AHAS 12
ACTA HISTORIAE ARTIS SLOVENICA, 12, 2007
Mija OTER GORENČIČ, Vprašanje datacije poznoromansko-zgodnjegotske faze
župnijske cerkve sv. Jakoba v Kostanjevici na Krki
Zur Datierungsfrage der spätromanischen-frühgotischen Phase
der Pfarrkirche des Hl. Jakobus in Kostanjevica na Krki
Jure MIKUŽ, Arma Christi: Ikonografija razkosanega telesa
Arma Christi: Iconography of a Dismembered Body
Daša PAHOR, Motiv Postave in milosti v sepulkralni umetnosti poznega 16. stoletja
na Štajerskem in Koroškem
Das Motiv des Gesetzes und der Gnade in der sepulkralen Kunst
des späten 16. Jahrhunderts in der Steiermark und in Kärnten
Ana LAVRIČ, Povezave škofa Otona Friderika Buchheima z Dunajem
in slikarska oprema njegovih rezidenc v ljubljanski škofiji
Bishop Otto Friedrich Buchheim’s Connections with Vienna
and His Collections of Paintings in the Residences of Ljubljana Diocese
Polona VIDMAR, Galerija evropskih vladarjev na ptujskem gradu
The Gallery of European Sovereigns in the Ptuj Castle
Luka VIDMAR, Titijev »Ammaestramento utile, e curioso di pittura scoltura
et architettura nelle chiese di Roma« (1686) iz Semeniške knjižnice v Ljubljani
s pripisi neznanega rimskega patricija
Titi’s »Ammaestramento utile, e curioso di pittura scoltura et architettura
nelle chiese di Roma« (1686) from the Seminary Library in Ljubljana with Notes of
Anonymous Roman Patrician
Darja RADOVIĆ MAHEČIĆ, Tri vile arhitekta Lava Kalde u Ljubljani
Three Villas by the Architect Lav Kalda in Ljubljana
Tomaž BREJC, Impresija in ikonografija. Nekaj odprtih vprašanj ob Jakopičevih motivih
Impression and Iconography. Some Open Questions Regarding
the Motifs by Rihard Jakopič
Marjeta CIGLENEČKI, Krog v kompozicijah Franceta Miheliča in Stojana Kerblerja
The Circle in the Compositions by France Mihelič and Stojan Kerbler
MISCELLANEA
Alenka VODNIK, Ob novoodkriti poslikavi v podružnični cerkvi sv. Kancijana na Vrzdencu
Die neuentdeckten Wandgemälde in der Filialkirche des Hl. Cantianus in Vrzdenec
Blaž RESMAN, Neznani Robba v Pazinu
Two statues at Pazin, here attributed to Francesco Robba
Ana LAVRIČ, »Štiri fakultete« v ljubljanski Semeniški knjižnici.
Prispevek k ikonografski interpretaciji Quaglijeve poslikave
The »Four Faculties« in the Seminary Library of Ljubljana.
Contribution to Iconographic Interpretation of the Ceiling Fresco by Giulio Quaglio
DOCUMENTA
Helena SERAŽIN, I contratti di garzonato degli scultori, lapicidi ed intagliatori veneziani (V)
Vajeniške pogodbe beneških kiparjev, kamnosekov in rezbarjev (V)
Damir GLOBOČNIK, V pomoč si je pridobil Kliča, ki ‘Floh’ njegovo slavo priča.
Karikature Karla Václava Kliča za Levstikovega Pavliho in njihov družbeno-zgodovinski okvir
Die Karikaturen von Karel Václav Klitsch für Levstiks satirische Zeitschrift
Pavliha und ihr historisch-gesellschaftlicher Rahmen
RECENSIONES
Janez HÖFLER, Nataša Golob: Srednjeveški rokopisi iz Žičke kartuzije (1160–1560)
TOMAŽ BREJC
Impresija in ikonografija. Nekaj odprtih vprašanj ob Jakopičevih motivih
Načeloma impresija nima svojega teksta: vtis se šele v slikarskem delu preobrazi v pomen. V slovenski likovni kritiki po letu 1900 beseda impresija ni imela vzpodbudnega pomena. Razumeli so jo kot tujko, ki označuje francosko in nemško slikarstvo naturalističnih vsebin ter nekotroliranega barvnega nanosa. Jakopič je impresijo sprejel kot ustvarjalno podstat svojega slikarstva, vendar jo je – kot značilen modernist, ki sodi v generacijo Matissa, Kandinskega in Mondriana – razvil in potenciral v motivni in izrazni svet simbolizma, intimizma in ekspresionizma.
Ključne besede: ikonografija, impresija, impresionizem, postimpresionizem, simbolizem, eksperesionizem, likovna kritika, umetnostna teorija, Rihard Jakopič.
Impression and Iconography. Some Open Questions Regarding the Motifs by Rihard Jakopič
In principle the impression does not have its own text: the impression is transformed into the meaning only in the painting. In the Slovenian plastic art critique after the year 1900, the world impression did not have a stimulative meaning. It was understood as a foreign word denoting French and German painting with naturalistic contents and uncontrolled color layer. Jakopič adopted the impression as the creative basis of his painting, but – as a typical modernist from the generation of Matisse, Kandinsky and Mondrian – he developed and potentiated it to the motif and expressive world of Symbolism, Intimism and Expressionism.
Key words: iconography, impression, Impressionism, Postimpressionism, Simbolism, Expressionism, art theory, art criticism, Rihard Jakopič
MARJETA CIGLENEČKI
Krog v kompozicijah Franceta Miheliča in Stojana Kerblerja
Članek obravnava ikonografijo kroga, ki je pogosto nosilni element likovne kompozicije. Avtorica na primeru izbranih del iz opusov Franceta Miheliča (1907–1998) in Stojana Kerblerja (rojen 1938) dokazuje, da na krožni kompoziciji zasnovana likovna dela izkazujejo simboliko večnosti in nesmrtnosti. Motivika kurentov in kolin iz ruralne okolice Ptuja, ki sta se ji posvečala navedena avtorja, sega na področje starodavnih izročil, v katerih se skrivajo duhovne naplavine iz antike in/ali zgodnjega srednjega veka.
Ključne besede: krog, krožna kompozicija, France Mihelič, Mrtvi kurent, demoni, Stojan Kerbler, Koline, Robert Gary Minnich, večnost, nesmrtnost, mojstrstvo, Cesare Ripa
The Circle in the Compositions by France Mihelič and Stojan Kerbler
The paper deals with the iconography of circle which is often the carrying element of a visual composition. Selected works from the oeuvres of France Mihelič (I1907–1998) and Stojan Kerbler (born 1938) are employed to show that works of art based on a circular composition demonstrate the symbolism of eternity and immortality. The motifs of folk masks kurenti and of pig butchering in the rural environs of Ptuj, to which the two artists devoted their work, reach into the sphere of ancient traditions in which spiritual sediments from the time of antiquity and/or from the early Middle Ages lurk.
Key words: circle, circular composition, France Mihelič, The Dead Kurent, demons, Stojan Kerbler, Pig Butchering, Robert Gary Minnich, eternity, immortality, mastery, Cesare Ripa
DAMIR GLOBOČNIK
V pomoč si je pridobil Kliča, ki 'Floh' njegovo slavo priča. Karikature Karla Vàclava Kliča za Levstikovega Pavliho in njegov družbeno-zgodovinski okvir
Eden najpomembnejših čeških karikaturistov Karel Klíč (1841–1926), risar in urednik dunajskega satiričnega lista Der Floh, je med aprilom in julijem 1870 narisal sedem celostranskih karikatur za naslovnice slovenskega satiričnega lista Pavliha. Karikature, ki so nastale pod aktualnimi francoskimi zgledi, je Klíč narisal po fotografijah in pri njihovi vsebinski zasnovi upošteval navodila urednika Frana Levstika (1831–1887), ki je karikaturam dodal satirične biografije karikirancev. Klíč za svoje delo ni zahteval honorarja. Leta 1880 je bila v satiričnem listu Der Floh objavljena Klíčeva karikatura politika slovenskega rodu Josefa viteza Schwegla v vlogi legendarnega rimskega junaka Gaja Mucija Scevola.
Ključne besede: politična karikatura, 19. stoletje, Karel Klič, Der Floh, Pavliha, Fran Levstik, Vincenc Ferreri Klun, Anton Grčar, Levin Rauch, Friderik Brandstätter, Dragotin Dežman, Valentin Zarnik, Otto Bismarck-Schönhausen, Josef Schwegl
Karl Václav Klič's Caricatures for Fran Levstik's Satirical Magazine Pavliha (The Punch)
One of the most important Czech caricaturists Karel Klíč (1841–1926), draftsman and editor of the Vienna satirical magazine Der Floh (The Flea) drew seven full-page caricatures for the covers of the Slovenian satirical magazine Pavliha (The Punch) between April and July 1870. The caricatures, following the contemporaneous French models, were drawn after photographs; as concerns their contents, Klíč took account of the instructions by the editor Fran Levstik (1831–1887), who added satirical biographies of the mocked persons to the caricatures. Klíč requested no payment for his work. In 1880, a caricature of the politician of Slovenian origin Joseph Count Schwegel in the role of the legendary Roman hero Gaius Mucius Scaevola was published in the satirical magazine Der Floh.
Key words: political caricature, 19th century, Karel Klič, Der Floh, Pavliha, Fran Levstik, Vincenc Ferreri Klun, Anton Grčar, Levin Rauch, Friderik Brandstätter, Dragotin Dežman, Valentin Zarnik, Otto Bismarck-Schönhausen, Josef Schwegl
ANA LAVRIČ
Povezave škofa Otona Friderika Buchheima z Dunajem in slikarska oprema njegovih rezidenc v ljubljanski škofiji
Ljubljanski škof Oton Friderik iz göllersdorfske veje Buchheimov (1604–1664) je bil po sorodniški liniji povezan z Dunajem in tamkajšnjimi umetniki ter trgovci z umetninami. Iskanje sledi za njegovo umetnostno zapuščino pri dunajskih sorodnikih (še) ni dalo konkretnih rezultatov. Nekaj slik se je ohranilo v njegovih rezidencah v ljubljanski škofiji, o številu in vsebini umetniških del, ki so jih svojčas krasile, pa pričajo razni seznami in škofovski inventarji.
Ključne besede: slikarstvo, 17. stoletje, zbirateljstvo, Slovenija, Dunaj, Otto Friedrich Buchheim, Frans Luyckx, Elias Widemann, Janez Frančišek Gladič, Ferdinand III., Leopold I., nadvojvoda Karl Joseph
Bishop Otto Friedrich Buchheim's Connections with Vienna and His Collections of Paintings in the Residences of Ljubljana Diocese
The bishop of Ljubljana Otto Friedrich Buchheim (1604–1664), of the Göllersdorf branch of the Buchheim lineage, had contacts with Vienna and its artists throught his relatives. Tracing his art legacy with his Viennese kin has (so far) led to no concrete results. Some of his paintings have been preserved in his residences in Ljubljana diocese, while several lists and bishopric inventories bear witness to the number and the subject-matter of works of art that formerly decorated his residences.
Key words: painting, 17th century, art collecting, Slovenia, Vienna, Otto Friedrich Buchheim, Frans Luyckx, Elias Widemann, Janez Frančišek Gladič, Ferdinand III, Leopold I, archduke Karl Joseph
ANA LAVRIČ
»Štiri fakultete« v ljubljanski Semeniški knjižnici. Prispevek k ikonografski interpretaciji Quaglijeve poslikave
Prispevek obravnava nekaj doslej odprtih vprašanj o ikonografiji Quaglieve freske v ljubljanski Semeniški knjižnici (1721). Središčno figuro vrh stropa v nasprotju z dosedanjimi razlagami (Teologija, Sveta modrost) prepoznava za Resnico, posebno pozornost pa posveča ženskim personifikacijam v spodnjem delu oboka, ki so doslej hipotetično veljale za sibile oz. kardinalne kreposti. Na osnovi Iconologie Cesara Ripe in analogij s slikarskimi koncepti evropskih knjižnic jih opredeljuje za Štiri fakultete (Filozofija, Teologija, Pravo in Medicina).
Ključne besede: Ljubljana, Semeniška knjižnica, ikonografija, »Štiri fakultete«, Cesare Ripa, Giulio Quaglio, Raffaele Quaglio
The »Four Faculties« in the Seminary Library of Ljubljana . Contribution to Iconographic Interpretation of the Ceiling Fresco by Giulio Quaglio
The paper deals with some as yet unanswered questions about the iconography of Quaglio's ceiling fresco in the Seminary Library in Ljubljana (1721). In contrast to earlier interpretations, the central figure in the apex, hitherto recognized as Theology or the Holy Wisdom, is now identified as Truth. Special attention is paid to female personifications in the lower part of the vault, having been hypothetically interpreted before as Sibyls or Cardinal Virtues. On the grounds of Cesare Ripa's manual Iconologia and by analogy with the painting concepts of other European libraries of the time, they are now identified as the Four Faculties (Philosophy, Theology, Law and Medicine).
Key words: Ljubljana, Seminary Library, iconography, »the Four Faculties«, Cesare Ripa, Giulio Quaglio, Raffaele Quaglio
JURE MIKUŽ
Arma Christi: ikonografija razkosanega telesa
V cerkvi sv. Miklavža na Vimperku nad Podvínom pri Polzeli odkrivajo v prezbiteriju poslikavo iz začetka 16. stoletja s prizorom Gregorjeve maše. Odkritjemotiva arma Christi z deli človeških teles je vzbudilo vrsto vprašanj, ki jih lažje razumemo, če si pomagamo s Freudovo razlago das Unheimliche,po kateri so bili odtrgani udi, odsekana glava, dlan, ločena od roke, noge, ki plešejo same od sebe, nekdaj znani in domači, pozneje pa so bili potlačeni in se zdaj vračajo v zavest kot nedomači, un-heimliche,torej grozljivi, njihova grozljivost pa izvira iz bližine s kastracijskim kompleksom. Pripovedi o krvavem stegnu in podobne, so znane tudi iz naše folklore, tako da prizor z arma Christi v času nastanka tudi pri nas ni mogel biti popolnoma ne-domač. Poznosrednjeveški koncept Boga-človeka je pogosto celo presegel pomen Kristusove božje narave. Kristus je v tem času postajal vse bolj človeški, njegov sodniški in vladarski križ zmage nad hudičem in smrtjo, je postal križ njegove žrtve za človeštvo. Ker je ta dosegla višek v križanju, se je vse, s čemer so ga mučili in ubili, v tipičnem verskem protislovju spremenilo v orodje njegove zmage. Vendar le malo na podobi Gregorjeve maše priča, da je to prizor prebistvenja in prizor Gregorjeve maše. Verjetno ne gre za verski dvom in dokazovanje resnice, ampak predvsem za nazorni prikaz odpuščanja določenega števila let trpljenja dušam v vicah, za propagando za odpustke in romanje v Rim.
Ključne besede: slikarstvo, ikonografija, 16. stoletje, Arma Christi, Vimperk pri Polzeli, razkosano telo
Arma Christi: iconography of a dissected body
In St. Nicholas' church at Vimperk above Podvín near Polzela a mural of the early 16th century is being restored in the sanctuary, featuring also the Mass of St. Gregory. The uncovering of the motif of the Arma Christi with parts of human bodies has raised numerous questions that can be more easily comprehended if Freud's explanation of das Unheimliche be taken into account. According to it, the torn-off members of the body, the severed head, hand separated from the arm, feet dancing by themselves, etc., had been known and familiar in former times, but later on they were suppressed and then returned to consciousness as unfamiliar, un-heimliche,hence horrifying, their dreadfulness stemming from the closeness with the castration complex. The tales of the bloody thigh and the like are also familiar in Slovene folklore, so that the scene with the Arma Christi could not have been completely unfamiliar in the Slovene lands in the time of the origin of the discussed mural. The late-medieval concept of the God-man often even exceeded the meaning of Christ's divine nature. Christ was becoming more and more human during this period, his judge's and ruler's cross of victory over the devil and the death became the cross of his sacrifice for the humankind. As this sacrifice culminated in the crucifixion, every item that had served for torturing and killing him changed, in the typical religious contradiction, into the instrument of his victory. However, there is not much in the scene of the Mass of St.Gregory that testifies to its being a scene of the transsubstantiation and a scene of the Mass of St. Gregory. It is probably not the matter of religious doubt and of proving the truth, but primarily a clear demonstration of remission of a certain number of years of suffering to the souls in purgatory, a propaganda for indulgences and pilgrimage to Rome.
Key words: painting, iconography, 16th century, Arma Christi, Vimperk near Polzela, dissected body
MIJA OTER GORENČIČ
Vprašanje datacije poznoromansko-zgodnjegotske faze župnijske cerkve sv. Jakoba v Kostanjevici na Krki
Članek problematizira dosedanjo datacijo župnijske cerkve v Kostanjevici na Krki v čas okoli sredine 13. stoletja in pripisovanje njenega stavbnoplastičnega okrasja delavnici, ki naj bi bila na delu najprej v bližnjem cistercijanskem samostanu. Nove raziskave so delavniško povezavo zanikale in pokazale, da je župnijska cerkev starejša od samostanske. Najbližjo primerjavo predstavljajo nekateri ogrski spomeniki.
Ključne besede: arhitektura, 13. stoletje, župnijska cerkev sv. Jakoba, Kostanjevica na Krki
The Question of Dating the late-Romanesque/early-Gothic phase in the parish church of St. James at Kostanjevica on the Krka
The article questions the previous dating of the parish church at Kostanjevica on the Krka, Slovenia, to the period around the middle of the 13th century and ascribing its construction and sculptural decoration to the workshop allegedly active in the nearby Carthusian monastery. The recent researches have disproved the connection with this workshop and showed that the parish church is older than the carthusian minster. The nearest comparison can be made with some Hungarian monuments.
Key words: architecture, 13th century, parrish church Saint Jacob, Kostanjevica na Krki
Daša Pahor
Motiv postave in milosti v sepulkralni umetnosti poznega 16. stoletja na Štajerskem in Koroškem
Motiv postave in milosti je bil najbolj priljubljen protestantski motiv, ki se je v 16. stoletju razširil na vsa območja Evrope, kamor je segel Luthrov nauk. Prve tovrstne upodobitve so nastale v delavnici Lucasa Cranacha, brez dvoma v sodelovanju z Martinom Luthrom, nato pa so se zlasti s pomočjo grafike zelo hitro razširile. Bodisi v celotni bodisi v reducirani verziji so bile priljubljene predvsem za krasitev nagrobnikov in pokopališč. Na Slovenskem se je do danes ohranil le en tovrsten spomenik v Laškem, več pa jih je mogoče videti na avstrijskem Koroškem in Štajerskem.
Ključne besede: protestantizem, Martin Luther, Lucas Cranach, renesansa, pokopališča, tiski, epitafi, nagrobniki, umetnost, kamnoseštvo, freske, Kamnik, Betnava, Koroška, Štajerska, Laško
The Motif of Law and Grace in the Sepulchral Art of the Late 16th Century in Styria and Carinthia
The motif of Law and Grace was the most popular Protestant motif that spread in the 16th century to all parts of Europe to which Luther's teaching reached. The earliest depictions of this kind were executed in the workshop of Lucas Cranach, no doubt in collaboration with Martin Luther himself; mostly by way reproductive prints, they were rapidly disseminated elsewhere. Whether as a whole or as fragments, they were particularly popular for the decoration of tombstones and cemetery walls. On the Slovene territory, only one monument of the kind survives in Laško, while more of them have been preserved in the Austrian parts of Carinthia and Styria.
Key words: Protestantism, Martin Luther, Lucas Cranach, Renaissance, Cemeteries, Prints, Epitaphs, Tombstones, Art, Stone-cutting, Frescoes, Kamnik/Stein, Betnava/Windenau, Carinthia, Styria, Laško/Tüffer
DARJA RADOVIĆ MAHEČIČ
Tri vile arhitekta Lava Kalde u Ljubljani
ZagrebačkiarhitektLavKalda, rodomiz Češke (1880.-1956.) pripadageneracijihrvatskiharhitekatakojajeZagrebudalavelegradskoobilježjeidokazaladadomaćiarhitektimoguprofesionalnoikvalitetnoodraditisvakiarhitektonskizadatak. Kaldaseformiraouozračjubečkemoderne iupotpunostigajeodredilorazdobljesecesijetj. arhitekturaartnouveau. Urazdobljuizmeđudvasvjetskarataunovoreguliranoj četvrtiGradiškompredmestjuuLjubljanijepodigao, dosadanepoznate, triobiteljskekuće–vile: Antloga, Papež iRozman. IakopodignutepotkrajKaldinekarijereljubljanskevilenoseosnovnekarakteristikenjegovearhitekture: logičnost, praktičnost, solidnost, elegantnumonumentalnost, vještukompoziciju, kojesuovdjemodificiranezahtjevimarazdobljakojejekretalopremaapstraktnomformalnomarhitektonskomjeziku, akojiKalda, formiranurazdobljuartnouveau-a, prvogmodernističkogstilatemeljenognadekoraciji, nikadupotpunostinijeuspioprihvatiti.
Ključne besede: Lav Kalda, Ljubljana, Zagreb, art nouveau arhitektura, međuratno razdoblje
Three villas of architect Lav Kalda in Ljubljana
The architect Lav Kalda from Zagreb, born in Czechia (1880-1956) belongs to the generation of Croatian architects that gave Zagreb a city atmosphere and proved that resident architects could perform every architectural task professionally and well. Kalda was formed in the atmosphere of the Vienna modern and was fully defined by the art nouveau style and architecture. In the period between the two world wars, in the newly regulated quarter Gradiško predmestje (Gradiško suburb) in Ljubljana he built three, until now unknown, family villas: Antloga, Papež and Rozman. Although built at the close of Kalda’s career, the Ljubljana villas show the basic characteristics of his architecture: logic, practicality, solidity, elegant monumentality, skilled composition, in this case modified by the requests of the period moving toward the abstract formal architectural language; however, Kalda, formed in the art nouveau period, the first modernistic style based on the decoration, could never adopt it completely.
Key words: Lav Kalda, Ljubljana, Zagreb, art nouveau architecture, period between the two world wars
BLAŽ RESMAN
Neznani Robba v Pazinu
Članek obravnava odlična marmornata kipa sv. Simona Stocka in sv. Tereze Avilske na stranskem oltarju Karmelske Matere božje iz ok. 1745–1750 v župnijski cerkvi sv. Miklavža v Pazinu. Na osnovi formalne analize in analogij ju avtor atribuira Francescu Robbi.
Ključne besede: kiparstvo, oltarji, 18. stoletje, Pazin, Francesco Robba
Unknown Robba in Pazin
The paper presents two outstanding marble statues featuring St. Simon Stock and St. Theresa of Avila. They decorate the side altar of the Virgin of Mount Carmel, dating from c. 1745–1750, in the parish church of St. Nicholas in Pazin, Croatia. On the grounds of formal analysis and analogies they are here attributed to Francesco Robba.
Key words: sculpture, altars, 18th century, Pazin, Francesco Robba
HELENA SERAŽIN
Vajeniške pogodbe beneških kiparjev, kamnosekov in rezbarjev (V)
V članku so objavljeni izpiski vajeniških pogodb beneških kiparjev, kamnosekov in rezbarjev, skenjenih v prvi četrtini 17. stoletja, ki jih hrani Državni arhiv v Benetkah. Natančneje je obravnavana pogodba med Matteom Carnerijem (1592–1673) in Andreom dall'Aquilo (1562–1626), sklenjena 10. oktobra 1606, ker priča o Carnerijevi kontinuirani prisotnosti v mestu v prvi četrtini 17. stoletja, posredno pa potrjuje tudi dall'Aquilovo dejavnost na področju arhitekture oziroma altaristike.
Ključne besede: altaristika, kiparstvo, kamnoseštvo, rezbarstvo, arhitektura, vajeništvo, Benetke, 17. stoletje, Matteo Carneri, Andrea dall'Aquila, Alessandro Vittoria
Apprenticeship contracts of Venetian sculptors, stone-cutters and carvers (V)
The paper publishes extracts from apprenticeship contracts of Venetian sculptors, stone-cutters and carvers, made in the first quarter of the 17th century and housed in the Archivio di Stato in Venice. Presented in detail is the contract between Matteo Carneri (1592–1673) and Andrea dall'Aquila (1562–1626), made on 10 October 1606, because it bears evidence to Carnerij's continued preasence in the city in the first half of the 17th century; indirectly it also confirms dall'Aquila's work in the sphere of architecture, or altar constructions respectively.
Key words: altar constructions, sculpture, stone-cutting, carving, architecture, apprenticeship, Venice, 17th century, Matteo Carneri, Andrea dall'Aquila, Alessandro Vittoria
LUKA VIDMAR
Titijev Ammaestramento utile, e curioso di pittura scoltura et architettura nelle chiese di Roma (1686) iz Semeniške knjižnice v Ljubljani s pripisi neznanega rimskega patricija
Članek se ukvarja z izvodom umetnostnega vodnika po rimskih cerkvah Ammaestramento utile, e curioso di pittura scoltura et architettura nelle chiese di Roma (1686) Filippa Titija, ki se je ohranil v Semeniški knjižnici v Ljubljani. V nadaljevanju analizira obsežne pripise umetnostne narave, ki jih je v knjigi okoli leta 1700 zapustil njen prvi lastnik – neznani rimski patricij. Na tej podlagi članek oceni njegovo vlogo v umetnostnem svetu poznobaročnega Rima.
Ključne besede: Filippo Titi, 17. stoletje, barok, Rim, sakralna umetnost, umetnostni vodnik Semeniška knjižnica Ljubljana,
Titi’s Ammaestramento utile, e curioso di pittura scoltura et architettura nelle chiese di Roma (1686) from the Seminary Library in Ljubljana with Notes of Anonymous Roman Patrician
The paper presents a copy of art guide through churches in RomeAmmaestramento utile, e curioso di pittura scoltura et architettura nelle chiese di Roma (1686) by Filippo Titi that has been preserved in the Seminary Library in Ljubljana. Extensive handwitten notes concerning art are also analysed; they were written in the book around the year 1700 by its first owner – an anonymous Roman patrician. On this ground the paper assesses his role on art scene in Late Baroque Rome.
Key words: Filippo Titi, 17th century, Baroque, Rome, sacred architecture, art guide, Seminary Library, Ljubljana
POLONA VIDMAR
Galerija evropskih vladarjev na ptujskem gradu
V prispevku je obravnavanih 14 portretov evropskih vladarjev 17. stoletja, ki so domnevno nastali po naročilu Jakoba grofa Leslieja v letih med 1669 in 1673. Izbor portretirancev, Habsburžani in njihovo sorodstvo ter Stuarti in z njimi genealoško povezani Bourboni, kaže na rodbinsko zgodovino Lesliejev, ki so s serijo portretov želeli pokazati lojalnost vladarskima hišama v svoji izvorni domovini Škotski in novi domovini, habsburškem imperiju, kjer jim je uspelo pridobiti obsežne posesti in se uveljaviti v vojaški in diplomatski službi cesarju.
Ključne besede: grad Ptuj, grad Frýdlant, Valter Leslie, Jakob Leslie, vladarski portret
The Gallery of European Sovereigns in the Ptuj Castle
The paper presents fourteen portraits of European sovereigns of the 17th century that were presumably commissioned by James count Leslie between 1669 and 1673 for his castle in Ptuj. The selection of sitters – the Habsburgs and their relatives, and the Stuarts and the Bourbons genealogically related to them – points to the family history of the Leslies, who wanted, by means of the portrait series, to express their loyalty to the ruling houses both in their original homeland, Scotland, and in the new homeland, the Habsburg empire, where they had managed to obtain extensive estates and assert themselves in military and diplomatic service to the emperor.
Key words: Ptuj Castle, Frýdlant Castle, Walter Leslie, James Leslie, sovereigns' portraits
ALENKA VODNIK
Ob novoodkriti poslikavi v podružnični cerkvi sv. Kancijana na Vrzdencu
Prispevek obravnava novoodkrito in še ne v celoti restavrirano poslikavo na oboku podružnične cerkve sv. Kancijana na Vrzdencu pri Horjulu. Poslikava je delo istih dveh delavnic, ki sta poslikali stene, namreč delavnic mojstra Leonarda in Mojstra M. S. Na večini obočnih polj so upodobljeni iz cvetov na kratkih debelcih rastoči dopasni angeli z orodji Kristusovega mučeništva. V kornem sklepu so jim dodani simboli evangelistov, ob slavoloku pa kralj in prerok. V povezavi s poslikavo podločij celoto prepoznamo kot upodobitev t. i. Jesejeve korenike.
Ključne besede: stensko slikarstvo, 15./16. stoletje, podružnična cerkev sv. Kancijana, Vrzdenec pri Horjulu, slikarske delavnice, mojster Leonard, Mojster M. S., Kranjski antifonarij
On the Recently Discovered Mural in the Succursal Church of St. Cantianus at Vrzdenec
The paper deals with the newly uncovered but not yet wholly restored mural on the vault of the succursal church of St. Cantianus at Vrzdenec near Horjul. The mural is a work of the same two workshops that painted the walls ther, i.e. the workshops of Master Leonardo and of Master M. S. Most of the vault fields are decorated with waist-length angels growing from short-stemmed flowers and holding the instruments of Christ's passion. In the sanctuary termination, the symbols of the evangelists are added and by the chancel arch, the figures of a king and a prophet. In connection with the decoration below the arhes the whole can be identified as the depiction of the Jesse Tree.
Key words: wall painting, 15th/16th century, succursal church of St. Cantianus, Vrzdenec near Horjul, painting workshops, Master Leonhard, Master M. S., the Krainburg Antiphonary