"Ovaj natpis:
JVbILante
eCCLesIa CathoLICa
noVa haeC faCIes
teMpLI
pIIs sVffragIIs stetIt
ima u sebi kronogram:
IVIL+CCLICLIC+VCCI+MLI+IIVIII
odnosno:
1M (1000)+6C (600)+4L (200)+3V (15)+11I (11) = 1826.
Za prijevod:
jubilo, jubilare, jubilavi, jubilatus = kliktati/pjevati od radosti, slaviti
piis = pobožan
svffragiis = obožavanje, glas (kod izbora), odobravanje
stetit = cvrsto stajati, ostati, nepokolebljivo (odnosi se na ecclesia catholica)
Elem:
U radosnoj slavi
katolicka crkva
ovu novu fasadu
hrama
pobožno nepokolebljivo/cvrsto/postojano odobrava.
(Tako nekako)
Natpis je stavljen nakon nakon obnove fasade 1826. po zamisli, cak i nacrtu A.L. Adamica, koji je dao i kamen za stupove iz svoje kave koja je danas u rijeckoj bolnici. Kamen je vadio (vodio radove) i obradio kamenorezac Scrosopi." (
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"Crkva je prvotno izgradena u ranom srednjem vijeku na ruševinama rimskih termi. Majstor Juraj iz Zadra obnovio je 1442. postojecu trobrodnu baziliku i povisio joj glavni brod. Crkva je popravljena i nakon mletackog razaranja Rijeke 1509. godine.
Ponovno je iz temelja obnovljena 1695. godine, a izmedu 1716. i 1726. obitelj Orlando, kranjski plemici i rijecki patriciji, dograduju prostrano svetište usred kojega je njihova grobnica.
Glavni oltar je djelo Mislejeve ljubljanske radionice, a cetiri kipa svetih Šimuna, Ane, Margarete i Antuna djela su uglednog padovanskog skulptora Jacopa Contiera. Strop svetišta ukrašen je veoma kvalitetnim baroknim štukaturama. U osam bocnih kapela smješteni su višebojni mramorni oltari, koje su izradili barokni kipari Pasquale Lazzarini, Antonio Michelazzi i Sebastiano Petruzzi u 18. stoljeca. Oltarne pale djela su slikara Ivana Franje Gladica (Predaja kljuceva, 1640.), Valentina Metzingera (sv. Filip Nerej, 1753., sv. Antun, 1750.), a rijecki slikar Ivan Simonetti kopirao je u 19. stoljecu Tizianova djela "Uznesenje" za glavni oltar i "Sv. Ivana Krstitelja" za istoimeni oltar.
Zidove u unutrašnjosti crkve oslikao je poznati talijanski dekorativni slikar Augusto Pagliarini 1932. godine, a kao motiv je uzeo štukature u svetištu. Na inicijativu i po sugestiji Andrije Ljudevita Adamica, gradski arhitekt Joseph Storm izradio je 1824. godine projekt za današnje procelje, u koje je ukomponirao goticko-renesansnu prozorsku ružu datiranu u 1516. godinu. Skulpture na zabatu postavljene su 1890. godine.
Ispod sadašnjeg poda, nacinjenog 1901. godine, nalazi se 75 grobnica srednje dubine do 2,5 m. Kamene ploce s tih grobnica uzidane su u vanjski sjeverni zid crkve, a njihovi natpisi povijesna su svjedocanstva o rijeckom stanovništvu.
Uz crkvu je zvonik, samostalna gradevina u podanku koje je uzidano kamenje iz rimskih ruševina. Datiran je iznad luka ulaznih vrata 1377. godinom. Ložu za zvona s gotickim otvorima, zvonik je dobio u vrijeme obnove crkve koncem 15. stoljeca. Zvonik, je prema mjerenjima iz 1920. godine, nagnut za 40 cm, pa je dobio nadimak Kosi toranj."
-----
"This caption:
JVbILante
eCCLesIa CathoLICa
new haeC faCIes
TEMPLES
pIIs sVffragIIs stetIt
has a chronogram in it:
IVIL+CCLICLIC+VCCI+MLI+IIVIII
that is:
1M (1000)+6C (600)+4L (200)+3V (15)+11I (11) = 1826.
For translation:
jubilo, jubilare, jubilavi, jubilatus = click/sing with joy, celebrate
piis = pious
svffragiis = worship, vote (at election), approbation
stetit = to stand firm, remain, steadfast (refers to the ecclesia catholica)
Elem:
In joyful glory
Catholic Church
this new facade
of the temple
devoutly steadfastly/firmly/constantly approves.
(Something like that)
The inscription was placed after the renovation of the facade in 1826 according to the idea, even the design of A.L. Adamic, who also gave the stone for the pillars from his coffee, which is now in the hospital in Rijeka. The stone was quarried (led the works) and worked by the stonecutter Scrosopi." (
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"The church was originally built in the early Middle Ages on the ruins of the Roman baths. Master Juraj from Zadar renovated the existing three-nave basilica in 1442 and raised its nave. The church was also repaired after the Venetian destruction of Rijeka in 1509.
It was rebuilt from the ground up again in 1695, and between 1716 and 1726, the Orlando family, nobles from Carniola and patricians from Rijeka, built a spacious sanctuary in the middle of which is their tomb.
The main altar is the work of Mislej's workshop in Ljubljana, and the four statues of Saints Simon, Anna, Margaret and Anthony are the works of the renowned Padua sculptor Jacopo Contier. The ceiling of the sanctuary is decorated with high-quality baroque stucco. In the eight side chapels there are multicolored marble altars, which were made by the Baroque sculptors Pasquale Lazzarini, Antonio Michelazzi and Sebastiano Petruzzi in the 18th century. The altarpieces are the works of the painter Ivan Franjo Gladic (Handover of the Keys, 1640), Valentin Metzinger (St. Philip Nerej, 1753, St. Anthony, 1750), and the Rijeka painter Ivan Simonetti copied Titian's work "The Ascension" in the 19th century " for the main altar and "St. John the Baptist" for the altar of the same name.
The walls in the interior of the church were painted by the famous Italian decorative painter Augusto Pagliarini in 1932, and he took the stucco work in the sanctuary as a motif. On the initiative and at the suggestion of Andrija Ljudevit Adamic, city architect Joseph Storm created a project for the present facade in 1824, in which he incorporated a Gothic-Renaissance window rose dated 1516. The sculptures on the gable were installed in 1890.
Under the current floor, built in 1901, there are 75 tombs with a medium depth of up to 2.5 m. The stone slabs from these tombs were built into the outer north wall of the church, and their inscriptions are historical testimonies of the Rijeka population.
Next to the church is the belfry, an independent building in the basement, which was built with stones from the Roman ruins. It is dated 1377 above the arch of the entrance door. The bell tower with Gothic openings was acquired during the restoration of the church at the end of the 15th century. The bell tower, according to measurements from 1920, is tilted by 40 cm, which is why it was nicknamed the Leaning Tower."