72a r h i t e k t u r aa r c h i t e c t u r eply no information, so that only the above-mentionedpiece speaks of him.It may be concluded from the Latin inscription atthe lunette above the entrance, where Radovan carvedhis name and the year that this main part of the portalwas built, that he himself had been unsurpassed insculpture in that time and that the Bishop of Trogirwas then Treguan of Tuscany, originally from Florence.It is obvious that Radovan was not a foreign artist,not only because his rather Slavic name is mentionedrather frequently in city documents, but also becauseno birthplace is written besides his name, which hadbeen a custom in similar documents of foreign artists,e.g. Niccolò Fiorentino (Nikola Firentinac).Since the Cathedral of Trogir was built over severalcenturies, the building is marked by different styles. Theportal itself was constructed during the first constructionphase but it was not originally planned in its presentform since other masters, their assistants and followersworked on the portal besides Radovan. Nevertheless,despite the changes made to the original concept, a harmoniouscomposition miraculously arouse in the end.Although the whole portal – architecture, sculptures andiconography – are dominated by the Romanesque style,there are indications of the Gothic style, especially in theworks of Radovan’s followers.In the reliefs of the portal Master Radovan combinedthe life of Christ from His birth to His death,Adam and Eve, allegories of the months, the Apostlesand saints, as well as hunting scenes and animal characters.Even though the majority of the motifs hadbeen determined iconographically, the hand of Radovanallowed itself to interpret various Biblical scenesand characters freely and more simply and thereforebrought them closer to the common man. It is ratherfascinating how physiognomies, clothes, animals,everyday objects, professions and customs typical forthe area of Trogir can be recognized in these scenes.The artist has fitted intimate scenes of householdlife into the lunette over the entrance that framesthe birth of Jesus Christ and therefore he melted thesacred and the mortal. Biblical scenes are representedin two arches above the lunette and along the portalframes. There are two round pillars representingscenes with real and imaginary animals, as well ashunting scenes, all interlaced with herbs.The observer will be enchanted with the scenesof the months on the pillars iconographic depictionsof labors characteristic for and individual month. Forexample, December is represented by the hunter killinga wild boar, January by a man cooking at the stove,February by a girl with a fish, March by a man pruninggrapevines, April by a shepherd shearing a sheep. Theouter pillars alternately represent saints and apostlesand portal edges end with the characters of Adam andEve, while below them are a lion and lioness with adragon, and kid in its paws.The original intention of Radovan’s portal hasremained a secret until today and because the work-
shop had many assistants and students, the artists ofthe different parts of the portal parts have never beendetermined. However, it is certain that the main partswere made by four pairs of hands, of which Radovan’sis the most distinguished one and by far the best. Heis most certainly the artist of the signed lunette, theAnnunciation scene, the Worship of Kings, the twoinlets with angels in the interior arch, the symbols ofDecember, January, March and April, and the pillarswith the hunting scenes and lions on the portal sides.- There is beauty in it all. Not the beauty that arisesfrom elegance, but beauty that recognizes that theelegance is only a crack through which the idea ofgood shines. This idea itself motivated Radovan tocarve the portal.When a man passes through these “Gates of Heaven”,he is actually initiated since there are scenes ofbirth and death, life and death, blessing and killingaround him. Because of this idea, one enters thesegates with the same meditation as people in 13th century.Simply because the idea of good is timeless, it canbe continued, shaped, changed and, in the end, makeus noble again - says Robert Jakovljević, an expert forbranding cities who has been dealing with Trogir’s phenomenaand its central point for long time.This universal point in the center of the town – amuseum surrounded by the blue sea and immersedin the warm Mediterranean climate, this noble ideais probably what turns an ordinary visit into spiritualexperience.As if by magic, the eternal and ingenious work ofMaster Radovan transforms real beauty completelysilently into something invisible, something that aperson must feel.In the reliefs of the portal MasterRadovan combined the life ofChrist from His birth to His death,Adam and Eve, allegories of themonths, the Apostles and saints,as well as hunting scenes andanimal characters. Even thoughthe majority of the motifs had beendetermined iconographically, thehand of Radovan allowed itself tointerpret various Biblical scenesand characters freely and moresimply and therefore brought themcloser to the common man.