摘要：The Shrine of St. Simon was commissioned by Elizabeta Kotromanić, wife of the Croatian-Hungarian king Ludovik I (Louis I of Anjou), daughter of the Bosnian Ban Stjepan Kotromanić, and it was made by Francesco da Milano in 1377. The shrine was in the church of St. Mary the Greater until 1572, when the Council of the city of Zadar decided to construct a Baroque church of St. Simon to house the Saint's relics. It commissioned a Venetian architect to do so. The facade was completed up to the concluding gable, and then interrupted in 1623. Immediately afterwards, the apse of the Early Christian basilica of St. Stephen was removed, and a new sanctuary was constructed to contain the shrine; the church was re-consecrated as St. Simon in 1632. The author of this study has established that the Venetian architect, following a request by his Zadar patrons, combined in his project for the church of St. Simon two contemporary Venetian designs - a hall nave covered by a flat ceiling as in Sansovino's San Giuliano, and the main facade of the church of Santa Maria Formosa modeled on an ancient temple from Sebastiano Serlio's third book on architecture, published in Venice in 1543. The building of St. Simon took half a century, so due to the change in architectural taste, its Renaissance style made it appear unacceptable to hold the Saint's shrine. The new sanctuary to house the shrine, added to the church of St. Stephen, is based on Palladio's scenic concept of church space. The immediate stimulus for the designer of the sanctuary, the Zaratine Dominican and nobleman Kornelije Nassis, was the Venetian church of St. Niccolò di Lido built in 1626.
关键词：Zadar; architecture; 1600; the church of st; Šimun
