sorts of beer - says Ines, who took this opportunity to thank all our dear and faithful passengers.

- You are our main motivation - says Ines, highlighting her hopes to see us soon on one of our flights from Brussels.

■

Croatia Airlines nagrauje autora najoriginalnije fotografije.

Drago PerkoviÊ

Fotografirajte i otputujte Letite Croatia Airlinesom, fotografirajte i osvojite zrakoplovne karte.

Autor najoriginalnije fotografije bit Êe nagraen dvjema povratnim meunarodnim zrakoplovnim kartama Croatia Airlinesa.

Zaπto volite putovati ?

Budite kreativni. Fotografijom i jednom reËenicom izrazite zaπto volite putovanja.

Najbolju fotografiju izabrat Êe Sluæba promotivnih aktivnosti Croatia Airlinesa, a fotografiju Êemo objaviti u sljedeÊem broju putnog Ëasopisa.

Crno-bijele, fotografije u boji ili dijapozitive dostavite do 10. kolovoza 2011. godine na adresu: Croatia Airlines, Sluæba promotivnih aktivnosti, Bani 75b, Buzin, 10010 Zagreb, Hrvatska.

Ne zaboravite priloæiti kupon s dna stranice.

" g.

ga

gica

IME PREZIME DATUM RO–ENJA ULICA I BROJ PO©TANSKI BROJ GRAD DRÆAVA TEL. E-MAIL

Uvjeti nagradne igre: - fotografije postaju vlasniπtvo Croatia Airlinesa - Croatia Airlines ne preuzima nikakvu odgovornost u sluËaju gubitka materijala - Croatia Airlines zadræava pravo koriπtenja fotografija u promidæbenim materijalima Croatia Airlinesa bez naknade - nagrada ne moæe biti zamijenjena za novac - djelatnici Croatia Airlinesa te Ëlanovi njihove uæe obitelji nemaju pravo sudjelovanja u nagradnoj igri

nag igra_kupon2.pdf

1

20/06/2011

08:08

Croatia Airlines is rewarding the author of the most original photograph.

Vanja ŠkoriÊ

Take a photo and travel

Fly Croatia Airlines, take photographs and win two air tickets.

The winner will receive 2 Croatia Airlines international round trip tickets.

Why do you love to travel ?

Be creative. In one sentence and a single photograph express why you love to travel. Selection of the most original photograph will be made by the Croatia Airlines Promotion Department and the photograph will be published in the next issue of our inflight magazine.

You should send us your B/W or color photographs and/or slides by 10th August 2011 to the following address: Croatia Airlines, Promotion Department, Bani 75b, Buzin, 10010 Zagreb, Croatia.

Do not forget to include the coupon from the page bottom.

" Mr.

Mrs.

Miss.

NAME SURNAME DATE OF BIRTH ADDRESS POSTAL CODE CITY COUNTRY TEL. NO. E-MAIL Conditions for participation: - photographs become the property of Croatia Airlines - Croatia Airlines does not assume any responsibility in case of the possible loss of the material - Croatia Airlines reserves the right to use the material in the Croatia Airlines promotional activities and materials, without an additional payment.

- reward cannot be exchanged for money - employees of Croatia Airlines as well as the members of their immediate families, are not allowed to participate

pristup-hrvatski:pristup-hrvatski 2010.06.09 09:14 Page 1

Miles & More TrenutaËni let/Current flight Broj karte/Document number

Klasa knjiæenja/ Booking class

Broj leta/ Flight number

Datum polaska/Date of departure Linija (npr. Frankfurt–Pariz)/Route (e.g. Frankfurt–Paris)

Adresa (molimo vas da navedete samo jednu adresu)/ Address (please state only one address) ga/Ms

g./Mr

Titula/Title

Telefon/Telephone

KuÊna/ Home Ime/First name

Poslovna/ Business Prezime/Surname

Poπtanski pretinac/PO Box

Ulica i broj/Street and number

Dræava/Country

Grad/Town

Razred putovanja/ Service class Economy Class Business Class First Class

Molimo vas da unesete ime kompanije/Please enter name of company here

Poπtanski broj/Postcode

Datum roenja/Date of birth Dan/ Mjesec/ Day Month

Godina/ Year

Odjel/Department

Mobilni telefon/Mobile number Privatni/ Home

Poslovni/ Business

Ovime potvrujem* da od sljedeÊih (dolje oznaËenih) kompanija æelim primati SMS poruke s vaænim i najnovijim informacijama u vezi s mojim letom tijekom putovanja. /I hereby give my permission* for the following listed companies (ticked below) to send me important and up-to-date information regarding my travel itinerary by SMS during my travels.

Deutsche Lufthansa AG, kompanija iz koncerna Lufthansa ili kompanije koje sudjeluju u programu Miles & More (ukljuËujuÊi Croatia Airlines) Deutsche Lufthansa AG, a company of the Lufthansa Group or joint operators of the Miles & More programme (including Croatia Airlines)

Drugi partneri programa Miles & More Other Miles & More partner corporations

e-mail adresa/E-mail address Privatna/ Home

Poslovna/ Business

Ovime potvrujem* da od sljedeÊih (dolje oznaËenih) kompanija æelim elektronskom poπtom primati obavijesti o ponudama, promocijama, novim uslugama i drugim zanimljivim temama vezanima uz Lufthansu, grupu Lufthansa i partnerske kompanije. /I hereby give my permission* for the following listed companies (ticked below) to send me information by e-mail about offers, promotions, new services and other interesting topics from Lufthansa, the Lufthansa Group, as well as partner corporations.

Deutsche Lufthansa AG, kompanija iz koncerna Lufthansa ili kompanije koje sudjeluju u programu Miles & More (ukljuËujuÊi Croatia Airlines) Drugi partneri programa Miles & More Deutsche Lufthansa AG, a company of the Lufthansa Group or joint operators of the Miles & More programme (including Croatia Airlines) Other Miles & More partner corporations

Uvjete Ëlanstva u programu Miles & More moæete pronaÊi na web stranicama www.miles-and-more.com ili www.lufthansa.com. Ova vas prijava ne obvezuje ni na koji naËin.

Ne budete li viπe htjeli primati obavijesti o naπim posebnim ponudama, u svakom trenutku moæete povuÊi pristanak za koriπtenje vaπih osobnih podataka u promotivne svrhe pozivom na telefonski broj + 49-1805-5959 (€0.12/min. preko fiksne mreæe u NjemaËkoj) * Znam da dopuπtenje dano Deutsche Lufthansi AG mogu povuÊi u svakom trenutku.

©panjolski/ Spanish

Poljski/ Polish

Japanski/ Japanese

Conditions of participation in our Frequent Flyer Programme Miles & More can be obtained on request on the Internet at www.miles-and-more.com and www.lufthansa.com This registration places you under no obligation.

If you no longer wish to receive our special offers, you can withdraw your permission to use your personal information for advertising purposes by contacting us on +49 -18 05 - 59 59 (€ 0.12/min. from a German landline). * I am aware that I can revoke this permission from Deutsche Lufthansa AG at any time.

Odabrani naËin komunikacije za Miles & More News i izvjeπtaj o stanju milja na raËunu/Preferred means of communication for Miles & More News and Miles & More account statements: Elektronski/ Poπtom/ Online Post

POU01

Jezik za komunikaciju/Preferred correspondence language Engleski/ Francuski/ Talijanski/ NjemaËki/ English French Italian German

Datum/Date

Potpis/Signature

Jednostavno je prijaviti se za Ëlanstvo: • preko interneta na web stranici www.miles-and-more.com/croatia • poπtom • telefaksom na broj +49 - 52 41 - 80 60 200 • kod osoblja u zrakoplovu Bit Êe nam zadovoljstvo ubiljeæiti vam milje za trenutaËni let kao i za bilo koji drugi let koji ste ostvarili u posljednjih 6 mjeseci s Croatia Airlinesom, kompanijom Lufthansa ili nekim drugim partnerom u programu. Molimo vas da gore unesete podatke o trenutaËnom letu.

Retroaktivno ubiljeæavanje milja za druge letove moæete zatraæiti na stranici www.miles-and-more.com. Molimo vas da uvijek Ëuvate originalnu kartu za ulazak u zrakoplov (boarding pass) i kopiju putne karte dok vam se milje ne ubiljeæe na raËun.

It’s so easy to register: • Online at www.miles-and-more.com/croatia • By fax +49 - 52 41 - 80 60 200

d

• By post • With one of your flight attendants

We will be happy to credit your account with the miles for this flight and for any other flights taken in the last 6 months with Croatia Airlines, Lufthansa or another Miles & More partner.

Enter your current flight above. To have the miles for the other flights credited to your account, go to www.miles-and-more.com. Please retain your original boarding card and passenger receipt (copy of your ticket) until the miles have been credited to your account.

pristup-hrvatski:pristup-hrvatski 2010.06.09 09:14 Page 2

Razred putovanja/ Service class

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Miles & More – veÊ sad poËnite prikupljati milje

Booking class

Broj leta/ Flight number

Broj karte/

Miles & More – start collecting miles now

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LUFTPOST

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PAR AVION PRIORITAIRE

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RÉPONSE PUBLICITAIRE/ANTWORT ALLEMAGNE Miles & More Postfach 14 34 33309 Gütersloh ALLEMAGNE

»im se poËnete koristiti svojom privremenom karticom Miles & More, milje Êe vam se biljeæiti na raËun. Molimo vas da pri svakoj rezervaciji navedete broj svoje kartice Miles & More. Trajnu karticu dobit Êete poπto prikupite najmanje jednu milju na svom raËunu.

Milje za danaπnji let bit Êe vam ubiljeæene na raËun ako na prednju stranu unesete sve potrebne podatke o letu.

Ime/First name

Miles will start landing in your account immediately after you start to use your temporary Miles & More Card. Please remember to state your personal Miles & More number every time you make a reservation.

You will receive your proper Miles & More Card once you have collected one mile.

Prezime/Surname

We will credit the miles for your current flight to your account once you have provided all the details of the current flight on the front.

Trajnu karticu dobit Êete poπto prikupite najmanje jednu milju na svom raËunu.

We will send you your regular Miles & More Card as soon as you have earned one mile.

Petrinjska 26, Zagreb, +385 1 48 16 268

Trg bana JelaËiÊa 6,(prolaz Harmica), Zagreb, +385 1 48 11 456

www.palzileri.com

www.laurel.de CROATIA AIRLINES

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The Leading Human Resources Company in Croatia executive search | human resources consulting

www.selectio.hr

Oglas_CroatiaAirlines_210x280.indd 9

27.5.2011 13:14:59

Osno­ve Mi­les & Mo­re pro­gra­ma

In­tro­du­cing Mi­les & Mo­re

Mi­les & Mo­re naj­ve­Êi je pro­gram na­gra­i­va­nja put­ni­ka u Eu­ro­pi i nu­di Ëla­no­vi­ma ra­zli­Ëi­te mo­guÊ­no­sti pri­kup­lja­nja mi­lja i ko­ri­πte­nja na­gra­da, kao i mno­ge priv­laË­ne po­god­no­sti. »la­no­vi pri­kup­lja­ju mi­lje ko­ri­ste­Êi se uslu­ga­ma broj­nih par­tne­ra u pro­gra­mu.

Mi­lje se bi­lje­æe za le­to­ve svih Ëla­ni­ca Star Al­li­an­cea i dru­gih kom­pa­ni­ja par­tne­ra, ali i za unaj­mlji­va­nje vo­zi­la, od­sje­da­nje u ho­te­li­ma ili po­tro­ πnju pre­ko kre­dit­nih kar­ti­ca Mi­les & Mo­re.

Mi­les & Mo­re is the gre­a­te­st fre­qu­ent flyer pro­gram­me in Eu­ro­pe of­fe­ring its mem­bers nu­me­ro­us po­ssi­bi­li­ti­es for col­lec­ting and re­de­ e­ming mi­les, as well as many at­trac­ti­ve pri­vi­le­ges.

Mem­bers col­lect mi­les by using the ser­vi­ces of many par­tners in the pro­gram­me.

Mi­les are cre­di­ted for flig­hts of all Star Al­li­an­ce mem­bers and ot­her air­li­ne par­tners, but al­so for ren­ting ve­hi­cles from rent-a-car par­tners or sta­ying in par­ti­ci­pa­ting ho­tels.

Za­tra­æi­te svo­ju Di­ners Club Cro­a­tia Air­li­nes kre­dit­nu kar­ti­cu!

5 ku­na = 1mi­lja - za sva­kih 5 ku­na po­tro­πe­nih pre­ko ove kar­ti­ce, bi­lje­æi vam se 1 na­grad­na mi­lja n Dvo­s­tru­ke mi­lje - osva­ja­te za pla­Êa­nje tu­ri­stiË­kih aran­æma­na i zra­ko­plov­nih ka­ra­ta u Di­ners Club Tra­ve­lu n Pri­kup­ljaj­te na­grad­ne mi­lje svug­dje - jed­no­stav­no pla­Êaj­te svo­jom Di­ners Club kar­ti­com na bi­lo ko­jemu od 12,000.000 DC pro­daj­nih mje­sta u zem­lji i ino­zem­s­tvu. n Osvo­ji­te joπ vi­πe mi­lja - ko­ri­πte­nje osta­lih po­god­no­sti Di­ners Clu­ba po­put be­s­plat­nih onli­ne uslu­ga, e-pla­Êa­nja ili traj­nih na­lo­ga do­no­si vam do­dat­ne mi­lje. n 2 kar­ti­ce - 1 ra­Ëun Mi­les & Mo­re - ko­ri­sti­te se isto­dob­no pri­vat­nom i po­slov­nom kar­ti­com Di­ners Clu­ba i Cro­a­tia Air­li­ne­sa, pri­kup­lje­ne na­grad­ne mi­lje zbra­ja­ju se na va­πemu ra­Ëu­nu Mi­les & Mo­re.

Ap­ply for yo­ur Di­ners Club Cro­a­tia Air­li­nes cre­dit card! n 5 HRK = 1mi­le - for every 5 HRK spent via this card, you col­lect 1mi­le. n Earn do­u­ble mi­les - for pa­ying pac­ka­ge to­urs and flig­ht tic­kets at Di­ners Club Tra­vel n Col­lect award mi­les ever­ywhe­re - sim­ply pay with yo­ur Di­ners Club Card in any of 12 mil­li­on DC of­fi­ces in Cro­at­ia or abro­ad n Col­lect ex­tra award mi­les - by using ot­her Di­ners Club be­ne­fits, such as free onli­ne ser­vi­ces, in­ter­net ban­king and e-pa­ying, standing or­ders etc. n 2 cre­ dit car­ds - 1 Mi­les & Mo­re mem­ber­ship ac­co­unt - use yo­ur pri­va­te and bu­si­ne­ss card to col­lect award mi­les on the sa­me mem­ ber­ship ac­co­unt.

Zatražite svoju VISA Croatia Airlines kreditnu karticu!

Croatia Airlines i Erste Card Club objavili su, osim companion kreditnih karica (poslovnih i privatnih), i VISA Croatia Airlines samostalnu karticu, poslovnu i privatnu.

Potroπnja od 13 kuna na samostalnim karticama donosi 1 nagradnu Miles and More milju dok se za potroπenih 7 kuna u inozemstvu preko kartica u paru dobiva 1 nagradna Miles and More milja.

Apply for your VISA Croatia Airlines credit card!

Croatia Airlines and Erste Card Club have issued, besides a companion credit card (both business and private), a VISA Croatia Airlines stand-alone credit card, both business and private. You will get 1 Miles and More award mile for every 14 kuna spent via stand-alone credit cards whereas for every 7 kuna spent abroad via companion credit cards 1 Miles and More award mile will be credited to your account.

Za­tra­æi­te svo­ju kre­dit­nu kar­ti­cu Cro­a­tia Air­li­nes American Express! n 4 ku­ne = 1 mi­lja - za sva­ke 4 ku­ne po­tro­πe­ne pre­ko Pre­mi­um kar­ ti­ce bi­lje­æi se 1 na­grad­na mi­lja, od­no­sno za sva­kih 5 ku­na po­tro­πe­nih pre­ko Stan­dard kar­ti­ce n 2500 mi­lja do­bro­do­πli­ce - za no­ve osnov­ne Pre­mi­um ko­ri­sni­ke i 1250 mi­lja do­bo­do­πli­ce za no­ve do­dat­ne Pre­mi­um ko­ri­sni­ke n 1500 mi­lja do­bro­do­πli­ce za no­ve osnov­ne Stan­dard ko­ri­sni­ke i 750 mi­lja do­bro­do­πli­ce za no­ve do­dat­ne Stan­dard ko­ri­sni­ke n Dvo­s­tru­ke na­grad­ne mi­lje - za po­tro­πnju u po­slov­ni­ca­ ma Cro­at­ia Air­li­ne­sa i Jum­bo Tra­vel Ser­vi­ces PBZ Car­da n UËla­nje­nje u Pri­o­rity Pa­ss bez nak­na­de te pri­stup u vi­πe od 450 VIP sa­lo­na u zraË­nim lu­ka­ma

Ap­ply for yo­ur Cro­at­ia Air­li­nes American Express cre­dit card! n 4 HRK = 1mi­le - for every 4 HRK spent via Pre­mi­um card, you col­lect 1mi­le, and for every 5 HRK spent via Stan­dard card you col­lect 1 mi­le. n 2.500 wel­co­me mi­les - for new ba­sic Pre­mi­um card users and 1.250 wel­co­me mi­les for new ad­di­ti­o­nal Premi­um card users. n 1.500 wel­co­me mi­les - for new ba­sic Stan­dard card users and 750 wel­co­me mi­les for new ad­di­ti­o­nal Stan­ dard card users. n Earn do­u­ble award mi­les - using the card to pay for tra­vels at Cro­a­tia Air­li­nes sa­les of­fi­ces and Jum­bo Tra­vel Ser­vi­ces of PBZ Card. n Free Pri­o­rity Pa­ss enrol­lment- it ena­bles you to ac­ce­ss in­to mo­re than 450 VIP air­port lo­un­ges

Ra­zre­di Ëlan­s­tva i po­god­no­sti Ko­ri­πte­njem uslu­ga par­tne­ra u pro­gra­mu pri­kup­lja­te na­grad­ne mi­lje ko­je za­mje­nju­je­te za na­gra­de i sta­tu­sne mi­lje ko­je odre­u­ju vaπ Ëlan­ski sta­tus i po­god­no­sti πto ih os­tva­ru­je­te.

Sta­tu­sne mi­lje pri­kup­lja­ju se re­do­vi­tim le­to­vi­ma slje­de­Êih zra­ko­plov­ nih kom­pa­ni­ja: Cro­a­tia Air­li­nes, Adria Air­ways, Au­st­ri­an Air­li­nes, LOT Po­li­sh Air­li­nes, Luf­than­sa (uk­lju­Ëu­ju­Êi Luf­than­sa Re­gi­on ­ al i Luf­than­sa Pri­va­te Jet), SWI­SS i svi zra­ko­plov­ni par­tne­ri iz mre­æe Star Al­li­an­ce, te Cir­rus Air­li­nes, Air Dolomiti i Luxair. Sva­ka ta­ko os­tva­re­na mi­lja bi­lje­æi se i kao sta­tu­sna i kao na­grad­na mi­lja.

Mi­lje HON Cir­cle sta­tu­sne su mi­lje ko­je se pri­kup­lja­ju le­to­vi­ma slje­de­Êih kom­pa­ni­ja: Cro­a­tia Air­li­nes, Adria Air­ways, Au­st­ri­an Air­li­nes, Air Dolomiti, Brussels Airlines, LOT Po­li­sh Air­li­nes, Luf­than­sa (uk­lju­Ëu­ju­Êi Luf­than­sa Re­gi­o­nal i Luf­than­sa Pri­va­te Jet), Luxair i Swiss International Airlines.

Ti­ers and be­ne­fits By using the Mi­les & Mo­re par­tners’ ser­vi­ces mem­bers col­lect award mi­les, which are tra­ded in for awar­ds; and sta­tus mi­les, which de­ter­ mi­ne a mem­ber’s mem­ber­ship sta­tus and pri­vi­le­ges.

Sta­tus mi­les can be ac­cru­ed on sc­he­du­led flig­hts ope­ra­ted by Cro­a­tia Air­li­nes, Adria Air­ways, Au­st­ri­an Air­li­nes, LOT Po­li­sh Air­li­ nes, Luf­than­sa (in­clu­ding Luf­than­sa Re­gi­on ­ al and Luf­than­sa Pri­va­te Jet), SWI­SS, all Star Al­li­an­ce par­tners, Cir­rus Air­li­nes, Air Dolomiti and Luxair. Every mi­le ac­cru­ed is re­cor­ded as both a sta­tus and an award mi­le.

HON Cir­cle mi­les are sta­tus mi­les that you col­lect on flig­hts ope­ra­ ted by Cro­a­tia Air­li­nes, Adria Air­ways, Au­st­ri­an Air­li­nes, Air Dolomiti, Brussels Airlines, LOT Po­li­sh Air­li­nes, Luf­than­sa (in­clu­ding Luf­than­sa Re­gi­on ­ al and Luf­than­sa Pri­va­te Jet), Luxair and Swiss International Airlines.

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Uz 35.000 sta­tu­snih mi­lja pri­kup­lje­nih u jed­noj ka­len­dar­skoj go­di­ni, ste­Êi Êe­te sta­tus Fre­qu­ent Tra­vel­ler, a za 100.000 sta­tu­snih mi­lja u ka­len­dar­skoj go­di­ni oËe­ku­je vas sta­tus Se­na­tor. »la­no­vi ko­ji pri­ku­pe naj­ma­nje 600.000 HON Cir­cle mi­lja u ra­zdob­lju od dvi­je uza­stop­ne ka­len­dar­ske go­di­ne, stje­Ëu sta­tus HON Cir­cle.

With 35,000 sta­tus mi­les col­lec­ted in one ca­len­dar ye­ar mem­bers earn the Fre­qu­ent Tra­vel­ler sta­tus, with 100,000 sta­tus mi­les the Se­na­tor sta­tus, and mem­bers who col­lect at le­a­st 600,000 HON Cir­cle mi­les wit­hin two con­se­cu­ti­ve ca­len­dar ye­ars, earn the HON Cir­cle sta­tus.

Po­god­no­sti sta­tu­sa Fre­qu­ent Tra­vel­ler - Exe­cu­ti­ve Bo­nus - 25 po­sto mi­lja na zaista pri­je­e­ ni ili stan­dar­dni iznos za le­to­ve slje­de­Êih kom­pa­ni­ja: Luf­than­sa (uk­lju­Ëu­ju­Êi Luf­than­sa Re­gi­o­nal i Luf­than­sa Pri­va­te Jet), Adria Air­ways, Air Ca­na­da, Air Do­lo­mi­ti, Au­s­tri­an Air­li­nes, Cro­at­ia Air­li­nes, LOT Po­li­sh Air­li­nes, SWI­SS, US Air­ways, United, Brussels Airlines, Luxair i Continental - ne­o­gra­ni­Ëe­na va­lja­no­st na­grad­nih mi­lja za tra­ja­nja sta­tu­sa - upo­ra­ba Luf­than­sa Bu­si­ne­ss Cla­ss Lo­un­gea pri­li­kom le­to­va s ne­kom od Ëla­ni­ca Star Al­li­an­cea - pred­no­st na li­sti Ëe­ka­nja - pri­ja­va za let (check in) na πal­te­ru po­slov­nog ra­zre­da - 40 kg prtlja­ge bez na­pla­te ovisno o odredištu i zrakoplovnoj kompaniji

Fre­qu­ent Tra­vel­ler pri­vi­le­ges - Exe­cu­ti­ve Bo­nus of 25 per cent on the ac­tu­al flown mi­les or stan­dard mi­le­a­ge amo­un­ts on flig­hts ope­ra­ ted by Luf­than­sa (in­clu­ding Luf­than­sa Re­gi­on ­ al and Luf­than­sa Pri­va­te Jet), Adria Air­ways, Air Ca­na­da, Air Do­lo­mi­ti, Au­st­ri­an Air­li­nes, Cro­a­tia Air­li­nes, LOT Po­li­sh Air­li­nes, SWI­SS, US Air­ways, United, Brussels Airlines, Luxair and Continental.

- Ac­cru­ed award mi­les ha­ve no ex­piry da­te - Use of the Luf­than­sa Bu­si­ne­ss Cla­ss Lo­un­ges whi­le flying with a Star Al­li­an­ce Mem­ber - Wa­i­ting li­st pri­o­rity - Check-in at the Luf­than­sa Bu­si­ne­ss Cla­ss co­un­ter - Free bag­ga­ge al­lo­wan­ce of 40 kg depending on the destination and the airline

Po­god­no­sti sta­tu­sa Se­na­tor - Exe­cu­ti­ve Bo­nus - 25 po­sto mi­lja na zaista pri­je­e­ni ili stan­dar­dni iznos za le­to­ve slje­de­Êih kom­pa­ni­ja: Cro­a­tia Air­li­nes, Adria Air­ways, Air Ca­na­da, Air Do­lo­ mi­ti, Au­s­tri­an Air­li­nes, LOT Po­li­sh Air­li­nes, Luf­than­sa (uk­lju­Ëu­ju­Êi Luf­than­sa Re­gi­o­nal i Luf­than­sa Pri­va­te Jet), SWI­SS, US Air­ways, United, Brussels Airlines, Luxair i Continental.

- ne­o­gra­ni­Ëe­na va­lja­no­st na­grad­nih mi­lja za tra­ja­nja sta­tu­sa - pre­du­jam od 50.000 mi­lja - upo­ra­ba Luf­than­sa Se­na­tor Lo­un­ge te Star Gold Lo­un­ge par­tne­ra u Star Al­li­an­ceu - vi­πi pri­o­ri­tet na li­sti Ëe­ka­nja - pri­ja­va za let (check in) na πal­te­ru prvog ra­zre­da - osi­gu­ra­no mje­sto na le­tu za re­zer­va­ci­je do 48 sa­ti odnosno do 72 sata una­pri­jed, ovisno o razredu putovanja - 50 posto ma­nje mi­lja za su­put­ni­ka na na­grad­nom le­tu, ovisno o zrakoplovnoj kompaniji - do­dat­nih 20 kg ili do­dat­ni ko­mad prtlja­ge bez na­pla­te, ovisno o odredištu i zrakoplovnoj kompaniji - dva elek­tron­ska va­u­Ëe­ra za pre­mje­πtaj u vi­πi ra­zred pu­to­va­nja (up­ gra­de), te joπ dva za svako zadræavanje statusa

Se­na­tor pri­vi­le­ges - Exe­cu­ti­ve Bo­nus of 25 per cent on the ac­tu­al flown mi­les or stan­dard mi­le­a­ge amo­un­ts on flig­hts ope­ra­ted

by Cro­a­tia Air­li­nes, Adria Air­ways, Air Ca­na­da, Air Dolo­ mi­ti, Au­s­tri­an Air­li­nes, LOT Po­li­sh Air­li­nes, Luf­than­sa (in­clu­ding Luf­than­sa Re­gi­on ­ al and Luf­than­sa Pri­va­te Jet), SWI­SS, US Air­ways, United, Brussels Airlines, Luxair and Continental.

- Ac­cru­ed award mi­les ha­ve no ex­piry da­te - 50,000 mi­les in advan­ce - Ac­ce­ss to the Luf­than­sa Se­na­tor Lo­un­ge as well as to the Star Gold Lo­un­ges of Star Al­li­an­ce par­tners - High wa­i­ting li­st pri­or­ ity - Fir­st Cla­ss check-in - Bo­ok­ ing gu­a­ran­tee up to 48 or 72 ho­urs in advan­ce depending on the booking class - A 50 per cent mi­le­a­ge di­sco­unt for an ac­com­pan­ying per­son on flig­ht awar­ds depending on the airline ­ al 20 kg bag­ga­ge al­lo­wan­ce or an ad­di­ti­o­nal bag depending - Ad­di­ti­on on the destination and the airline - 2 elec­tro­nic up­gra­de vo­uc­hers and two more for every status retention HON Cir­cle pri­vi­le­ges - All exi­sting Se­na­tor pri­vi­le­ges - Exe­cu­ti­ve bo­nus of 25 per cent - 100,000 mi­les in advan­ce - Se­na­tor sta­tus for yo­ur spo­u­se or par­tner depending on the airline - 6 elec­tro­nic Up­gra­de Vo­uc­hers and 6 more for every status retention - Ad­di­ti­o­nal be­ne­fits of­fe­red by Mi­les & Mo­re par­tners, ro­un­ding off the tra­vel ex­pe­ri­en­ce

Po­god­no­sti sta­tu­sa HON Cir­cle - sve po­god­no­sti sta­tu­sa Se­na­tor - Exe­cu­ti­ve Bo­nus od 25 po­sto - pre­du­jam od 100.000 mi­lja - Sta­tus Se­na­tor za su­pru­æni­ka ili par­tne­ra, ovisno o zrakoplovnoj kompaniji - πe­st elek­tron­skih va­u­Ëe­ra za pre­mje­πtaj u vi­πi ra­zred pu­to­va­nja (up­gra­de), te joπ šest prigodom zadræavanja statusa - do­dat­ne po­god­no­sti ko­je nu­de par­tne­ri pro­gra­ma osi­gu­ra­va­ju­Êi je­din­s­tve­no isku­s­tvo pu­to­va­nja Tro­πi­te mi­lje Pri­kup­lje­ne na­grad­ne mi­lje za­mje­nju­je­te za mnoge na­gra­de: nagradne kar­te, pre­mje­πtaj u vi­πi ra­zred pu­to­va­nja (up­gra­de), ra­zli­Ëi­te nagra­de ko­ji­ma se mo­æe­te ko­ri­sti­ti pri pu­to­va­nju (ho­tel­ski smje­πtaj, unaj­mlji­ va­nje vo­zi­la).

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Spend mi­les You can ex­chan­ge col­lec­ted award mi­les for awar­ds pre­pa­red for you: award tic­kets, up­gra­des, va­ri­o­us tra­vel awar­ds.

CROATIA AIRLINES

185

U NA©EM ZRAKOPLOVU UPORABA TELEFONSKIH NAPRAVA Sadaπnje odredbe zabranjuju uporabu odreenih prenosivih elektronskih naprava tijekom komercijalnih letova, zbog moguÊnosti ometanja navigacijske i komunikacijske opreme. Na letovima Croatia Airlinesa zabranjena je uporaba ovih elektronskih naprava: prijenosnih telefona, komercijalnih dvovalnih prijenosnika (npr. walkie talkie); amaterskih prijenosnih ureaja; CB prijenosnih ureaja: prijenosnih ureaja koji emitiraju RF energiju na odreenoj frekvenciji, perifernih ureaja za raËunala ili igre. Ovi se ureaji mogu rabiti kad zrakoplov nije na pisti, uzletu, poËetnom penjanju, prilazu ili fazama slijetanja: osobna raËunala (periferni ureaji kao πto su πtampaËi, vanjski disc driveovi itd. nisu dopuπteni); osobna raËunala s igrama, VHF skenerski prijamnici; CD diskovi; kasetofoni, videorekorderi; kalkulatori. SljedeÊi ureaji mogu se rabiti sve vrijeme: sluπni aparati, ugraeni medicinski aparati, elektronski satovi, elektronski stimulatori æivaca.

ZABRANJENI PREDMETI

PO©TOVANI PUTNICI!

RU»NA PRTLJAGA

Vaπe zadovoljstvo naπa je prva i najvaænija zadaÊa. Stoga stalno nastojimo poboljπati naπe usluge u zrakoplovu i na zemlji. Osluπkujemo vaπe æelje preko anketa, pisama te vaπih pismenih i usmenih prijedloga i, vjerujte, uvijek ih smatramo dragocjenima.

Znajte da nam je svaki vaπ prijedlog dobro doπao, a svaka napomena vrlo vaæna. Piπite nam stoga na adresu uredniπtva: Croatia Airlines, Ëasopis Croatia, Bani 75b, Buzin, 10010 Zagreb, e-mail: pr@croatiaairlines.hr

Sva Ëekirana prtljaga mora imati putnikovo ime.

Besplatne oznake za prtljagu mogu se dobiti u svim prodajnim uredima Croatia Airlinesa.

Oznaku za prtljagu stavite i unutar prtljage. Sve vrijedne stvari i predmete nosite sa sobom u zrakoplov. Osobnu ruËnu prtljagu odloæite iznad svojeg sjedala ili ispod njega, tako da teæi komadi idu ispod, a lakπi iznad, a da istodobno ne smeta drugim putnicima i posadi zrakoplova.

UPUTE ZA SIGURNOST Molimo proËitajte nekoliko uputa vaænih za vaπu sigurnost i udobnost tijekom putovanja. Raduje nas πto ste za let izabrali upravo zrakoplov naπe kompanije. Potrudit Êemo se da vam let protekne πto ugodnije.

UvaæavajuÊi svjetske zdravstvene i ekoloπke trendove, 1996. godine Croatia Airlines uvela je nepuπaËke letove na svim linijama.

Zahvaljujemo vam πto se pridruæujete naπim nastojanjima da svijet bude zdraviji, ËiπÊi i ljepπi.

RED SJEDENJA Vaπe je sjedalo rezervirano samo za vas. Napuπtate li sjedalo tijekom leta, molimo da se prije svakog slijetanja vratite na sjedalo.

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Prije uzlijetanja zrakoplova osoblje Êe vam dati nekoliko uputa πto valja Ëiniti u sluËaju opasnosti. One se odnose na tip zrakoplova pa ih paæljivo prouËite. Prigodom uzlijetanja i slijetanja svi putnici, ukljuËujuÊi i djecu, moraju se vezati sigurnosnim pojasima.

PreporuËujemo da zbog vaπe sigurnosti i udobnosti ostanete privezani tijekom cijelog leta. Pri slijetanju molimo da ostanete na svojim sjedalima sve dok se ne iskljuËi znak obvezatnog vezivanja.

Prilikom ulaska u neke zemlje valja popuniti odreene obrasce. Oni su vam dostupni u aerodromskoj zgradi pri ulasku u zemlju. Kako bismo vam olakπali i ubrzali taj postupak, naπe Êe vam ih kabinsko osoblje rado podijeliti tijekom leta.

Zakonom je zabranjeno noπenje opasnog materijala i u predanoj i u ruËnoj prtljazi. U takve se ubrajaju eksplozivi, lako zapaljive tekuÊine, radioaktivni materijali i otrovi, oruæje, stlaËeni plinovi, korozivna i oksidirajuÊa sredstva.

USLUGA TIJEKOM LETA U zrakoplovu raspolaæemo s raznim vrstama alkoholnih i bezalkoholnih piÊa kojima Êe vas stjuardese posluæiti zajedno s jelom. Prigodom kupnje karte, ali svakako 24 sata unaprijed, moæete naruËiti specijalnu vrstu obroka (oznaka: SPML), kao npr. vegetarijanski, muslimanski, dijetalni, a kosher 48 sati unaprijed. Ako ste naruËili poseban obrok, molimo vas da o tome na vrijeme izvijestite osoblje.

Putnicima nije dozvoljeno konzumiranje vlastitih alkoholnih piÊa. Osoblje zrakoplova neÊe posluæiti alkoholna piÊa alkoholiziranim putnicima. Prije slijetanja osoblje Êe ukloniti sve πalice i Ëaπe. Puπenje nije dopuπteno tijekom cijelog leta, a u toaletima postoje i detektori za dim koji se aktiviraju u sluËaju puπenja.

MEDICINSKA POMO∆ U zrakoplovu imamo priruËnu ljekarnu sa svim potrebnim lijekovima za prvu pomoÊ (s lijekovima protiv bolova, flasterima i ostalim osnovnim medicinskim sredstvima).

Za medicinsku pomoÊ obratite se kabinskom osoblju.

ABOARD OUR AIRCRAFT SKY - SHOP U avionu moæete kupiti bescarinsku robu.

Glede cijena, obratite se domaÊici zrakoplova.

Roba se moæe platiti u sljedeÊim konvertibilnim valutama: euro, ameriËki dolar, funta, πvicarski franak i u nacionalnoj valuti kunama, te sljedeÊim karticama: Diners, Visa, American Express i EuroMaster Card. Zbog teæine aviona ili trenutaËnog nedostatka prostora ponuda moæe biti ograniËena, pa vas molimo da to uzmete u obzir.

■

DEAR PASSENGERS! Your satisfaction is our first and foremost concern. That is why we are always striving to improve our services on board our aircraft and on the ground. We study your wishes by means of questionnaries, letters and spoken suggestions, which, believe us are always given every consideration. The mentioned improvements are an answer to your requests.

With every new timetable we try to adapt ourselves increasingly to your needs, as well as to improve the existing services.

Each one of your suggestions is most welcome, and every comment carefully read and very important to us. So please do not hesitate to write to us to the following address: Croatia Airlines, Inflight Magazine, Bani 75b, Buzin, 10010 Zagreb, E-mail: pr@croatiaairlines.hr

luggage must be stowed under the passenger seat or in the overhead compartment - heavy pieces below and lighter above the seat - in a way not to disturb other passengers or the cabin crew.

SAFETY INSTRUCTIONS Prior to take-off the cabin crew will give you instructions regarding your safety and how to act in case of an emergency. The instrucions vary according to the type of the aircraft, so please pay attention to the flight attendant’s predeparture announcements and safety demonstrations. During take-off and landing all passengers, including children, are required to fasten their seat belts. For your safety and comfort, we recommend that you keep the safety belt fastened during the whole flight.

Some countries require that passengers complete a form on arrival. These forms are available at arrival terminals on entering the country. In order to facilitate this procedure, our cabin crew will be pleased to distribute such forms during the flight.

Your seat has been especially reserved for you.

Should you leave your seat during the flight, please return to it before each landing.

BAGGAGE

RESTRICTED ITEMS

All checked-in baggage must have the passenger’s name on the outside. Free identification cards are available at all OU ticket offices. We suggest that you place an identification tag inside your luggage as well. Carry all valuable and important items with you on the plane. Hand

The law prohibits the transport of hazardous items in either checked-in or hand luggage.

Such items are: explosives, flammable liquids and solids, radioactive materials and poisons, firearms, compressed gases, corrosive products and oxidizers.

In accordance with health and environmental trends accepted throughout the world, Croatia Airlines introduced nonsmoking flights to all destinations in 1996. Thank you for joining our efforts in making the world a better, cleaner and healthier place to live in.

SEAT ASSIGNMENT

Both alcoholic and non-alcoholic beverages are available on board and are served with your meal. If you wish to order a special kind of meal such as vegeterian, dietary etc., you can do so when buying your ticket but must be 24 hours in advance. Kosher meals should be ordered 48 hours in advance. Make sure that your flight attendant is aware that you have ordered a special meal.

Passengers are prohibited from consuming their own alcoholic beverages on board. The cabin crew are instructed to discontinue serving passengers who appear to be intoxicated.

All cups and glasses will be removed from the passenger areas prior to take-off and landing.

Smoking is not permitted on any of Croatia Airlines’ flights. A fresh air vent and smoke detectors are located in toilletes and will be activated if smoking.

USE OF ELECTRONIC DEVICES Current regulations prohibit the use of certain types of portable electronic devices (PFDs) on board commercial flights, due to potential interference with navigational and communications equipment. On Croatia Airlines’ flights it is prohibited to use the following electronic devices: cellular telephones, commercial twoway transmitters (e. g., walkie-talkies); amateur radio transmitters; Citizen Band (CB) transmitters; 49-MHz transmitters, devices designed to radiate RF energy on a specific frequency; peripheral devices for computers or computer games.The following devices may be used when the aircraft is not in the taxiing, take-off, initial climb, approach or landing phases: personal computers (cable-connected peripheral devices such as printers, external disc drives, etc. are not permitted); personal computer games, VHS scanner receivers; compact disc players; cassette tape players; video recorders; calculators. The following may be operated at all times: hearing aids, implanted medical devices, electronic watches, electronic nerve stimulators.

Please read the instructions below, important for your safety and comfort during the flight. We are happy that you have chosen Croatia Airlines for your flight and shall do our best to make it as pleasant as possible.

SERVICE ON BOARD

MEDICAL AID Painkillers, Band Aid and other essential medical items are kept on the aircraft. Ask your flight attendant should you need any assistance.

SKY SHOP Duty free goods can be paid for in major currencies such as: Euro, US Dollar, British Pounds, Swiss Franks and national currency Kuna, whilst Diners, Visa, American Express and Euro-Master Card are also welcome. ■ CROATIA AIRLINES

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FLOTA

FLEET Zrakoplovi A320-200, A319-100, i Dash8 - Q400 Ëine naπu flotu.

Our fleet consists of A320-200, A319-100 and Dash8 - Q400 aircraft.

Specifikacije / Specifications

A320-200

A319-100

Dash8 - Q400

Raspon krila / Wing span (m/ft)

34,1 / 111

34,1 / 111

28,42 / 93,24

Duljina trupa / Fuselage length (m/ft)

37,6 / 123

33,84 / 111

32,83 / 107,71

NajveÊa dopuπtena teæina u polijetanju / Maximum take off weight (kg)

73 500

70 000

29 257

NajveÊa visina leta / Maximum cruising altitude (m/ft)

11 920 / 39 100

11 900 / 39 000

7620 / 25 000

Povrπina krila / Wing area (m /ft )

122,40 / 1318

122,40 / 1318

63,08 / 679

NajveÊa letna brzina / Maximum cruising speed (km/h)

834 (450 KTS)

834 (450 KTS)

667 (360 KTS)

Pogonska grupa / Power-plants

motori / engines x 2 CFM 56

motori / engines x 2 CFM 56

motori / engines x 2 PW 150A

Broj zrakoplova u floti / Number of aircraft in fleet

3

4

6

2

2

(1 unajmljen / 1 leased)

A320-200

Jedan od najsuvremenijih putniËkih zrakoplova srednjeg doleta u svijetu. Raspored poslovnog i ekonomskog razreda razlikuje se od jednog do drugog leta.

One of the most modern midrange aircraft in the world. Flexible cabin layout, the ratio of business to economy class seating depends on actual booking.

A319-100

Jedan od najsuvremenijih putniËkih zrakoplova srednjeg doleta u svijetu. Raspored poslovnog i ekonomskog razreda razlikuje se od jednog do drugog leta.

One of the most modern midrange aircraft in the world. Flexible cabin layout, the ratio of business to economy class seating depends on actual booking.

Dash 8-Q400

Jedan od najsuvremenijih turbopropelerskih zrakoplova kratkog doleta kanadske proizvodnje.

Raspored poslovnog i ekonomskog razreda razlikuje se od jednog do drugog leta.

One of the most modern turbo-prop short range aircraft, manufactured by Canadian manufacturer.

Flexible cabin layout, the ratio of business to economy class seating depends on actual booking.

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CROATIA AIRLINES

ZEMLJOVID ODREDI©TA

A MAP OF DESTINATIONS

St. Petersburg ABERDEEN EDINBURG BELFAST DUBLIN

MANCHESTER

Chisinau LYON

VENICE

Turin

Genoa MADRID

RIJEKA

OSIJEK BELGRADE Bucharest

BRA» Bari

Palermo Catania

ATENA

TEL AVIV

Partneri / Partners:

bmi

CROATIA AIRLINES

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ZRA»NA LUKA ZAGREB

ZAGREB AIRPORT

5

4

4

Gates 11-21 Izlazi 11-21

International Arrivals & Departures Meunarodni dolasci i odlasci

2 Gates 1-7 Izlazi 1-7

P

Accessible to passengers only/ Samo za putnike

1

C

P C

Check-in “A” Registracija putnika “A”

A

Accessible for all/ Dostupno posjetiteljima

Domestic Arrivals & Departures DomaÊi dolasci i odlasci

D

D

Check-in “B” Registracija putnika “B”

N

B S B

Parking Area/ Parkiraliπte

3

S

TAKSI BUS

CROATIA AIRLINES Ticket Counter and Welcome Service Prodaja karata i Sluæba za skrb o putnicima

A

Rent-a-Car Offices Najam automobila

Restaurant, Self-Service Restaurant Restauracija, samoposluæivaonica

B

Bank, Exchange Office Banka, mjenjaËnica

Coffee Bar Kavana

Flight Information Informacije o letovima

C

Customs Control Carinska kontrola

Bar

Tourist Information TuristiËke informacije

D

Duty Free Shop Bescarinska trgovina

Post Office, Telephone, Fax HPT (poπta, telefon, faks) Baggage Prtljaga

1

Business Class Lounge Zrinjevac Prostorije poslovnog razreda Zrinjevac

2

V.I.P. Salon, Conference Room Salon za konferencije

3

Diners Club Business Class Lounge Prostorije poslovnog razreda Diners Cluba

4

Restaurant Faust VranËiÊ

N

Newstand Novinarnica

5

Panoramic View Panoramski pogled

P

Passport Control Kontrola putovnica

S

Shops Prodavaonice

AUTOBUSI do zraËnih luka / AIRPORT BUSES

Prijevoz iz grada u zraËnu luku i pristojba Prijevoz iz grada (s terminala) u zraËnu luku u veÊini je gradova u svijetu dobro organiziran. Cijena tog prijevoza nije uraËunana u cijenu leta.

Ground Transportation and Passenger Service and Charges In most cities of the world, transportation between the city terminal and airport is well organized. The fare for such transportation is not included in the amount paid for the air ticket.

U DUBROVNIKU autobusi za zraËnu luku polaze 90 minuta prije polijetanja zrakoplova, a u ZADRU 60 minuta prije leta.

Autobusi iz zraËnih luka prema gradu polaze ubrzo nakon slijetanja zrakoplova.

In DUBROVNIK airport buses leave 90 minutes before the flight, and in ZADAR 60 minutes before the flight.

The buses from the airports leave shortly after the aircraft’s landing.

Kombi RIJEKA (ispred Autotroleja na JelaËiÊevu trgu) - Zagreb (zraËna luka) - Polazak u 5 sati. Kombi Zagreb (zraËna luka) Rijeka - Polazak u 15.30 sati.

Cijena karte u jednom smjeru: 145 kuna.

Minibus service from RIJEKA (in front of the Autotrolej at JelaËiÊ Square) - Zagreb Airport - Departure at 5.00. Minibus service from Zagreb Airport - Rijeka - Departure at 15.30. Price of a one-way ticket: 145 Kunas.

ZAGREB - Polasci svakog dana s gradskog terminala (Autobusni kolodvor) prema ZraËnoj luci Zagreb (do 29. listopada 2011.): Departures daily from the Town terminal (Main Bus Station, DræiÊeva St. bb) to the Airport Zagreb (until 29 October 2011):

5.00 5.30 6.00 6.30

7.00 7.30 8.00 8.30

9.00 10.00 11.00 11.30

12.00 12.30 13.00 13.30

14.00 14.30 15.00 15.30

16.00 16.30 17.00 17.30

18.00 18.30 19.00 19.30

20.00

ZAGREB - Polasci svakog dana iz ZraËne luke Zagreb prema gradskom terminalu (Autobusni kolodvor): Departures daily from the Airport to the Town Terminal (Main Bus Station, DræiÊeva St. bb): 7.00 9.00 8.00 9.30 8.30 10.30

11.30 12.00 12.30

13.00 13.30 14.00

14.30 15.00 15.30

16.00 16.30 17.00

17.30 18.00 18.30

19.00 19.30 20.00

Informacije o polascima autobusa / Bus departure information: Zagreb tel. (01) 6331-982, Split tel. (021) 203-119, Rijeka tel. (051) 330-207, 336-757, 098 472-539, Dubrovnik tel. (020) 773-377, 772-232, Zadar tel. (023) 250-094 www.plesoprijevoz.hr Cijena jednosmjerne karte u Zadru iznosi 25 kn, u Zagrebu 30 kn, a u Dubrovniku 35 kn.

The price of a one-way ticket in Zadar is 25 Kunas, in Zagreb is 30 Kunas and in Dubrovnik 35 Kunas.

Autobusi iz Zagreba polaze sat i pol prije domaÊih letova te dva sata prije meunarodnih letova.

Bus departures in Zagreb are an hour and a half prior for domestic flights and two hours prior for international flights.

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ZA©TO VOLITE PUTOVATI?

Gregor Breznik

Dragi putnici!

Zahvaljujemo svima vama koji nam πaljete svoje fotografije i upoznajete nas s novim kulturama i dalekim odrediπtima. Pred nama je vrijeme godiπnjih odmora koje nas poziva na putovanja. Bilo da putujete poslovno ili privatno, uzmite fotoaparat u ruke i zabiljeæite trenutak koji vas nadahnjuje. Fotografiju poπaljite nama i natjeËite se za jednu od vrijednih nagrada. Glavna nagrada su dvije povratne zrakoplovne karte Croatia Airlinesa za neko od naπih odrediπta po vaπem izboru kao i poklon-paketi.

Autora fotografije Brunu »ipiÊa odabrali smo kao najboljega u ovom broju te ga nagraujemo s dvije povratne zrakoplovne karte Croatia Airlinesa.

Promidæbenim poklon-paketom nagradit Êemo Regnisa ZaninoviÊa i Siniπu Tiπljara.

Putujem da spoznam djeliÊ neke druge kulture. Tako spoznajem i samog sebe i uËim cijeniti stvari koje primam zdravo za gotovo.

I travel to get a glimpse into other cultures. In that way I learn about myself and appreciate the things I normally take for granted.

Dear Passengers,

We would like to thank all of you who have been sending us your photos and introducing us to new cultures and faraway destinations. Holiday time is upon us which tempts us to travel. Whether you travel for business or pleasure, take hold of your cameras and record inspiring moments.

Send us your photos and compete for one of the valuable awards.

The grand prize consists of two return Croatia Airlines tickets to the destination of your choice, and there are promotional packages as well.

The best photograph in this issue was sent in by Bruno »ipiÊ. He will receive two return tickets on Croatia Airlines.

Regnis ZaninoviÊ and Siniπa Tiπljar will receive our promotional packages.

Darjan BiæupiÊ

Putovanja omoguÊuju doæivljaj…

Travelling allows me to experience.

Putovanjima otkrivam ljepotu æivljena i radost postojanja.

Travelling allows me to discover the beauty of life and the joy of being.

Viktorija Primorac

Bruno »ipiÊ - Prva nagrada/First prize

Volim putovanja jer se na njima svaki puta iznova zaljubim, a tko ne voli biti zaljubljen…

I love to travel because I fall in love every time I travel, and who does not like to be in love?

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CROATIA AIRLINES

LuËi KrniÊ

Mila Celeska

WHY DO YOU LOVE TO TRAVEL?

Davor IvankoviÊ

Volim putovati zato πto me uspomene na ta Ëarobna mjesta usreÊuju i omoguÊuju mi da lakπe prebrodim svakodnevne izazove.

I love to travel because memories of wonderful places make me happy and help me overcome everyday challenges.

Regnis ZaninoviÊ

Volim putovanja zato πto vidim i ono πto je skriveno.

I love to travel because I see even the things that are hidden.

Putujem jer se tada puno bolje osjeÊam.

Travelling makes me feel much better.

Anastasya Raditya Sari

Siniπa Tiπljar

Volim putovati jer kroz putovanja gledam stvari drugim oËima.

I love to travel because when I travel I see through different eyes.

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195

ADRESE Direkcija / Head office Bani 75b, 10 010 Buzin, Zagreb, Tel. (+385-1) 616-00-66 Fax (+385-1) 616-01-53 E-mail adrese / E-mail addresses President’s Office/ugd@croatiaairlines.hr Public Relations/pr@croatiaairlines.hr Marketing/advertising@croatiaairlines.hr Customer Relations/customer.rel@croatiaairlines.hr Sales/sales@croatiaairlines.hr Cargo/cargo@croatiaairlines.hr Kontakt centar / Contact Center 062-500 505 samo za pozive iz Hrvatske Tel. (+385-1) 66 76 555 pon - pet/Mon - Fri 08:00 - 20:00 sub, ned, praznik / Sat, Sun, Holiday 09:00 - 18:00 contact@croatiaairlines.hr Sluæba za korisnike / Customer Relations Dept.

Fax (+385-1) 616-01-52 Miles & More kontakt centar / Miles & More Service Team Tel. +385 (0) 91 77 312 Brojevi telefonskog check in-a / Telephone check-in Dubrovnik 020-77 31 71 Pula 052-53 01 05 Split 021-20 31 83 Zagreb 01-456 21 05 PutniËka prodaja / Passengers sales Fax (+385-1) 61-60-270 BerislaviÊeva 1, 10 000 Zagreb Informacije o prijevozu robe / Cargo information office Tel. (+385-1) 61-64-573 Fax (+385-1) 61-64-575 Obzor putovanja / Obzor Holidays Ltd Tel. (+385-1) 487 31 68, 487 31 69, 481 96 38 Poslovnice / Town and airport offices Identifikacijski kod poslovnica u Hrvatskoj je/ Identification code for offices in Croatia is:

HR-B-01-080037012 Amsterdam WTC, Tower B, Level 4, Schiphol Boulevard 207, 1118 BH Luchthaven Schiphol Tel. (+31-20) 316-42-80 Fax (+31-20) 316-42-81 amsto@croatiaairlines.hr BeË / Wien Airport Office Objekt / Building 645, Room 115-116, A-1300 Wien Flughafen Tel. (+43-1) 7007 359-62, 361-63 Fax (+43-1) 7007 359-63, 361-64 vieap@croatiaairlines.hr Bruxelles Brussels Airport Box 31, 1930 Zaventem Airport office: Tel. (+32-2) 753-5133 Airport counter: Tel. (+32-2) 753-5132 Fax (+32-2) 753-5130 bruap@croatiaairlines.hr Dubrovnik ZraËna luka, Airport Dubrovnik 20 117 »ilipi, Dubrovnik Tel. (+385-20) 773-232 Fax (+385-20) 772-240 dbvap@croatiaairlines.hr Frankfurt Schillerstrasse 42-44, 60 313 Frankfurt, Tel. (+49-69) 92-00-520 Fax (+49-69) 92-00-52-51 frato@croatiaairlines.hr London 2 The Lanchesters, 162-164 Fulham Palace Road, London, W6 9ER, Tel. (+44-20) 8563-00-22, 0844 3710 310 (UK only) Fax (+44-20) 8563-2615

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ADDRESSES Airport Heathrow, Room 531, Terminal 1, Zone K Hounslow, Middlesex, TW6 1JZ Tel. (+44-20) 8745-46-83 Fax (+44-20) 8754-73-77 lonto@croatiaairlines.hr München Flughafen Franz Josef-Strauss, Terminal 2, Verwaltungsgebäude Nord Büro B.4.1322, 85 356 München, Tel. (+49-89) 97-592-730/731 Fax (+49-89) 97-592-736 mucap@croatiaairlines.hr Paris

Roissypôle, Le Dôme 1, 3th floor

Rue de la Haye

BP 18913 Tremblay en France

95731 ROISSY CDG CEDEX Tel. (+33-1) 48-16-4000 Fax (+33-1) 48-16-5511 parto@croatiaairlines.hr Pula ZraËna luka, Airport Tel. (+385-52) 218-909 (+385-52) 218-943 Fax (+385-52) 211-998 puyto@croatiaairlines.hr Rijeka JelaËiÊev trg br. 5, 51 000 Rijeka, Tel. (+385-51) 330-207, 336-757 Fax (+385-51) 335-931 rjkto@croatiaairlines.hr Rim / Roma ZraËna luka, Aeroporto Leonardo da Vinci Torre Uffici 2, Room 518 00054 Fiumicino Tel. (+39-06) 5421-0021 Fax (+39-06) 5923-792 romto@croatiaairlines.hr Sarajevo ZraËna luka Sarajevo, Airport Khurta Schorka 36, 71 210 Sarajevo, Tel. (+387-33) 789-600 Fax (+387-33) 789-602 sjjto@croatiaairlines.hr Skoplje Ul. Dame Gruev 3, 1000 Skoplje, Tel. (+389-2) 3115-858, 3296-967 Fax (+389-2) 3114-203 ZraËna luka, Airport Tel. (+389-2) 3148-390 Fax (+389-2) 2520-921 skpto@croatiaairlines.hr Split Obala hrv. nar. preporoda 9, 21 000 Split, Tel. (+385-21) 362-997, 362-055 (komercijala) Fax (+385-21) 362-567 sputo@croatiaairlines.hr ZraËna luka, Airport Tel. (+385-21) 203-305, 895-298 Fax (+385-21) 203-125 spuap@croatiaairlines.hr Zadar ZraËna luka, Airport Tel. (+385-23) 250-101 Fax (+385-23) 250-109 zadto@croatiaairlines.hr Zagreb Zrinjevac 17, 10 000 Zagreb, Tel. (+385-1) 48-19-633 Fax (+385-1) 48-19-632 ZraËna luka Zagreb, Zagreb Airport, 10 150 Zagreb, Pleso Tel. (+385-1) 61-64-581 Fax (+385-1) 61-64-585 posl.zrinjevac@croatiaairlines.hr Zürich Limmatquai 138, 8001 Zürich, Tel. (+41-44) 261-08-40 Fax (+41-44) 261-08-83 zrhto@croatiaairlines.hr

Prodajni zastupnici / Sales agents Europa / Europe Crna Gora / OKI AIR MONTENEGRO d.o.o.

Ivana VujoševiÊa 46, 81 000 Podgorica Montenegro Tel. (+382-20) 201-201 Tel./Fax (+382-20) 241-154 »eπka CK Blue Sky Travel Na Perštýne 1, 11 000 Praha 1 Tel. (+420-2) 2222-2235 Fax (+420-2) 2222-0237 GrËka / Intermodal Air 25, Filellinon Str. 105 57 Athens, Greece Tel. (+30-210) 32-17-679, 32-17-750 Fax (+30-210) 32-49-152 Kosovo Airtour Head Office: St. Luan Haradinaj #27 10031 Prishtina, Kosovo Tel. (+381-38) 233-833 Fax (+381-38) 245-845 Airport Office: Prishtina International Airport Tel. (+381-38) 594-111 Fax (+381-38) 594-222 Portugal / Global Portugal Representacoes (GRT) Rua Castilho, N˚ 5 − 1˚ andar, Sala 18 1250-066 Lisboa, Portugal Tel. (+351-21) 351-2982 Fax (+351-21) 351-2988 SlovaËka / CK Blue Sky Travel 1. poschodie, Rajska 15, 811 08 Bratislava Tel. (+421) 5262 2375 Španjolska / Global Representacion Turistica (GRT) c/Valencia, 266, 4/1a 08007 Barcelona Tel. (+34-934) 875-775 Fax (+34-934) 880-121 Turska / ZENITH Services Head Office: Ordu Caddesi, No. 206/1, Laleli 34134 Istanbul Tel. (+90-212) 513-2667 Fax (+90-212) 512-4234 Airport Office: Istanbul Ataturk Airport International Terminal Departure Floor Yesilkoy 34149 Istanbul Tel. (+90-212) 465-50-23, 465-40-92 Fax (+90-212) 465-40-92 Bliski istok / Izrael Biaf Aviation Services Ltd 1 Ben Yehuda St., Migdalor blgd. 12th Floor, Tel Aviv 63802 Tel. (+972-3) 516-7181, 516-7140 Fax (+972-3) 516-7174 SAD / USA Networld Inc. / Croatia America 300 Lanidex Plaza, Parsippany NJ 07054, Tel. (+1-973) 884-3401 Fax (+1-973) 428-3929 Toll free 888-462-7628 Australija / Australia Sky Air Services 7/24 Albert Road, Sth. Melbourne Vic. 3205, Tel. (+61-3) 9699-9355 Fax (+61-3) 9699-9388 Novi Zeland / New Zealand Croatia Times Limited Ltd. NZ PO Box 104-056; Lincoln North, Suite, 1/182 Lincoln Road, Henderson, Auckland, NZ Tel. (+64-9) 837-9897 Fax (+64-9) 837-9898 Japan Air System Inc. Toranomon TBL Blgd., 8F 1-19-9, Toranomon Minato-ku Tokyo 105-0001 Japan Tel. (+81-3) 3593-6740 Fax (+81-3) 3593-6534