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Summary: MILICA CERANI

ON THE ARCHITECTURE OF AND THE MODELS FOR THE MINISTRY OF JUSTICE BUILDING IN
TERAZIJE
The nineteenth century in Belgrade was marked by an extensive and diverse architectural production, which achieved
a high level of accomplishment in public buildings. Upon their return to Serbia from foreign universities (Vienna, Budapest,
Zurich, Berlin, Munich, Aachen, Karlsruhe), domestic architects ushered in fresh ideas, championing the tenets of academic
architecture inspired by historical styles. Apart from Budapest-trained Aleksandar Bugarski, the inceptor of new stylistic
trends, and Vienna-based Konstantin Jovanovi, who designed some of the purest and most beautiful examples in the neoRenaissance style, from the 1880s a group of so-called Hansens disciples, trained in Vienna in the neo-Byzantine tradition,
was also active: Svetozar Ivakovi, Jovan Ilki, Duan ivanovi, Vladimir Nikoli and Jovan Suboti.
Towards the end of his studies, Svetozar Ivakovi was awarded a study trip to Italy for his competition-winning
neo-Byzantine church design, and he made it in company with Professor Theophil Hansen. That the tour of Italy with its
picturesque towns had strongly impressed the young architect can be seen from a design he made ten years later in coauthorship with Jovan Suboti Ministry of Justice in Belgrade (1882/3) on the model of Italian, most of all Florentine,
Roman and Venetian, palaces and villas.
The fact that both architects were students of the Danish-born architect Theophil von Hansen and familiar with his
work and with the Viennese Rundbogen style, has led historiographers to compare the Ministry building with Friedrich
Schachners Haas-Pranter Palace in Vienna and Hansens Vienna Stock Exchange, most of all because of its exterior ceramic
tile facing. The points of difference between the Belgrade building and the two Viennese palaces owe inspiration to Italian
Renaissance architecture. Its unpretentiousness coupled with a captivating faade decoration and balanced massing can be
compared with Sanmichelis Palazzo Canossa at Verona, of the 1530s, and with an earlier Florentine building, Benedetto
da Maianos Palazzo Strozzi built in the late fifteenth and early sixteenth centuries. The two buildings are particularly fine
representatives of the early and mature phases of the Renaissance style.
Among the Roman models to which the Ministry building has been linked, perhaps the closest analogy would be
Bramantes Palazzo Caprini (House of Raphael) of a mid-sixteenth century date (destroyed in the seventeenth century and
known from a few surviving drawings and engravings) and, to a much lesser extent, the Palazzo Vidoni-Caffarelli (dated to
1512) and the Palazzo Farnese (1513, enlarged in 153446).
The Ministry of Justice in Terazije is one of the few neo-Renaissance buildings in Belgrade that have survived into
our times. With all of its parts harmoniously related to the whole, the edifice indicates the Serbian architects penchant for
the High Renaissance ideal, and their clever avoidance both of Roman pompousness and weightiness and of somewhat
monotonous Mannerist tendencies. It is owing to these qualities that the successful neo-Renaissance design of the Ministry
building, as an evocation of a magnificent past epoch that glorified man and his skills in all fields of science and art,
continues to have appeal after more than a century.
ILLUSTRATIONS
Fig. 1 Ministry of Justice in 1904, picture postcard
Fig. 2 Ministry of Justice today, Svetozar Ivakovi and Jovan Suboti
Fig. 3 Haas-Pranter Palace, Vienna, Friedrich Schachner
Fig. 4 Palazzo Canossa, Verona, Michele Sanmicheli
Fig. 5 Pallazzo Strozzi, faade

90