Odjeci crkvenih reformi u sakralnoj arhitekturi 11. stoljeća u Splitu.

In the Eastern Adriatic seaboard, the ideas of the ecclesiastical reform movement reverberated considerably in the Osor Diocese, which is not surprising if one bears in mind that the local bishop, St. Gaudentius, established close personal relations with the Italian reformist abbey in Pomposa, and through it with the abbey in Cluny. At the beginning of the 11th century, Romuald, the founder of the Camaldolese order, a separate branch of the Benedictine community, resided in Istria. Prior to his arrival in the territory of the Osor (Ossero) Diocese, he had been in Pomposa, where he befriended the abbot of Cluny at the time, Odilo. The close friendly contacts between Romuald and Odilo were reflected in the field of architecture, which is visible in the translation of certain architectural elements in the Osor Diocese which had their origin in Pomposa. The spread of new artistic ideas to other parts of the eastern Adriatic seaboard occurred thanks to the structure of ecclesiastical administration and the extent of its jurisdiction. Already in the first half of the 11th century, the Osor Diocese began to nurture new architectural models which had been developed in Italy’s Pomposa in that period. In the mid-11th century, the former Osor bishop, Lawrence, became the archbishop of Split. At virtually the same time as Lawrence’s assumption of the archdiocesan see in Split, John, also from Osor, became the bishop of Trogir. The reformist artistic models from the architecture of the Osor Diocese were thus conveyed to the Dalmatian sphere. This paper constitutes an attempt to first and foremost examine the type of changes that occurred in the architecture of the city of Split in the latter half of the 11th century, when the Split Archdiocese was administered by Lawrence. Since relations between Lawrence and the Croatian kings of that time, particularly Zvonimir, as well as the pope, were quite important, particular attention shall be accorded to an analysis of Lawrence’s role in Split’s sacral architecture at that time. [ABSTRACT FROM AUTHOR]