The Baroque Frescoed Ceilings in Carniola and Styria and the Reproductive Prints after Simon Vouet and Charles Le Brun

Art Texts by Aleš Žiga Dolničar/Thalnitscher

Giulio Quaglio in the Correspondence by Janez Anton Dolničar/Thalnitscher

Valentin Vrbnik, a Baroque Sculptor from Kranj

Illustrations in the School-paper Domače vaje

Plečnik's Chalices and Ancient Greek Ceramics

Barbara Murovec: Grafični listi po Simonu Vouetu in Charlesu le Brunu kot predloge za baročne stropne poslikave na Kranjskem in Štajerskem, str. 7–33

V članku so predstavljeni grafični listi po Simonu Vouetu in Charlesu Le Brunu, ki so služili kot ikonografske in kompozicijske predloge za baročne stropne poslikave v treh slovenskih gradovih.

V gradu Bokalce so freske iz zadnje četrtine 17. stoletja naslikane po Vouetovih slikah štirih kardinalnih kreposti (1636 - 1638) in po Le Brunovem osnutku (1664) za tapiserijo Poletja za Versailles. V gradu Štatenberg je stropna dekoracija iz konca 17. stoletja povzeta po petih Vouetovih mitoloških alegorijah, iz zdaj uničene spodnje galerije v Hôtel Sčguier, ter po Le Brunovih štirih dnevnih časih (pred 1642) in kartonih za tapiserije štirih elementov (1664). V gradu Slovenska Bistrica je freska Kibele iz okrog leta 1700, ki predstavlja Zemljo, posneta po istoimenski Vouetovi upodobitvi za grad Fontainebleau, del Flurerjeve stropne dekoracije (1722) v slavnostni dvorani pa posnema Vouetov prizor Francija prosi zbor bogov za ministra (uničeno, prej Hôtel Sčguier).

Na Kranjskem in Štajerskem delujoči slikarji pa kot predlog niso uporabljali francoskih originalov niti Dorignyjevih in Le Clercovih prevodnih grafik, ampak so se posluževali grafik po grafikah, ki so jih izdelali B. Zaech, J. S. Krauß (rojena Küsel) in B. Killian v Augsburgu.

Barbara Murovec: The baroque frescoed ceilings in Carniola and Styria and the reproductive prints after Simon Vouet and Charles le Brun, pp. 7–33

The article discusses iconographical and compositional models for the frescoed ceilings of three Baroque castles in the present-day Slovenia. Their pictorial sources can be identified in the reproductive prints after Simon Vouet and Charles Le Brun. In the last quarter of the 17th century the painter at the Castle of Bokalce (Stroblhof) adopted Vouet's Four Cardinal Virtues (1636-1638) and Le Brun's Summer, designed in 1664 for the series of tapestries at Versailles. Five out of the ten mythological allegories by Vouet, formerly in the lower gallery of l'Hôtel Sčguier, and the Four Elements after Le Brun's cartoons of 1664 - as well as the latter's Four Times of the Day (before 1642) - were copied at the Castle of Štatenberg (Stattenberg, end of 17th century). In one of the smaller chambers in the Castle of Slovenska Bistrica (Windisch Feistritz) the fresco of Cybele impersonating the Earth (c. 1700) matches Vouet's painting of the same subject from the lost cycle for Fontainebleau, while a segment of the ceiling fresco (1722) by F. I. Flurer in the Festsaal was derived from Vouet's France Asking the Gods for a Minister (formerly Hôtel Sčguier). The Carniolan and Styrian fresco painters were obviously not familiar with the French originals, nor did they use Dorigny's and Le Clerc's reproductive engravings; rather they adoperated the second-hand copies of them, engraved by B. Zaech, J. S. Krauß (née Küsel) and B. Killian in Augsburg.

Ana Lavrič: Umetnostni spisi Aleša Žige Dolničarja, str. 35–78

Aleš Žiga Dolničar (1685–1708; študiral v Gorici, Perugii in Rimu; član rimske Arkadije) je bil naš prvi za umetnost zainteresirani pisec. Danes so v razvidu le štirje njegovi umetnostni teksti, ki jih hrani Semeniška knjižnica v Ljubljani: Descriptio Nobilissimae Urbis Venetiae (1703) z dodatkom Descriptio Urbis Patavinae (1703), Descriptiones rariorum templorum Venetiis (1703) kot delni revidirani prepis prejšnjega, Ichnographica descriptio Augustae Perugiae (1707) in domnevni fragment sestavka Notabiliora Almae Urbis Romae (1707-1708), danes kot sestavni del rokopisa Elucubrationes optico-architectonicae. Na osnovi omenjenih spisov, pisem in drugih virov prispevek razkriva umetnostne nazore in afinitete mladega Dolničarja ter pokaže na zveze s padovansko (A. Putti) in rimsko umetnostjo (M. Ricciolini).

Ana Lavrič: Art texts by Aleš Žiga Dolničar/Thalnitscher, pp. 35–78

Aleš Žiga Dolničar/Thalnitscher (1685-1708; studied in Gorica/Gorizia, Perugia and Rome; member of the Roman Accademia degli Arcadi) is considered as the first Slovene author to have shown true interest in art. Until today, four texts by him concerning art are held in evidence (Ljubljana, the Seminary Library): Descriptio Nobilissimae Urbis Venetiae (1703), with the appendix Descriptio Urbis Patavinae (1703); then Descriptiones rariorum templorum Venetiis (1703) as a transcribed and revised part of the former; Ichnographica descriptio Augustae Perugiae (1707); and a presumed fragment of the text Notabiliora Almae Urbis Romae (1707-1708), today a constituent part of the manuscript record Elucubrationes optico-architectonicae. Based on Dolničar’s texts, letters and other sources, the present paper points to his artistic views and affinities, and his links with the Paduan (A. Putti) and Roman art (M. Ricciolini), which he established personally or indirectly through his father (J. G. Dolničar) and uncle (J. A. Dolničar), or through the members of the Ljubljana Academia Operosorum. Thus, he played an important role in introducing Italian artistic ideals into Ljubljana, by which the town finally caught pace with the art of Europe. The importance of A. Ž. Dolničar’s texts surpasses the Slovenian frame only; being early travel-records of famous Italian towns with descriptions of their artistic monuments, they are very informative for foreign readers, too.

Ana Lavrič: Giulio Quaglio v korespondenci Janeza Antona Dolničarja, str. 79–89

Novoodkrita korespondenca ljubljanskega stolnega dekana J. A. Dolničarja predstavlja pomemben vir za zgodovino stolne cerkve, ker dokumentira njeno zidavo in poslikavo. Prispevek obravnava le tista pisma, ki so direktno ali indirektno povezana s slikarjem Giuliem Quagliem (na to se navezujejo tudi omembe slikarja Andrea Pozza). Pisma (večinoma jih je pisal nekdanjemu ljubljanskemu škofu Ž. K. Herbersteinu v Perugio in svojemu ordinariju škofu F. Künburgu) potrjujejo že znana dejstva, prinašajo pa tudi nekaj novih podatkov o Quaglievem delu. V slikarjev opus vključujejo tudi doslej z njim nepovezano naslovnico za Obrednik ljubljanske škofije.

Ana Lavrič: Giulio Quaglio in the Correspondence of Janez Anton Dolnic ar/ Thalnitscher,

pp. 79–89

The newly found correspondence by the Dean of |Ljubljana cathedral, J. A. Dolnic ar, is an important source for the history of the cathedral beacuse it documents its construction and decoration with frescoes. The present paper only takes into account those letters which refer directly or indirectly to the painter Giulio Quaglio (connected with this are also mentions of the painter Andrea Pozzo). The letters (mostly addressed to the former bishop of Ljubljana, S. C. Herberstein, living then in Perugia, and to Dolnic ar’ s ordinarius, bishop F. Kü nburg) give further evidence to the facts already known, but they also offer some new information on Quaglio’ s work; thus the title- page of the Rituale Labacense, which has not been connected with the painter so far, is now also included in his oeuvre.

Blaž Resman: Kranjski baročni kipar Valentin Vrbnik, str. 91–175

Razprava osvetljuje življenje in delo poznobaročnega kiparja, katerega opus je bil doslej le deloma zbran in označen z zasilnim imenom Gorenjsko-posavski mojster; arhivski viri so razkrili, da gre za kranjskega kiparja Valentina Vrbnika. Poleg številnih biografskih podatkov o njem in o njegovih sorodnikih (delavnica je delovala v Kranju vsaj od poznega 17. do začetka 19. stoletja) so se v arhivih našli podatki o še nekaterih njegovih delih, formalne in slogovne primerjave na osnovi dokumentiranih del pa so opus enega najplodovitejših mojstrov gorenjskega baročnega kiparstva razširile na preko 50 lokacij.

Blaž Resman: Valentin Vrbnik, a Baroque sculptor from Kranj, pp. 91–175

The paper illuminates the life and work of a late-Baroque sculptor whose oeuvre has been examined only partly so far, and the artist himself was called with the invented name of the Gorenjsko-Posavski Master. Archival sources, however, have revealed that the sculptor in question is Valentin Vrbnik from Kranj. Besides numerous biographical data about himself and his relatives (the workshop in Kranj was active at least from the late 17th century until the early 19th century), evidence of some further works by him has been found in archives. Formal and stylistic comparisons based on the documented works have incresed the oeuvre of one of the most prolific masters of Baroque sculpture in Gorenjsko to over 50 locations.

Alenka Klemenc: Likovna oprema Domačih vaj, str. 177–210

Rokopisne Domače vaje, najprej glasilo gojencev Alojzijevišča (1868/69-1909/10), nato dijakov škofijske gimnazije v Šentvidu (1910/11-1939/40), niso zanimive zgolj po objavljenih besedilih, marveč tudi po ilstratorskem deležu, ki je z leti postajal vse bogatejši. Mladi risarji so dobivali spodbude iz sočasne knjižne ilustracije, zlasti iz revialnega tiska. Pri iskanju vzorov so imeli povečini dovolj kritičnega duha, da se niso zgledovali po povprečju ali celo po manjvrednih delih. Med mnogimi nadarjenimi risarji, ki se potem niso posvetili umetniškemu poklicu, srečamo tudi pozneje znana imena, kot so Tone Kralj, Stane Kregar, Tone Bitenc.

Alenka Klemenc: Illustrations in the School-paper Domače vaje, pp. 177–210

The manuscript paper Domače vaje was published in 70 volumes, from 1868/69 until 1939/40, by secondary-school pupils in Ljubljana. Besides being interesting for its texts, it also excells with many handsome illustrations, which became ever richer with the growing age of the paper. Some of the draughtsmen became later renowned as painters (Tone Kralj, 1900-75; Stane Kregar,1905-73) or architects (Tone Bitenc, 1920-77; Jože Kregar, 1921-91); their talent was already evident in their early illustrations. The paper also presents other young “artists” in Domače vaje and the sources of their inspiration.

Damjan Prelovšek: Plečnikovi kelihi in starogrška keramika, str. 211–220

Šolanje na Dunaju je odločilno vplivalo na delo slovenskega arhitekta Jožeta Plečnika (1872-1957). Tedaj se je spoznal s teorijo G. Semperja o oblačenju, ki je temeljila na ustvarjalnem spreminjanju antične umetne obrti. Plečnikovi kelihi, s katerimi se je začel ukvarjati že v Pragi, so zgovoren primer, kako intenzivno se je umetnik poglabljal v starogrško keramiko in v njej iskal pobude. Znanje o antiki je črpal iz Semperjeve knjige Der Stil. Pisanje nemškega teoretika je razumel zelo nekonvencionalno v duhu dunajske secesije, ki si je prizadevala modernizirati tradicionalno oblikovno govorico. Okrasje je spreminjal s prenašanjem v nova gradiva ali presajanjem v drugačne kontekste. Ista pravila je rabil tudi v monumentalni arhitekturi, zaradi česar so prav kelihi ključ za razumevanje Plečnikovega načina komponiranja.

Damjan Prelovšek: Plečnik’s Chalices and Ancient Greek Ceramics, pp. 211–220

Training in Vienna left a lasting influence on the work of the Slovene architect Jože Plečnik (1872-1957). He was acquainted with G. Semper’s theory of cladding there, based on the idea of a creative modification of antique handicraft. Plečnik’s chalices – he first set to design them while living in Prague – clearly show how thoroughly the artist studied ancient Greek ceramics to seek for inspiration. He learned about antiquity from Semper’s book Der Stil, and understood the German theoretician very unconventionally in the spirit of Viennese Secession which sought to modernize the traditional formal language. He modified the ornament by way of transposing it into new materials, or by using it in contexts other than original. He also applied the same rules in monumental architecture. Thus, it is exactly his chalices that are the clue to understanding Plečnik’s way of creation.