Зборник 11 / 2015 (Музеј примењене уметности. Online)
ISSN 2466-460X (Online)
ISSN 0522-8328 (Штампано издање)
PDF штампаног издања 
(7.0 MB)
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Уређивачки одбор:
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Секретар редакције броја: ?????? ???????
Сви текстови у рубрикама Прилози, Полемике, Критике и Прикази се рецензирају.Листа рецензената:
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Садржај Зборника 11 / 2015 (Музеј примењене уметности. Online)
????????
Impressum
Impressum
???????
Contents
Contents
????????? ??????
????? ?????? ? ?????? ? XX ????
FASHION PRESS IN SERBIA IN THE 20 CENTURY
FASHION PRESS IN SERBIA IN THE 20 CENTURY
Апстракт:
???? ??????? ?? ??????? ????? ?????? ? ?????? ????? XX ???? ??? ?????????? ?????? ??????? ? ?????? ?????????? ? ??????? ?????????, ????????? ? ????????????. ????? ???????? ?? ????? ??????? XX ???? ?? ???? ?????????? ???????? ?? ?????? ??????, ???? ?? ????? ???????, ??????????? ? ??????????? ?????? ??????????? ?????????? ????????? ??????? ??????, ??????????? ??????? ? ?? ????????? ????? ? ?????? ?????. ?????? ? ????? ?? ?????????? ??? ???? ??????? ?? ??????? ?????? ????????? ?????????, ?????????????? ?????????? ???????? ????????, ?????????? ????? ????????, ??? ? ???????? ????????? ?????? ????????.
???????? XX ???? ? ??????? ? ??????? ?????? ??? ??????? ????, ?????? ? ?????? ??????? ?? ???????? ??????, ??? ?? ???? ?????????? ? ????? ????????? ?????? ??????? ???????, ??? ?? ?? ????????? ?????? ???????? ????, ??????? ????, ?????????????? ???????. ?? ??????? ????????? ?????? XX ???? ??????? ????? ?? ?? ?????? ??????? ?? ??????, ??? ?? ???? ???????????????? ? ?????? ? ????????? ??????? ??????? ?????????????? ?????????. ?? ???? ?????????? ? ??????????? ?????? ??????????????? ?? ????? ?????????????? ?????? ???????, ??? ?? ?????????? ?????? ????????? ??????? ?????? ??????? ???????? ? ??????????? ????? ?? ????????? ??????? ? ?????? ??????.
??? ???? ?? ?? ????? ?????? ???????? ? ????????? ? ????????? ??????? ? ?????? ?? ???????? ???????? ???? ????????, ??? ? ?? ?? ??????? ???? ???????? ??????? ??????? ????? ?? ????????? ? ????????? ??????? ? ?????? XX ????.
???????? XX ???? ? ??????? ? ??????? ?????? ??? ??????? ????, ?????? ? ?????? ??????? ?? ???????? ??????, ??? ?? ???? ?????????? ? ????? ????????? ?????? ??????? ???????, ??? ?? ?? ????????? ?????? ???????? ????, ??????? ????, ?????????????? ???????. ?? ??????? ????????? ?????? XX ???? ??????? ????? ?? ?? ?????? ??????? ?? ??????, ??? ?? ???? ???????????????? ? ?????? ? ????????? ??????? ??????? ?????????????? ?????????. ?? ???? ?????????? ? ??????????? ?????? ??????????????? ?? ????? ?????????????? ?????? ???????, ??? ?? ?????????? ?????? ????????? ??????? ?????? ??????? ???????? ? ??????????? ????? ?? ????????? ??????? ? ?????? ??????.
??? ???? ?? ?? ????? ?????? ???????? ? ????????? ? ????????? ??????? ? ?????? ?? ???????? ???????? ???? ????????, ??? ? ?? ?? ??????? ???? ???????? ??????? ??????? ????? ?? ????????? ? ????????? ??????? ? ?????? XX ????.
Кључне речи:
????? ??????, ??????, XX ???
Summary:
The paper offers an analysis of fashion press in Serbia in the 20th century as a medium that both transferred fashion news and fostered stereotypes about women's needs, obligations and opportunities. Fashion magazines cannot be analyzed separately from women's press, whose sections dedicated to fashion, illustrations and photographs contributed to the affirmation of some established models, while also influencing the shaping of taste and public opinion. By placing individual journals in the context of the period when they were current, and when their design and content were being changed, it is possible to trace a whole series of social and political changes in Serbia in the 20th century. The same magazines often had the role of arbiters of fashion taste and served as a source of practical advice in times of crisis and saving.
In the early 20th century and especially between the two world wars, in accordance with the rise of mass culture, press in Serbia followed the models set by European press.
Quite oppositely, after World War II, a new socialist culture took shape which would, since the mid-1950s, begin to seek stylistic models in the West, reinterpreting them according to the then current tastes of the socialist community. The period of economic growth led to a rise in the standard of living and an increased consumer spending, which was reflected in the press through regular reporting on fashion shows, the rise of the national textile industry and Yugoslav fashion design, especially in the late 1960s and throughout the 1970s.
Products of fashion industry originating in the West were carefully selected for reproduction in magazines in accordance with the need to meet the classical ideals of a socialist dress code. By the end of the 1980s, women's press included an increasing number of texts on fashion, which influenced the shaping of individual desires to imitate international models, while in the 1990s many national magazines were discontinued and attention was switched to international ones and their offer.
In the early 20th century and especially between the two world wars, in accordance with the rise of mass culture, press in Serbia followed the models set by European press.
Quite oppositely, after World War II, a new socialist culture took shape which would, since the mid-1950s, begin to seek stylistic models in the West, reinterpreting them according to the then current tastes of the socialist community. The period of economic growth led to a rise in the standard of living and an increased consumer spending, which was reflected in the press through regular reporting on fashion shows, the rise of the national textile industry and Yugoslav fashion design, especially in the late 1960s and throughout the 1970s.
Products of fashion industry originating in the West were carefully selected for reproduction in magazines in accordance with the need to meet the classical ideals of a socialist dress code. By the end of the 1980s, women's press included an increasing number of texts on fashion, which influenced the shaping of individual desires to imitate international models, while in the 1990s many national magazines were discontinued and attention was switched to international ones and their offer.
?????? ????? (CVETKA POAR)
CONTINUITY AND CHANGE:
The Biennial of Industrial Design over the First Twenty Years
??????? ? ???????: ????? ???????? ??????
???????? (?????????????) ???????
The Biennial of Industrial Design over the First Twenty Years
??????? ? ???????: ????? ???????? ??????
???????? (?????????????) ???????
Апстракт:
The text is an attempt to analyse the first twenty-year history of the Biennial of Industrial Design BIO. It focuses on the Biennial's chief organizational aspects: the effort behind its establishment, purpose, and role; the Biennial's achievements; and, not least of all, the need to revise its underlying concept.
In Yugoslavia, the main aim of the BIO exhibition was to connect designers with industry. This was done with considerable success, especially in its first decade, when the Biennial of Industrial Design in Ljubljana was, along with the Milan Triennial, one of the most important design events in Europe; it was also the first such biennial in the world. Large numbers of designers from both Western and Eastern Europe took part in the exhibition.
In Yugoslavia, the main aim of the BIO exhibition was to connect designers with industry. This was done with considerable success, especially in its first decade, when the Biennial of Industrial Design in Ljubljana was, along with the Milan Triennial, one of the most important design events in Europe; it was also the first such biennial in the world. Large numbers of designers from both Western and Eastern Europe took part in the exhibition.
Кључне речи:
Biennial of Industrial Design, industrial design, history of design, organizational aspects of the biennial
Summary:
????? ?????????? ??????? ??????? ???????? ???????? ????????????? ??????? ????? ????? ???????? ?????? ??????? ?????????. ? ???????? ???? ????? ???? ?????????? ????????????? ???????: ?????? ?????? ?? ????????????? ????????, ?????????? ??????? ?????? ? ?????, ?? ??????? ?????????? ?, ?? ?????, ??? ?? ???? ?????, ??????? ?? ?? ???????? ??????? ??????? ??? ?????????????.
? ???????????, ?????? ??? ???????? ????????????? ??????? ??? ?? ?????????? ????????? ?? ???????????. ??? ????????????? ?? ?? ??????? ??????? ?????????? ?? ????????, ???????? ????? ???? ???????? ?????????, ???? ?? ???????? ????????????? ??????? ? ???????, ??????? ?? ????????? ??????????, ???? ????? ?? ??????????? ????????????? ? ???? ?? ???????? ? ??????. ????? ????, ???? ?? ?? ? ?????? ???????? ?? ????? ?? ?????. ?? ???????? ?? ?????????? ?????? ???? ????????? ???? ?? ???????, ???? ? ?? ??????? ??????. ?? ??????? ?????? ????????????, ???????? ? ?????????? ?????????, ???????? ?? ?????? ???? ?? ????? ????? ? ???????? ? ?????? ?????????????? ???????. ? ???????? ????? ???????? ? ? ?????????? ?????????, ???????? ?? ?? ?????? ????? ??????? ????????? ???????? ????? ?? ??????? ????????? ????????? ???? ? ??????? ???????????, ???? ? ? ??????? ?????. ????? ???? ??? ???????? ?????????, ???????? ?? ???????? ??????? ??????????? ???? ??? ?????????? ????????? ? ??????????. ????, ??????????? ?????? XX ????, ? ????? ??????????????, ??? ? ????? ???????? ?????? ?????????, ????????????? ??????? ???? ???? ??? ??????????.
? ???????????, ?????? ??? ???????? ????????????? ??????? ??? ?? ?????????? ????????? ?? ???????????. ??? ????????????? ?? ?? ??????? ??????? ?????????? ?? ????????, ???????? ????? ???? ???????? ?????????, ???? ?? ???????? ????????????? ??????? ? ???????, ??????? ?? ????????? ??????????, ???? ????? ?? ??????????? ????????????? ? ???? ?? ???????? ? ??????. ????? ????, ???? ?? ?? ? ?????? ???????? ?? ????? ?? ?????. ?? ???????? ?? ?????????? ?????? ???? ????????? ???? ?? ???????, ???? ? ?? ??????? ??????. ?? ??????? ?????? ????????????, ???????? ? ?????????? ?????????, ???????? ?? ?????? ???? ?? ????? ????? ? ???????? ? ?????? ?????????????? ???????. ? ???????? ????? ???????? ? ? ?????????? ?????????, ???????? ?? ?? ?????? ????? ??????? ????????? ???????? ????? ?? ??????? ????????? ????????? ???? ? ??????? ???????????, ???? ? ? ??????? ?????. ????? ???? ??? ???????? ?????????, ???????? ?? ???????? ??????? ??????????? ???? ??? ?????????? ????????? ? ??????????. ????, ??????????? ?????? XX ????, ? ????? ??????????????, ??? ? ????? ???????? ?????? ?????????, ????????????? ??????? ???? ???? ??? ??????????.
?????????? ????????
O??????????? ? ???????
ORIGINALITY IN CLOTHING
ORIGINALITY IN CLOTHING
Апстракт:
? ???? ?? ???????? ????? ?????????????, ?????? ??????? ? ????????? ?????? ????????????? ?? ???? ????????????. ??????? ????? ?? ????????? ???????? ????????????? ?? ???? ???????, ?? ?? ?????????? ??????? ????, ? ?? ???? ?? ??????????? ????????, ???? ?????? ????????. ??????? ??????????? ??????? ?????? ? ??????? ? ??????? ???? ?? ?????????? ?????? ????????? ????????????? ????? ?? ?????? ???????????? ??????? ??????????, ??????? ?? ???????? ??????? ???? ????? ?? ???? ????? ???????? ??? ????? ?? ???????? ????????? ???????? ????. ???????????? ?? ???????? ? ?????? ?????????? ????????? ?????????? ?????????, ???? ? ?????????? ?????? ????? ????????? ???????? ?? ??????????, ??? ? ??????????? ???????? ???????????????, ??????? ??????????? ?????????.
Кључне речи:
????????????, ???????, ????, ???????? ?????, ????????????, ??????????????, ????????????
Summary:
The paper examines the concept of originality, its historical sources and the different forms of its manifestation in the field of creativity. Special attention is paid to the problem of originality in the field of clothing, so the phenomenon of fashion is treated, more from the perspective of a slicker than of a fashion designer. The overview of the development of historical conditions in the culture and society that preceded the rise of the value of originality should create assumptions for its understanding, i.e. of the reason for which this term has been imposed as one of the supreme values of the modern age. Originality is viewed in the light of the possibilities of aesthetic expression of the individual, which finds the means of identification in the manifestations of personal taste, but also the means for realization of its individuality, and authentic existence.
??????? ??????? ??????????
????? ??? ?????? ?? ???????
???????????? ????? ??? ??? ?????????
HOW FAR HAVE WE REACHED WITH THE BOOK?
Interactive Book as a Part of the Spectacle
???????????? ????? ??? ??? ?????????
HOW FAR HAVE WE REACHED WITH THE BOOK?
Interactive Book as a Part of the Spectacle
Апстракт:
? ??????? ? ????? ??? ??????? ????????? ????????? ????? ????? ????? ?? ? ?????. ???? ??? ???????? ???????????? ?????, ????? ? ???????????? ?, ??????, ? ?????????? ??????. ???? ???????? ???? ??????????? ?????, ????? ????????? ????????? ??????, ???????????? ? ?????? ??????? ?? ?????????. ???????? ??????, ???? ????? ???? ?? ? ????? ??????. ?? ????????? ?? ??????? ?? ????????? ??? ?????????, ????? ?? ? ??? ????? ?? ????? ?? ????. ? ??????? ???? ?? ???????? ??????????????????? ? ?????????? ????? ?????????? ??????????? ???? ?????? ???????? ????? ????????? ?????? ????? ??? ????????????????. ?????? ?????? ?? ???? ?????? ????: ?? ?? ?? ???????? ????? ? ???????? ????? ?????? ??????? ???????? ?? ?????????? ?????? ? ?? ?? ????? ????? ???? ?? ??????? ?????? ??? ??? ?????? ????????????????? ?????????.
Кључне речи:
??????????????, ??????????, ???????????? ?????, ????????? ??????, ????????
Summary:
In its nature and structure, the book has always been interactive. However, the paper does not deal with the primary interactivity of books. In the mid-20th century, new types of books appeared which required a different, completely new, dynamic way of reading. The new book has appeared which offers new opportunities. Although this approach was a surprise to readers, the book's new nature was in accord with everything that was happening around it the society of the spectacle. The earliest interactive books were stories which involved the reader in their creation the socalled gamebooks (in which readers could choose among several possible endings). They were followed by interactive books for children, lift-the-flap books, tactile books, soundcreating books, books that smell when rubbed, etc. Along with being interactive, the book has also become a toy. With the rise of desktop computers, and, subsequently, laptops, and the expansion of computer and network activities, the book was transferred into that domain. At first, it was the electronic book whose underlying structure was the same as that of today's Internet pages (hyperlinks). As technology has developed, via interaction through animation and lavish illustration, the book has turned into an application. Nowadays, the book is a form of multimedia content, which alters the linear reading into parallel and multidimensional reading. The question arises whether this constitutes a new future of the book or merely another form/dimension of the book, where the reader will be able to choose the preferred form.
????? ???? (DIETER SULS)
EUROPEANA FASHION: PAST, PRESENT AND FUTURE
EUROPEANA FASHION: ????????, ????????? ? ?????????
EUROPEANA FASHION: ????????, ????????? ? ?????????
Апстракт:
The subject of this article is the Europeana Fashion project, an EU-funded project that deals with digital fashion heritage. The project consortium consisted of 22 partners from 12 European countries and included the Victoria and Albert Museum, Les Arts Dcoratifs, MoMu, the archives of brands, such as Missoni and Pucci, as well as the Museum of Applied Art in Belgrade. The main goal of Europeana Fashion was to harvest the digital collections of fashion institutions and to represent them in a uniform way on a specialized fashion portal. This article outlines the origins of the project, focussing on its main achievements, and offers to the reader a look into the future of europeanafashion.eu.
Кључне речи:
digital heritage, fashion, Europeana, costume, content aggregation
Summary:
? ????? ???? ?? ?????? ? ?????? ????????? ?? ??????? ????????????, ?????????-?????????? ? ?????????? ?????????, ??????? ??????? ??? ??????. ???? ???????????? ?????????? ?????? ???? ???? ?????? ?? ??????? ? ???????? ???????? ?????????? ????? ?? ???????? ?????????? ???????? Europeana Fashion. ???????? Europeana Fashion ?????????? ?? ? ?????? ???????? ?? ????????????? ? ???????????? ???????? ???????? (CIP), ????: ?????????? ???????? ?? ?????? Europeana (Aggregating Content for Europeana); ???????? ?? ????? ?????????? ???????? ?? ?????? ????????? ?????????? ???? ?? ????????? ????????? ???????? ? ???? ?? ?????.
??????????? Europeana Fashion ?????? ?? 22 ???????? ???? ?? ??????? ??? ?? ?? ?????? Europeana ??????? 700.000 ?????????? ??????, ???? ?????? ???????- ?? ????? ?????????? ????????, ?? ??????????? ??????? ? ?????????, ?? ??????, ????????, ?????, ???????????, ????? ??????, ?????? ???????? ? ??.
???????? Europeana Fashion ?????????? ?? ? ?????? ????? ??????? ?????? (Best Practice Network) ? ????? ?? ?? ?????? ??????? ??????:
?????????? ? ????????? ????????? ????????? ????????? ???????? ?? ??????????? ? ????????- ??????? ????????? ?????? ??????;
??????? ???? ????????????????? ??????? ? ??????????? ??????;
????????? ??????? ?????????? ?????????? ????????? ???????? ??????? ?????????? ????;
??????? ????? ? ??????? ?? ??????????? ???????? ???? ???????? ?????????;
?????????? ???????? ????? ????????? ? ????????, ?? ?????????????? ? ? ????????? ???????.
???????? ?? ???????? ??????? ? ???????? 2015, ? ????? ???? ?? ?? ??????? ???????? ????????. ? ????? ?? ????????? ?? ?? ???????? ???????? ??? ???????? ??????, ? ?? ?? ? ????? ?????????? ?????????? ?????????.
????? ???????? ????????, ???????? ??????? Europeana Fashion ???????? ?? ??????????? ????? ?????????- ????:
???????????? ???????? Europeana Fashion (Europeana Fashion International Association)
? ??????? 2014. ?????? ???????? ?? ??????????? ???????? Europeana Fashion, ???? ?? ?? ???????????? ? ???????. ??????????? ???? ???????????, Europeana Fashion ?? ??????? ?????? ???? ???? ?? ????????? ????????? ???????.
Europeana Fashion ? ?????? ?????????????? ?????????? ??????? ??????? Europeana (Europeana Digital Service Infrastructure)
?????? ????????? 2014. ??????, ????????? Europeana, ??. ?????? ???? ???? ?? ??????? ?????????? Europeana, ??????? ?? ??????? ???????? ? ?????? ??? ?????? ???????? ???? ????????? ???????? ????? ??????????? ?? ?????????? ?????? (Connecting Europe Facility). ??? ??????????? ?? ????????? ???????? Europeana Fashion ?? ???????, ??????? ????????? ????? ? ????????? ????????? ??????.
??????????? Europeana Fashion ?????? ?? 22 ???????? ???? ?? ??????? ??? ?? ?? ?????? Europeana ??????? 700.000 ?????????? ??????, ???? ?????? ???????- ?? ????? ?????????? ????????, ?? ??????????? ??????? ? ?????????, ?? ??????, ????????, ?????, ???????????, ????? ??????, ?????? ???????? ? ??.
???????? Europeana Fashion ?????????? ?? ? ?????? ????? ??????? ?????? (Best Practice Network) ? ????? ?? ?? ?????? ??????? ??????:
?????????? ? ????????? ????????? ????????? ????????? ???????? ?? ??????????? ? ????????- ??????? ????????? ?????? ??????;
??????? ???? ????????????????? ??????? ? ??????????? ??????;
????????? ??????? ?????????? ?????????? ????????? ???????? ??????? ?????????? ????;
??????? ????? ? ??????? ?? ??????????? ???????? ???? ???????? ?????????;
?????????? ???????? ????? ????????? ? ????????, ?? ?????????????? ? ? ????????? ???????.
???????? ?? ???????? ??????? ? ???????? 2015, ? ????? ???? ?? ?? ??????? ???????? ????????. ? ????? ?? ????????? ?? ?? ???????? ???????? ??? ???????? ??????, ? ?? ?? ? ????? ?????????? ?????????? ?????????.
????? ???????? ????????, ???????? ??????? Europeana Fashion ???????? ?? ??????????? ????? ?????????- ????:
???????????? ???????? Europeana Fashion (Europeana Fashion International Association)
? ??????? 2014. ?????? ???????? ?? ??????????? ???????? Europeana Fashion, ???? ?? ?? ???????????? ? ???????. ??????????? ???? ???????????, Europeana Fashion ?? ??????? ?????? ???? ???? ?? ????????? ????????? ???????.
Europeana Fashion ? ?????? ?????????????? ?????????? ??????? ??????? Europeana (Europeana Digital Service Infrastructure)
?????? ????????? 2014. ??????, ????????? Europeana, ??. ?????? ???? ???? ?? ??????? ?????????? Europeana, ??????? ?? ??????? ???????? ? ?????? ??? ?????? ???????? ???? ????????? ???????? ????? ??????????? ?? ?????????? ?????? (Connecting Europe Facility). ??? ??????????? ?? ????????? ???????? Europeana Fashion ?? ???????, ??????? ????????? ????? ? ????????? ????????? ??????.
?????????? ?????????
??? ?????? ??????? ??????? ?? XIX ????
? ????? ?????? ????????? ?? ????
TWO 19TH-CENTURY SILVER VOTIVE GIFTS DONATED BY SERBIAN
DONORS IN THE CHURCH OF SAINT SPYRIDON ON CORFU
? ????? ?????? ????????? ?? ????
TWO 19TH-CENTURY SILVER VOTIVE GIFTS DONATED BY SERBIAN
DONORS IN THE CHURCH OF SAINT SPYRIDON ON CORFU
Апстракт:
??? ?????????? ??????? ?????????? ??????????? ????? ?????? ????????? ??? ????, ?? ????? ?? ?????? ????? ?? ?????? ?????? ? ????????? ????? ???? ????????? ??? ?????????? ??????? ?????????? XIX ???? ???? ???? ? ?????, ? ?????????? ???????? ?? ??????? ? ?????????? ????? ??. ????????? ?? ????. ???????? ?? ????????? ????????????? ? ?? ?????????? ???????? ???????? ?????, ??? ??????? ??? ??????????????? ??????? ???????? ??????? ? ????????, ???????? ? ???? ???????? ?????????? ???????? ????????? ????????? XIX ????. ????? ????????? ???? ????????? ? ??????????????, ???????? ???????, ????????? ?????? ??????? ?????????? ? ????? ??. ????????? ?? ???? ??????? ?? ????????? ????? ???? ????????? ? ???????? ?????? ????????? ?????? ??????????.
Кључне речи:
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Summary:
In the town of Corfu there is a church dedicated to St Spyridon of Tremithus, built in 1590. It keeps the relics of one of the ancient saints of the Christian church St Spyridon the miracle worker, the Bishop of Tremithus and the patron of the island and town of Corfu. The Church of St Spyridon abounds in valuable liturgical objects. The most numerous among them are vigil lamps donated by Greek, Venetian and Russian donors. Items donated by two Serbian donors can also be found among the works of applied art in the Church of St Spyridon.
The first votive gift is the silver vigil lamp donated by the Trieste merchant Hristofor Tuzli? in 1862. The second item is a silver diadem, donated by Marija Kova?evi? of Trieste. The diadem was made between 1874 and 1883 in the form of a flower garland; it is used on festal occasions, when it is placed as a decoration upon the reliquary which contains the relics of the saint. It may be observed that the items donated by Serbian donors conform to the stylistic tendencies of the European applied art of the 19th century. Having in mind that both Hristofor Tuzli? and Marija Kova?evi? were citizens of Trieste, we may assume that both votive gifts originated in some of the goldsmith's workshops of Trieste. The votive gifts made to the church of St Spyridon on Corfu by the mentioned Serbian donors were an expression of personal piety and the veneration of St. Spyridon. Nevertheless, they confirm of the presence of the veneration of the saint among of the wealthy Serbian bourgeoisie in Trieste.
The first votive gift is the silver vigil lamp donated by the Trieste merchant Hristofor Tuzli? in 1862. The second item is a silver diadem, donated by Marija Kova?evi? of Trieste. The diadem was made between 1874 and 1883 in the form of a flower garland; it is used on festal occasions, when it is placed as a decoration upon the reliquary which contains the relics of the saint. It may be observed that the items donated by Serbian donors conform to the stylistic tendencies of the European applied art of the 19th century. Having in mind that both Hristofor Tuzli? and Marija Kova?evi? were citizens of Trieste, we may assume that both votive gifts originated in some of the goldsmith's workshops of Trieste. The votive gifts made to the church of St Spyridon on Corfu by the mentioned Serbian donors were an expression of personal piety and the veneration of St. Spyridon. Nevertheless, they confirm of the presence of the veneration of the saint among of the wealthy Serbian bourgeoisie in Trieste.
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ACQUISITIONS MAA
ACQUISITIONS MAA
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