In this article, studies were presented of Vignola's manual Regola delli cinque ordini d'Architettura, its role and usage among intellectuals of the 17th-century in the territory of Slovenia. Findings show that the oldest copy of the manual, the 1620 or 1630 edition, is held in the Seminary Library in Ljubljana. There were other copies, owned by members of the Accademia operosorum as well, for example by the Thalnitscher family who were actively involved in the building of the new Ljubljana cathedral, where Vignola's proportions of architectural orders were introduced.
COBISS.SI-ID: 34358317
The monastery of the Discalced Augustinians, one of the most beautiful Baroque buildings in Ljubljana, was dissolved in 1786 with the decree of Joseph II., and, together with the church, transformed into a hospital. After the 1895 earthquake, the monastery was demolished. Based on archival sources (i.e. the Chronicle of the Discalced Augustinians, inventory records, auction records and architectural designs), the paper reconstructs the furnishings of the church and the monastery. Furthermore, several newly discovered pieces of furnishings, prints and drawings are added to the known legacy of the Discalced Augustinians. The findings include the identification of the altar painting Death of St. Joseph by Valentin Metzinger in Polhov Gradec with the main altar painting from the monastery, and a hypothesis that Johann Weichard Valvasor kept a preparatory drawing by Sebastian Verporto in his print collection (Iconotheca Valvasoriana), after which Verporto painted The Sorrowful Mother of God (1682) altar painting in the Totenkapelle of the monastery.
COBISS.SI-ID: 34693933
The analysis of visitation records gives an insight into the rules governing the disposition of saintly figures in retables: the central place was accorded to the titular saint, while companion saints are positioned in pairs in such a way that those of higher rank are placed on the more distinguished gospel side, whereas those of lower rank stand on the subordinate epistle side. Such practice of the disposition of saintly figures was not decided upon individually, it was the hierarchical principle established by the Church and consequently applied in the art of the late Renaissance and Baroque periods.
COBISS.SI-ID: 33211693
Italian sculptor Angelo Putti marked both Italy and several Austrian lands (Gorizia, Carniola, Carinthia, Styria), while most of his works survive in present-day Slovenia. He enriched Ljubljana with monumental works of the high Baroque, unknown earlier in the city (the bishops of Aemona in the cathedral; the Seminary portal). His oeuvre has been studied by Italian, Austrian and Slovene art historians; by combining all three aspects the view of the artist becomes global. However, for a complete image, Istrian local aspect is missing: Putti's work for Istria was unknown until recently; his statue of St. Nicholas of 1726 at Pazin is joined here by his statues at Žminj (Calvary, 1728) and works probably done by local stone cutters after his models.
COBISS.SI-ID: 33333037
The paper discusses confraternities that were active in Ljubljana from the late 16th century until 1783. The increase in their number is seen from the lists compiled by their contemporaries and from the reports that were sent to Rome by the bishops of Ljubljana. From the point of view of art-commissions and iconography and based on literary sources and material relics the Jesuit congregations are discussed. The study presents also their festive decorations during titular feasts and annual processions.
COBISS.SI-ID: 1233269