Novi Dvori of Zaprešić is a feudal estate consisting of a manor house, an old granary renovated into a museum, a circular threshing machine, a neo-gothic chapel and the Jelačić family tomb.
According to a document dated in 1852, the Novi Dvori manor was first constructed in 1611 as an ordinary one story manor house mostly made of wood. This initial 17th century concept of a manor, consisted of what is today a western part of the building and its shape has been preserved only in the cellar. Throughout the history, the owners of this estate were Zrinski family, Čikulin family, Sermage family, Festetics family and Erdödy family. Almost each of these owners gradually expanded the manor to the east. In second half of 18th century Peter Troilo Sermage turned the manor house into a castle and added several economic buildings such as barns, granaries and circular threshing machine to the estate. By 19th century, castle became the property of Alexander Erdödy. The same family eventually sold the estate to ban Josip Jelačić in 1851.
Written agreement on sale of the estate was made on March 23, 1852, despite Jelačić de facto buying the estate a year earlier. The new owner had both estate and the castle reconstructed and annexed. He also further extended the castle 18 meters eastwards adding the east wing, while cellar, façade and the upper level were decorated In 1855 construction of Neo-gothic chapel of St. Joseph started and it was finished after some two months of work. Following completion, the chapel was blessed on May 25, 1855. by an archbishop of Zagreb Juraj Haulik.
The same year, on Christmas, Josip Jelačić's wife - countess Sofia, gave birth to their daughter Anica on the estate, for which occasion, the banner was raised on top of the manor. However, little Anica soon died as an infant so Jelačić had her body buried Inside St. Joseph chapel. He also planned to build the family tomb on the estate, but died in 1859, before being able to execute this. In his last will, he expressed a wish to be buried next to his daughter in the estate chapel. After the death of Josip Jelačić, the estate became the property of his brother Đuro, who continued managing it and finally completed tomb wished by Josip in 1884. The design for this was made by prominent Austrian architect Hermann Bollé. The construction of the tomb was made out of unused stone, taken from reconstruction of Zagreb cathedral, which was badly damaged in 1880 Zagreb earthquake. After Đuro's death, the castle was inherited by his daughters Anka and Vera. In 1919. countess Vera Jelačić donated the family collection of weapons and paintings from Novi dvori, to what was then Croatian People's Museum. The daughters bequeathed the estate to the Croatian people in 1934.vAlthough Đuro, Hermina, and much of the Jelačić family were initially buried in family arcade in Zagreb's Mirogoj cemetery, their remains were taken to the tomb in Novi Dvori in 1933, by the wish of countess Anka Jelačić. During the night on July 24, 1935, the tomb was looted by unknown vandals.
After the Yugoslav defeat in the April War of 1941, and formation of Nazi puppet state Independent State of Croatia, the castle became a residence of Ante Pavelić. In that period a terrace was added to the southern side of the manor. After the end of war, the estate was turned into an Agricultural High School. The castle was renovated during the 1960s, while school continued to operate on this location until 1977., when it relocated to Zagreb leaving the estate empty. The tombs were looted again by vandals in 1987. who also, in this occasion desecrated the remains of Josip Jelačić, his brother Antun and his little daughter Anica.
In May 2017, it was announced that City of Zaprešić secured 40 million HRK from European Union funds in order to completely renovate the manor. After the restoration, the manor will be used as a residential space for ceremonial occasions and various exhibitions.References:
The Holy Trinity Column in Olomouc is a Baroque monument built in 1716–1754 in honour of God. The main purpose was a spectacular celebration of Catholic Church and faith, partly caused by feeling of gratitude for ending a plague, which struck Moravia between 1713 and 1715. The column was also understood to be an expression of local patriotism, since all artists and master craftsmen working on this monument were Olomouc citizens, and almost all depicted saints were connected with the city of Olomouc in some way. The column is the biggest Baroque sculptural group in the Czech Republic. In 2000 it was inscribed on the UNESCO World Heritage Sites list.
The column is dominated by gilded copper sculptures of the Holy Trinity accompanied by the Archangel Gabriel on the top and the Assumption of the Virgin beneath it.
The base of the column, in three levels, is surrounded by 18 more stone sculptures of saints and 14 reliefs in elaborate cartouches. At the uppermost stage are saints connected with Jesus’ earth life – his mother’s parents St. Anne and St. Joachim, his foster-father St. Joseph, and St. John the Baptist, who was preparing his coming – who are accompanied by St. Lawrence and St. Jerome, saints to whom the chapel in the Olomouc town hall was dedicated. Three reliefs represent the Three theological virtues Faith, Hope, and Love.
Below them, the second stage is dedicated to Moravian saints St. Cyril and St. Methodius, who came to Great Moravia to spread Christianity in 863, St. Blaise, in whose name one of the main Olomouc churches is consecrated, and patrons of neighbouring Bohemia St. Adalbert of Prague and St. John of Nepomuk, whose following was very strong there as well.
In the lowest stage one can see the figures of an Austrian patron St. Maurice and a Bohemian patron St. Wenceslas, in whose names two important Olomouc churches were consecrated, another Austrian patron St. Florian, who was also viewed as a protector against various disasters, especially fire, St. John of Capistrano, who used to preach in Olomouc, St. Anthony of Padua, a member of the Franciscan Order, which owned an important monastery in Olomouc, and St. Aloysius Gonzaga, a patron of students. His sculpture showed that Olomouc was very proud of its university. Reliefs of all twelve apostles are placed among these sculptures.
The column also houses a small chapel inside with reliefs depicting Cain's offering from his crop, Abel's offering of firstlings of his flock, Noah's first burnt offering after the Flood, Abraham's offering of Isaac and of a lamb, and Jesus' death. The cities of Jerusalem and Olomouc can be seen in the background of the last mentioned relief.