The diocesan priests of Ljubljana presented an important creative force behind the development of the Latin and German literature in the territory of Slovenia in the 17th and 18th century. Bishops and provosts, belonging to the old nobility, did not invest much of their time in writing and publishing. Among the literary active were Tomaž Hren and provost Janez Krstnik Prešeren, who came from a middle-class and a farmer's family respectively. The most prolific writers were Canons of the Cathedral and parish priests from the most important parishes (Kranj, Ig), who came from the lower nobility classes and middle class (among them Frančišek Bernard Fischer, Jurij Andrej Gladič and Janez Jakob Schilling). Their creativity developed during their studies or work in the European capitals, particularly in Vienna, Salzburg and Rome, where they were influenced by the cosmopolitan spirit (Jurij Wetstein). Upon their return home they introduced or established the most respected and valued European literary and semi-literary genres, like tragedy, comedy, poem, panegyric and epistolary prose, in the Slovenian territory (Urban Cavalier), which strongly influenced later development of these genres in Slovenian literature. Their works, printed not only in Ljubljana but also in Vienna, Graz, Salzburg and other German cities, were written in two different languages and often reffered to current political and religious events. They helped shape the cultural territory of both the Holy Roman Empire and Italy (Janez Ludvik Schönleben, Ahacij Stržinar). Among the listed authors, Hren, Schönleben, Fischer and Prešeren were the most talented and prolific, using a variety of genres, whereas Schönleben, an internationally acknowledged theologian, preacher and historian, produced the most significant, high-quality writing.
COBISS.SI-ID: 33350189
The paper deals with manuscripts and books of Aleš Žiga Dolničar and other members of the Baroque Academia operosorum (Accademy of the Industrious) in the Seminary Library in Ljubljana, regarding Republic of Venice. Especially it examines the prints that influenced Dolničar’s manuscript Descriptio nobilissimae urbis Venetiae (1703), including description of a travel from Gorizia to Venice, panegyric on Venice, descriptions of some important churches, and lots of drawings. At the end it reconstructs his relations towards political, religious, and artistic heritage of the Serenissima.
COBISS.SI-ID: 331277