Turistička zajednica grada Šibenika

68.

Na Trgu Dobrić, iznad gusterne koja je u svoje vrijeme uz Četiri bunara bila jedan od važnijih izvora pitke vode,   stoji Rebus u kamenu koji se sastoji od niza reljefnih prikaza krila, kose, dviju kesa za novac, triju kocaka i mrtvačke glave. Pretpostavljeno rješenje rebusa čita se na talijanskome “Dalle false bocche sorte le morte”, dakle “Iz varavih usta izlazi smrt” . Zgrada na kojoj se nalazi rebus u 18.st. bila je u funkciji gradskog kazališta.

On the Dobrić Square, above the tank which in the past, besides Four draw wells, was one of the important sources of fresh water, we can find the Rebus which consists of a series of relief depictions of wings, hair, two money bags, three dice and a skull. We assume that the solution of the rebus is read in Italian "Dalle false bocche sorte la morte", translated “From false mouths, comes death”. In the 18th century, the building on which the rebus is found was a city theatre.

69.

Na južnom dijelu trga Dobrić nalaze se Gradska vrata ( Porta alla Marina, Vrata milosti) iz 14. st. Vrata su bila dio srednjovjekovnog obrambenog zida iz prve polovice 14. stoljeća koji je, upravo uz ova gradska vrata, zbog lošeg temeljnog tla bio  ojačan drvenim pilonima.   Današnja vrata su rezultat raznih naknadnih rekonstrukcijskih radova te je izgubljena njihova originalnost.

On the southern part of Dobrić Square is the 14th century City Gate (Porta alla Marina, Gate of Mercy). The gate was part of the medieval defence walls from the first half of the 14th century which, right by this gate, due to the poor base soil, were fortified with wooden pylons. Today’s gate is the result of a number of subsequent reconstruction works and their originality has been lost.

70.

Gradska vrata pod kneževom palačom (Porta del palazzo) iz 14.st. su dio južnog pročelja kneževe palače. Iza vrata koja su rekonstrukcijom izgubila gotičku luk nalazi se nadsvođeni prolaz s karakterističnim prelomljenim svodom. Vrata su u kasnijoj rekonstrukciji umjesto prelomljenog luka dobila horizontalnu kamenu gradu /arhitrav/ s baroknim ukrasom.   Iznad nadvratnika  je ugrađen srednjovjekovni reljef s likom sv. Mihovila zaštitnika grada Šibenika. U austrijskim planovima iz 19.st. ova vrata se spominju  i kao vrata od mesnice.

The 14th century City Gate below the Duke’s palace (Porta del palazzo) is part of the southern façade of the palace. Behind the gate which unfortunately lost their Gothic arch during reconstruction work, is a domed passage with a characteristic broken arched ceiling. In place of the broken arch, during the more recent reconstruction, a horizontal stone beam/architrave was added with baroque decoration.   Above the gates a medieval relief with a figure of St. Michael, the city of Šibenik’s patron saint has been incorporated. In Austrian maps from the 19th century this door is mentioned as being butcher shop’s door.

71.

Nova vrata  se nalaze između Kneževa dvora i biskupske palače. Renesansnih su karakteristika, građena u 16. stoljeću  u tehnici bunjeta s lučnim otvorom. Na zaglavnom kamenu vrata nalazi se grb šibenskog kneza i kapetana Giacoma Pisania (1570. godine). U korpusu vrata, iznad luka, su grbovi Antonia Calba(šibenskog kneza od 1486 do 1489. godine) te Gianbatise Calba ( šibenski knez od 1567 do 1569. godine). S unutrašnje strane vrata bio je isklesana spomen ploča providuru Dalmacije Leonardu Foscolu, zaslužnom za obranu Šibenika u Kanadijskom ratu ( 1646. do 1669. godine. Spomen ploča je naknadno otučena.

The New door is located between the duke's and bishop's palace: the door is distinguished with renaissance characteristics, built in the 16th century using the bunjeta technique with an arch aperture. On the door's keystone is the emblem of the Šibenik duke and captain, Giacomo Pisani (1570). In the door corpus, above the arch, are the emblems of Antonio Calbo (duke of Šibenik from 1486 until 1489) and Giambattista Calbo (duke of Šibenik from 1567 until 1569). On the inside part of the door a memorial board has been engraved, dedicated to the Dalmatian provveditore, Leonardo Foscolo, responsible for Šibenik’s defence in the Cretan War (from 1646 to 1669). The memorial board was later destroyed.

72.

Na uglovima nekih starih šibenskih kuća nalaze se zaobljeni stupovi različitih visina, katkad samo s kapitelom pri vrhu, a ponekad i s grbom nad kapitelom. Rijetki su i u pravilu vrlo niski ugaoni stupovi koji nemaju nikakvu aplikaciju. Na prostoru povijesne jezgre ima ukupno 26 ugaonih stupova. U tolikom broju i tolike raznolikosti skoro pa ih nema ni u jednom gradu na istočnoj jadranskoj obali. U Splitu i Trogiru može se zateći tek nekoliko starijih ugaonih stupova, a običaj njihova  postavljanja na zgrade bio je raširen sve do sjevera. Ima ih u Veneciji ili primjerice u Poreču gdje se postavljaju na oba ili sva četiri ugla kuće te se protežu od pločnika ulice pa sve do krovnog vijenca. Ipak, čini se da Šibenik vrvi ovim stupovima i kao da potvrđuje kako ih u srednjoj Dalmaciji ima najviše.
Šibenski ugaoni stupovi sačuvani su u stilu gotike i renesanse. Ima i kasnijih sve do 19. stoljeća, a razlikuju se visinom. Ponekad su tek s kojim metrom visine priljubljeni uz ugao zgrade, a jedan ugaoni stup visok je 10 metara i 90 centimetara što je najveća visina jednog šibenskog ugaonog stupa i to baš na palači Divnić (desno od Gradske vijećnice). Ugaoni stupovi predstavljali su dekoraciju zgrade, a funkcionalno su štitili uglove kuća od uličnog prometa

On the corners of some old Šibenik houses there are rounded columns at various heights, sometimes having only a capital at the top and others with a hump above the capital. They are rare and usually very low corner columns with no function at all. In the area of the historical centre there are a total of 26 corner columns. They can only be found in a few towns on the eastern part of Adriatic coast in such a large number. In Split and Trogir there are just a few older corner columns and the custom of their placement on buildings spread all the way to the north. They can be found in Venice or, for example in Poreč where they are positioned on two or on all four corners of the house and dispersed from the street pavement to the roof chaplet. However, it seems that Šibenik is full of these columns thus proving the fact that most of these columns are located in central Dalmatia.
Šibenik’s corner columns have been preserved in the gothic and renaissance style. Others can be found that were created later, up until the 19th century, but those differ in height. Sometimes they are just along the first few metres attached to the corner of the building, whilst one of them is 10 metres and 90 centimetres high. It is the highest Šibenik corner column and is located on Divnić palace (on the right side of the Town Hall). The corner columns represented a building decoration and protected the functional corners of the house from street traffic.

73.

U srednjem vijeku se na trgu pred kavanom “Medulić” ( Trg palih šibenskih  boraca) nalazila mala tržnica (platea). Mala tržnica funkcionirala je sve do 13. prosinca1943. godine kada je uništena s okolnim kućama u zračnom bombardiranju. Na uglu  nekad srednjovjekovne  kuće uklesane su dužinske mjere  - šibenska i venecijanska palica iznad koje se danas nalazi kapelica.. Prema tim mjerama trgovci su bili dužni izraditi svoje mjere točno prema uzorku urezanom u kamenu, na što ih je upozoravao i križ urezan između dviju mjera, kao simbol i jamstvo javne vlasti. Šibenska palica je dužine 117,2 cm, a podjeljenja je na manje mjere: stopu, šaku i prst.

In the medieval period, on the square in front of the “Medulić” coffee bar (the Square of the Fallen Šibenik fighters) there used to be a small market (platea). The small market operated until the 13th December 1943 when it was destroyed together with the surrounding houses during an air bombing attack. On the corner of the former medieval house, measures for length were chiselled out – the Šibenik and Venetian stick above which today there is a small chapel. Merchants had to make their measures exactly based on the sample chiselled in the stone in accordance with these measurements and were warned by a chiselled cross between the two measurements, as a symbol and guarantee of public government. The Šibenik stick was 117.2 cm long and was divided into smaller measurements: foot, fist and finger.

74.

U prizemlju  palače, na zapadnom uglu Medulićeva trga i Kalelarge nalaze se dvije kamene posude odkojih jedna ima uklesan natpis  „Amor di cani“. U njima se ostavljala voda za pse i mačke, osobito za ljetnih mjeseci za vrijeme suša kad je prijetila opasnost od bijesnoće i drugih bolesti. Služile su u zdravstveno preventivne svrhe, budući da je poznato kako se kod životinja oboljelih od bjesnoće javlja hidrofobija, tj. strah od vode, te se na taj način moglo prepoznati bolesne životinje i spriječiti  daljnji razvoj zaraze. Pretpostavlja se da kamene posude potječu iz 18. Stoljeća

On the ground floor of the palace, on the western corner of Medulić Square and Kalelarga, there are two stone containers. One has been chiselled with the inscription “Amor di cani”. People used to leave water there for cats and dogs, especially in the summer months, during the dry periods, when the appearance of rabies and other diseases threatened. These containers served as prevention and for maintaining health as it known that in animals suffering from rabies hydrophobia, a fear of water can often be seen, and in this way sick animals could be recognized and prevented from spreading further disease. It is thought that these stone containers date back to the 18th century.

75.

Na jugoistočnom dijelu Trga Republike  sačuvana je mala renesansna loža u kojoj je općinski  službenik vodio dražbe. Srednji stup lože koristio se kao colonna “d`infamia” -  stup srama tzv. berlina. Kazna vezivanja bila je oblik tjelesne kazne, a izricana je najčešće za neplaćanje novčanih kazni, bogohuljenje i krivokletstvo. Osim izlaganja na stupu srama, često se kao mjera represije koristilo bičevanje, pa i žigosanje.Tako je za veće prijestupnike  bio  predviđen cjelodnevni boravak, „od izlaska sunca sve do njegovog zalaza“, na stupu srama na Velikome trgu.

On the south-eastern part of the Trg Republike Square a small renaissance lodge has been preserved in which the municipality's officer held auction sales. The central lodge's column was used as a “colonna d’infamia” – pillar of shame, the so called berlina. Ligature was a form of physical punishment which was usually used for those who had not paid their fines, or had used profanity and perjury. Besides being exposed on the pillar of shame, flagellation was often used as a means of repression as well as sealing.  So for serious offenders, an entire day was foreseen at the pillar of shame, on the Veliki trg Square “from sunrise to sunset”.

76.

Vjeruje se da je ovaj portal pripadao obiteljskoj kući velikog majstora i graditelja katedrale, Jurja Matejeva Dalmatinca. Bočne strane portala ukrašene su obilježjima kiparskog zanata uvezanim u snopove , dok se na nadvratniku nalazi lik medvjeda (medvjed – tal. Orso). Poznato je da su nasljednici Jurja Dalmatinca prisvojili prezime Orsini a naknadno su dobili i status plemstva. Sama kuća u kojoj je stanovao Juraj Dalmatinac s obitelji danas nažalost nije sačuvana.

According to beliefs, this portal belonged to the family house of the great master and cathedral builder, Juraj Matejev Dalmatinac. The portal’s lateral sides are decorated with symbols of sculpture stitched into sheaves, whilst above the door a figure of a bear (bear - Italian orso) can be seen. It is known that Juraj Dalmatinac's successors adopted the surname Orsini and later earned the status of noble family as well. Unfortunately, traces of the house in which Juraj Dalmatinac lived with his family can no longer be seen.

77.

Niz padinu brda na kom je izgrađena sredenjovjekovna tvrđava sv. Mihovila u prvoj polovici 15. stoljeća izgrađen je prolaz  između tvrđave i mora. Prolaz je zaštićen prema napadačima s zapadne strane. Visokim zidom prolaz je zaštićen i prema gradu. S morske strane zidovi su  spojeni obrambenim zidom na kome se nalaze  ulazna vrata. Uz donja ulazna vrata u zaštićeni prolaz, na višoj niveleti iznad stijene, nalaze se još jedna vrata s srednjovjekovnim karakteristikama  koja su također dio fortificiranog prolaza prema tvrđavi. U povijesnim grafičkim prikazima Šibenika  komunikacija između mora i tvrđave nazivala  se „strada del soccorso“ /cesta spasa/ što zorno prikazuje funkciju prolaza.  
Vrata kojim se ulazi u zaštićeni prolaz prema kaštelu imaju karakteristike gradnje iz prve polovice 15. stoljeća.  Vrata su bez horizontalne grede s prelomljenim kamenim lukom
Down the hill-side on which the medieval St. Michael’s fortress was built in the first half of 15th century there was a passage between the fortress and the sea. The passage was protected from attackers coming from the west. The side going to the city was also protected by a high wall. From the sea side, the walls are bonded by a defence wall on which the entrance door is found. Besides the lower doors leading to the protected passage, on the upper level above the rock there is another door with medieval characteristics which are also part of the fortified passage towards the fortress. In historical graphic depictions of Šibenik,the communication passage between the sea and the fortress was known as the “strada del soccorso”/the road to salvation which clearly shows the function of the passage.  
The door that is the entrance to the protected passage towards the castle has construction characteristics that date back to the first half of the 15th century.  The door is missing the horizontal beam with broken stone arch.

78.

Zadar je bio prvi grad s električnom javnom rasvjetom u Dalmaciji, ali dobivenom iz elektrane istosmjerne struje. Šibenik je bio prvi dalmatinski i hrvatski grad (među prvima u svijetu) koji je uveo rasvjetu na izmjeničnu struju dobivenu iz prvog sustava koji je obuhvatio proizvodnju (na rijeci Krki), prijenos (do grada Šibenika) i distribuciju struje (1895. god.). Dubrovnik je treći grad s električnom energijom u Dalmaciji (javna rasvjeta od 1901.). Zagreb je dobio stalnu električnu rasvjetu tek 1907., Split 1920., a Osijek tek 1927. godine. Zadar će na izmjeničnu struju prijeći tek 1932. godine što svjedoči da je upravo Šibenik u pogledu napajanja električnom energijom bio najnapredniji u Dalmaciji i Hrvatskoj.
Što se šibenske gradske rasvjete tiče, ona je u početku bila ostvarena preko 12 lučnih svjetiljki i s oko 216 žarulja s ugljenom niti. Lučnice, čija je jedna replika ovdje prezentirana, su radi jakog i koncentriranog svjetla bile postavljene na najprometnijim mjestima u gradu i to na Poljani, obali, Gradskoj vijećnici, Pošti, u Kalelargi i dr. Lučne svjetiljke bile su po obrubu dekorirane ukrasima historicističkog stila tipičnog za konac 19. stoljeća.  

Zadar was the first town to have public electric lighting in Dalmatia, obtained by means of a direct current electric power plant. Furthermore, Šibenik was the first town in Dalmatia and in Croatia (as well as being amongst the first in the world) to have introduced alternating electric lighting obtained from the first system that encompassed production (on the Krka River), transmission (to the city of Šibenik) and distribution of electricity (1895).  Dubrovnik was the third town in Dalmatia to have electricity (public lighting since 1901). Zagreb only obtained permanent electric lighting in 1907, Split in 1920 and Osijek only in 1927. Zadar only passed to the use of alternating current in 1932 which is proof that Šibenik, with regard to its electric power supply, was the most developed city in Dalmatia and Croatia.
As far as Šibenik city lighting is concerned, at the beginning it was obtained through 12 arc lamps and with around 216 carbon-filament light bulbs. Arc lamps, of which one replica is presented here, were, due to the strong and concentrated light, found on the most crowded spots in the city Poljana, the coast, the area by the City Hall, the Post Office, Kalelarga etc. Arc lamps were decorated on their edges with elements of historical style that were typical for the end of 19th century.
 

79.

Prva javna česma  “Rodičevac” priključena je na gradski vodovod iz 1879. godine, a nazvana je prema kraljevskom namjesniku Rodiću. Šibenik je dobio tekuću vodu iz vodovoda 1879. godine, godinu dana prije Splita, a pet godina prije Rijeke. Otvaranje vodovoda bio je preduvjet boljeg korištenja vode u javnim i privatnim zgradama. To je bilo osobito važno zbog protupožarne zaštite zgrada. Dotad su se značajniji objekti, javni i privatni, koristili vodom uglavnom na tradicijski način postavljanjem spremnika za vodu u potkrovlju odakle je voda slobodnim padom dolazila do česmi u nižim etažama.

The first public tap “Rodičevac” was connected to the city aqueduct in 1879 and was named after the king's regent Rodić. Šibenik got running water from the water supply system in 1879, a year before Split did, and five years before Rijeka. The opening of the aqueduct was the prerequisite for better use of water in both public and private buildings. It was also of extreme importance for the protection of buildings from fires. Until then the more important facilities, both public and private, used water mainly in the traditional way. This included the placing of water containers in the attic from where water fell free and entered the taps on lower floors.

80.

Portal je pripadao palači nepoznate plemićkoj obitelji. Upotreba dekorativnih elemenata grada te način obrade datiraju ova vrata u rano 15. stoljeće. Dovratnici imaju kapitele s florealnim ukrasom. U cijeloj visini dovratnika je ukrasni stupić s kapitelom s ukrasom od niza listića. Na kapitelu dovratnika su sa svake strane po jedan ljudski lik mažda naknadno postavljeni. Luneta portala je od tri dijela. U srednjem polju je grb obitelji na koso postavljenom četvrtastom štitu s likom psa. Iznad je plašt na kom je konjska glava. Grb obitelji sa strana štite oklopljeni vojnici.  

The portal was part of the palace owned by an unknown noble family. In accordance with the use of town decoration elements and the means of elaboration, this door dates back to the early 15th century. Doorjambs have capitals with floral decorations. Throughout the entire height of the doorjamb there is a decorative small pillar with a capital comprising decoration made of a series of petals. On each side of the doorjamb capital is a single human figure, probably placed there at a later date. The portal lunette is made up of three parts. In the central field is the emblem of the family on an inclined quadrangular shield with a figure of a dog. Above it is a mantle with a horse’s head. The family emblem is protected at the sides by armoured soldiers.

81.

Zavjetni reljef šibenskog lječnika, prvog gradskog kirurga nalazi se na crkvi sv. Barbare, a prikazuje klečeći lik lječnika Marka koji je ovaj reljef dao izraditi 1419. godine kao  zavjetni dar. Izraz skrbi za ljudsko zdravlje u starome Šibeniku bili su stalno plaćeni liječnici koje je općina imala u službi najkasnije u 14.st. Pod gotičkom monoforom koju je izradio majstor  Bonino iz Milana smještena je zavjetna kapelica, rad nepoznatog majstora, u kojoj se nalazi visoki reljef Bogorodice s Djetetom u naručju. Do njih je klečeći lik šibenskog  ljiečnika Marka, uz kojega teče latinski natpis: MCCCCXVIIII Ego Marcus medicum de Sibenico hoc opus feci fieri in memoriam et pro remissione pecatorum meorum.
Natpis  u prijevodu glasi; „Ja Marko, liječnik iz Šibenika, dao sam god.1419.načiniti ovo djelo na uspomenu i odrješenje svojih grijeha.

The votive relief of Šibenik’s doctor, the first city surgeon, can be found at St. Barbara’s Church and represents the figure of a kneeling doctor Marko who ordered construction of this relief in 1419 as a votive gift. Expression of care for human health in old Šibenik was constantly paid to doctors employed by the municipality in the 14th century at the latest. Under a gothic single-light window, created by the master Bonino from Milan, there is a votive chapel, which is the work of an unknown master where the high relief of Our Lady with a Child in her arms can be found. Next to them is the kneeling figure of Šibenik's doctor Marko along which the Latin inscription: MCCCCXVIIII Ego Marcus medicum de Sibenico hoc opus feci fieri in memoriam et pro remissione pecatorum meorum flows which translated means: “I, Marko, doctor of Šibenik, ordered this work of art in 1419  in memory and as a liberation from my sins."

82.

U hladu svoda što se priljubio uz sjeverno bočno pročelje Gradske vijećnice, stoji natpis šibenskog kneza Alvise Veniera iz tridesetih godina 16. stoljeća, upravo iz vremena gradnje renesansne Vijećnice. Tekst natpisa glasi: “Tvrda stijena nekoć je bila ovdje, ali brigom dobrostivog načelnika  kamen je uglađen u ravan put”. Tekst je najraniji javni pisani spomen o komunalnom uređenju jedne gradske ulice. Iznad natpisa je knežev grb ovješen na kamenim čavlima (na način kako su se često “vješali” srednjovjekovni grbovi, posebno u vrijeme gotike) te uokviren stupićima i bazom s tipičnim renesansnim profilima.

In the shade of the arch attached to the northern, lateral façade of the City Hall, stands an inscription made by the Šibenik count, Alvis Venier, from 1530s, from the period when the renaissance City Hall was built. The following text is inscribed: “Hard rock once stood here, but with the care of the good mayor, the stone has become a plain path”. The text is considered to be the oldest public written monument with regard to the communal arrangement of a town street. Above the inscription is the count’s emblem that is hung on stone nails (the way which was common for “hanging” medieval emblems, particularly during the gothic period) and framed by pillars with a base containing typical renaissance profiles.

83.

Portal s grbom nepoznate obitelji .
Portal nije sačuvan u izvornom obliku. Dovratnici i dio nadvratnika portala su vjerojatno pripadali nekom drugom portalu. Gornji nadvratnik i luneta u kojoj se nalazi grb nepoznate plemićke obitelji su cjelina. Upotreba hrastovog lišća uz štit s grbom obitelji, slijepe arkade na arhitravu, lisnati ukras na prelomljenom luku te minijaturni cvjetići također na prelomljenom luku su prepoznatljivi ukrasi koje su koristili graditelji šibenske katedrale te se među njima treba tražiti autor ovog portala.   

Portal with an emblem of an unknown family.
The portal has not been preserved in its original shape. Doorjambs and the part above the portal door were probably part of another portal. The upper part above the door and the lunette where the emblem of the unknown noble family is situated are one unit. The use of oak leaves by the shield with the family emblem, blind arcades on the architrave, petal decorations and miniature flowers on the broken arch are recognizable decorations which were used by the constructors of Šibenik cathedral. For this reason, the creator of this portal should be searched amongst them.

84.

Čitav period gradnje velebne katedrale označio je pritjecanje svježeg renesansnog duha u ovaj grad. U toj šibenskoj renesansi, kao i drugdje, rastakali su se okovi srednjovjekovnog poimanja stvarnosti. Desetine portala osvanulo je s porukama jednostavnim, zapravo običnim ljudskim, u latinskom slogu, klesanim u najvišoj grafičkoj maniri.
Kao što je niz kamenih portreta pod Jurjevim dlijetom na obrubima apsida neponovljive šibenske katedrale nagovještavao nov, sasvim slobodan skulptorov doživljaj žitelja jednog grada, tako su i latinski renesansni natpisi u Šibeniku izražavali oslobođenu svijest građanina prepuštenog snovima novog renesansnog, humaniziranog svijeta.

The entire construction period of the magnificent cathedral marked the appearance of fresh renaissance spirit into this town. In this Šibenik renaissance, as well as in other parts, medieval elements of the concept of reality were widely diffused. A number of portals appeared with simple, common human messages in Latin, engraved using the finest graphic manner.
As the number of stone portraits carved by Juraj Dalmatinac on the edges of the apses of the Šibenik’s unrepeatable cathedral announced the new, completely free sculpting experience of the inhabitants of a certain town, so has the Latin renaissance inscription in Šibenik expressed the freed consciousness of its citizens who were left to the dreams of a renaissance and humanist world.

85.

Crkva sv. Krševana najstariji je sačuvani sakralni objekt u Šibeniku, a datira iz 12. st . Kroz povijest se nazivala i crkvom s. Antuna Opata. Građena je u romaničkom stilu te je ujedno i jedna od rijetkih sačuvanih građevina tog stila u Šibeniku. Sakristija je dograđena naknadno. Na jugozapadnom uglu crkve vidi se zazidani portal do kojeg je nekada vodilo kameno stubište autora A.Busata,jednog od prvih graditelja katedrale. God.1875. uklonjeno je djelo Busata, od kojeg se jedino sačuvao dovratak s reljefom dvaju obučenih bratima Gospe od milosrđa, koji kleče pred monogramom bl.djevice: SMV.. Sve do II. Svjetskog rata služila je za bogoštovlje, a za vrijeme rata jako je oštećena. Nakon restauracije je postala izložbeni prostor Muzeja grada Šibenika, a danas se u njoj nalazi galerija sv. Krševana.

St. Chrysogonus’ Church is the oldest preserved consecrated facility in Šibenik and dates back to the 12th century. Throughout history it has also been called the church of St. Anthony the Abbot. It was built in the Romanic style and at the same time is one of the rare preserved buildings of its kind in Šibenik.  The sacristy was built later. On the south-western corner of the church a walled up portal can be seen which was once reachable by means of the stone steps created by A. Busat, one of the first constructors of the cathedral. In 1875 Busat’s work of art was removed and only the doorpost with relief of two dressed brothers of Our Lady of Compassion kneeling in front of the monogram of the Holy Virgin was preserved: the brotherhood of Santa Maria Valverde. Up until the Second World War it was used to serve God and was badly damaged in the war. After restoration, it became an exhibition area for the Šibenik City Museum and today hosts the St. Crysogonus Gallery.

86.

Da bi se zaštitili svoje palače od uriniranja pučana koji su se noću vraćali iz toverni koje su bile u  gradskim predjelima  Dolac i  Gorica , gradska  gospoda  je  poslije 14. stoljeća prvo počela graditi palače sa debelim zidovima i prozorima uzdignutim od ulice barem sedam metara .Međutim i to se pokazalo nedovoljnom zaštitom od ružnog mirisa te  su se kasnije  odlučili  zazidati najkritičnije lokacije tj. uglove  kako bi spriječili uriniranje .

In order to protect their palaces from the common people, who, during the night, whilst returning to their homes from the taverns located in the city areas of Dolac and Gorica, used to urinate there, after the 14th century the city gentlemen, initially began building palaces with thick walls and windows raised at least seven metres from the street. However, this proved to be insufficient protection from the bad smell so that later they decided to wall up the most critical locations, such as the corners, to stop people from urinating there.

87.

Srednjevjekovni obrambeni zid s početka 14. stoljeća sa strijelnicomŠibenski fortifikacijski sustav se mijenjao kroz stoljeća. U 14. stoljeću obrambeni zid se pružao od tvrđave sv. Mihovila prema moru te je koristeći stijenu iznad nekadašnjeg samostana sv. Katarine skretao prema istoku. Dio tog srednjovjekovnog zida iz 14. stoljeća je do danas sačuvan. Zid je pretežno srušen ili je inkorporiran u zidove recentnih kuća. Dio zida je ostao vidljiv i u zidu je sačuvana jedna strijelnica

The medieval defence wall with embrasure dates back to the beginning of the 14th century. The Šibenik fortification system has changed throughout its history. In the 14th century the defence wall was extended from St. Michael’s fortress towards the sea using the rock above the former monastery of St. Catherine which turned towards the east. Part of that medieval wall that dates back to the 14th century has been preserved until today. The wall was partly torn down or was incorporated into the walls of new houses. Part of the wall has remained visible and one of the embrasures in the wall has been preserved.

88.

U Ulici s. Krševana, u prizemlju srednjovjekovne barokne zgrade ( Galere)  pronađeni su ostatci predindustrijskog pogona,  srednjovjekovne tangarije. Pogon se nalazi u kući uz koju  su i danas vezani ostatci gradske kule iz jedne od faza izgradnje šibenskih gradskih bedema.
Na zidu, uz najveći od četiri bazena, u podu su pronađeni tragovi  gorenja  vapnenca,  bazeni su ozidani opekom, a jedan ima i ostatke snažnog metalnog obruča.
Iz zaleđa Šibenika je u to vrijeme stizalo obrađeno sukno ( u stupama) koje je trebalo objiti. U prilog ovoj pretpostavci idu tragovi crvene boje koja je vidiljiva na zidovima oko bazena.
Ovo je prvi ovakav nalaz u šibenskoj gradskoj jezgri, rijekad je u Dalmaciji, a  sličnih pogona bilo je u srednjovjekovnom Dubrovniku.

In St. Crysogonus Street, on the ground floor of a medieval baroque building (Galera) the remains of a preindustrial plant, the medieval tangarija have been found.  The plant was located in the house which even today is connected to the remains of the city tower from one of the construction phases of the city walls.
Traces of limestone burning have been found in the wall within four pools. The pools were walled up with brick and on one of them the remains of a strong metal ring can be seen.
In that period elaborate cloth from Šibenik’s hinterland was arriving (in the form of wooden appliances for the elaboration of cloth) which needed to be coloured. This presumption is also proved by the traces of red colour that is visible on the walls around the pool.
This is the first such finding in the heart of Šibenik’s centre, and is rare for Dalmatia, although similar plants have been found in medieval Dubrovnik.