Iveković Ćiril M.: Zara, seine Bauten und Kunstschätze (Zadar, Oltre (Preko), Vrana, Tkon, Nona (Nin))[= Dalmatiens Bau- und Kunstdenkmale]. 69 Tafeln in Lichtdruck mit Fotos von

Ćiril Metod Iveković: Zara, seine Bauten und Kunstschätze (Zadar, Oltre (Preko), Vrana, Tkon, Nona (Nin))[= Dalmatiens Bau- und Kunstdenkmale]. 69 Tafeln in Lichtdruck mit Fotos von C. M. Ivekovic

IVEKOVIĆ, Ćiril Metod (Cirillo, Kirilo), architect, conservator and photographer (Klanjec, 1. VI. 1864 — Zagreb, 16. VIII. 1933). 
He attended high school in Varaždin and Zagreb and graduated in 1884 from the Higher Vocational School in Vienna. From 1884, he worked on the restoration of the cathedral in the Zagreb studio of H. Bollé and supervised the construction of the Greek Catholic church in Ćirilometodska Street (1885) and designed the neo-Gothic style parish churches in Ravna Gora and Erdevik (both 1884). 
Year. 1885–86. teaches stonemasonry at the Zagreb Craft School (students R. Valdec, R. Frangeš Mihanović). Graduated in 1889 in architecture from the Academy of Fine Arts in Vienna (K. Hasenauer). In addition to his studies, he works in the Viennese studio »Fellner i Helmer« and in the architect F. Ohmann. At the same time, he designed and built an elementary school in Klanjec (1887) and designed the portal of Vranyczány Castle in Oroslavje (1888). Year In 1889, he went on a study trip to Italy. After his return, he works in Hasenauer's studio on projects for the Vienna Hofburg Palace and the Kunsthistorisches Museum. 
He was a construction consultant and architect at the Land Government in Sarajevo in 1890–96. There he designed and built the Pension Foundation building (1890–92) in the neo-Renaissance style, and in the spirit of Islamic architecture, adapted to the time and environment, the Town Hall (1892–95, later the University Library). In the same neo-Moorish style, he designed the reading room in Banja Luka (1890), the Town Hall in Brčko (1893) and a madrasa with a mosque and šedrvan in Travnik (1895). Created the design of the Villa Doboczky in the Ilidži Park (1894) in the "Bosnian style" and with Matija Ribarić the design of the main park (1895) in the neo-baroque style. Renovated the Ali Pasha Mosque in Sarajevo (1890–92). As a construction consultant and clerk for religious buildings, he worked for the State Government in Zadar from 1896 to 1920. 

With a sense of scale and placement of architecture in the landscape, he designed and built parish churches with harmonious, reduced forms, mostly in the Neo-Renaissance style (smaller single-nave churches in Vitaljina near Dubrovnik in 1897, Račišće on Korcula in 1901, Novalja in 1904, Majkovi near Dubrovnik in 1905, Škabrnja in 1913; larger three-nave churches in Prološac and Vrgorac 1896, Smokvica on Korčula and Arbanasi in Zadar in 1902). He designed and built the Orthodox church in Drniš in the neo-Romanesque style (1897). He created projects for the parish church in Makarska (1914) in the neo-Gothic style. At the same time, he designed and executed profane architecture in Neo-Renaissance and Neo-Gothic forms: the Iveković family villa in Arbanasi in Zadar (1899), the bishop's palace in Split (1900–03), the Nardelli villa in Trsteno (1908), an excellent example of "Gesamtkunstwerk" in our country, and the Trogir primary school (1909) and the district court (1910) on the coast, which form a representative southern city front. Since 1897, he has been a member of the Croatian Antiquarian Society, in 1898, of the Archaeological Institute in Vienna, and since 1899, a corresponding member of the Vienna Central Commission for the Research and Preservation of Building Monuments. 
Working as a conservator under her supervision and collaborating in the field with A. Riegl and M. Dvořák, he applied the contemporary principles of the Viennese conservatory school of the time. He participated in the restoration of the Cathedral of St. Tripuna in Kotor (1898–1907), created projects for the restoration of the church of St. John the Baptist (1900–03) and the cathedral in Trogir (1903–09), designed and carried out conservation measures on the church of St. Krševan (1906–14), the cathedral of St. Stošije and baptismal font (1908) in Zadar and on the loggia in Hvar (1910). He collaborated in the archaeological research of the ancient sites of Asserija (Podgrađe near Benkovac, 1899–1903, with J. Bersa), Docleje (Duklja in Montenegro 1902–07, with and P. Sticotti) and Burnum (Ivoševci near Kistanja, 1912–14, with M. Abramić and Bersa) and sites of early medieval church architecture in Nin, Prik u Omis, Knin, Bishops and Biograd. 
From 1920 to 1933, he was a full-time professor at the Technical School in Zagreb, where he taught architectural forms of the Middle Ages. Trying to interest students in Croatian architectural heritage, he regularly led excursions in Dalmatia and Bosnia. At the same time, he created projects and executed a park, entrance portal and Stations of the Cross next to the Zagreb church of St. Franje Ksaverskog (1924), Šeno's family villa in Mallinova Street, kbr. 27 (1925), a three-story residential building in Ul. Franje Račko, kbr. 11 (1925–27) and the family villa in Bosanska ul., kbr. 31 (1927). 

He wrote about the results of his conservation and archaeological research in the calendar Svačić (1905–07), periodicals and anthologies Bullettino di archeologia e storia dalmata(1897, 1904), Vjesnik Croatian Archaeological Society(1898), National Antiquities (1924, 1933), Starohrvatska prosvjeta (1927), Rad JAZU (1928), Deuxième congrès international des études byzantines, Beograd 1927 (1929), Novosti (1929), Annals of JAZU (1930–32). He wrote about the Sibenik cathedral and the construction school (Dalmatia. Split 1923), monasteries on the Dalmatian islands and about the baptistery near the table church of St. Stošija and the church of St. Donata in Zadar (Rad JAZU, 1931, 1937). 
His study on the church and monastery of St. Krševana published JAZU in 1931. He published works on the history of architecture, especially studies and popular-informative articles on the development of medieval architecture in our country in Lovor (1905), Obzor (1908, 1932), Vienna (1913), Yugoslavenska obnovi-njiva (1920), Technical list (1920), Narodna starina (1922), Collection of King Tomislav (Zagreb 1925) and Peasant education (1927), and in 1910 he published the monograph Die Entwickelung der mittelalterlichen Baukunst in Dalmatien. In the Yearbook of the University of the Kingdom of Yugoslavia in Zagreb (1928–29) his polemical text about the modern architecture of the time was published. With his contributions, he contributed to the Viennese professional journals Wiener Bauhütte (1908–09), Kunstgeschichtliches Jahrbuch der k. k. Zentral-Komission für Erforschung und Erhaltung der Kunst- und historischen Denkmale (1909), Wiener Bauzeitung and Jahreshefte des Österreichischen archäologischen Institutes in Wien, and his work on Duklja was published by the Vienna Academy of Sciences in 1913.

His photographic oeuvre consists of views, architectural and sculptural monuments of Dalmatian cities, ambient units and landscapes. From 1910 to half In the 1920s, he published eight maps of photos of Dalmatian monumental and architectural heritage, collected under the name Dalmatiens Architektur und Plastik. The second edition, rearranged in six maps in the form of city monographs (Zadar, Šibenik, Trogir, Split, Dubrovnik and the islands of Rab, Hvar and Korčula), also contains documentation on medieval monuments, supplemented by Iveković's designs, created for his conservation research. These maps represent the most complete contemporary material for the study of historical and artistic monuments in Dalmatia. 
He wrote the foreword to the lithograph map Šibenik by V. Kirin in 1923. He participated in the Millennium Exhibition in Budapest (1896, bronze medal for the model of the Sarajevo City Hall), the Exhibition of C. M. Medović, O. Iveković and others (Zagreb 1901) and the Yugoslav Art Exhibition (Belgrade 1912). In 1987, a retrospective exhibition was held in Klanjec and a symposium and magazine dedicated to him, Annals of the Gallery of Antun Augustinčić, and in 1988 a photo exhibition. Under the pseudonyms and initials (Aleksandrov C. M., I. Ć. M.) published in 1886 in Agramer Tagblatt and Balkan short stories and poems in German, and in 1906–07. in Rijeka's Novi list novels in the sequels History of an Individual and Mučenica. Year In 1904 he wrote the play Finis re gni. 
From 1922 he was a member of JAZU. As an architect, he worked within the framework of historicist expression, which encouraged him to thoroughly research and systematically document our monumental heritage, thus popularizing it outside Croatian borders. In doing so, he simultaneously modernized and methodologically improved conservation practice in our country.