The study is the first systematic overview of the portraits of the bishops of Ljubljana. It is based on the artworks and archival sources, particularly probate inventories. Among other aspects it deals with iconographic specificities of the portraits of church dignitaries and related terminological questions. Since the work presents the most outstanding personalities of the Slovene past, it is also an important contribution to Slovene historical iconography. The authoress was also editor-in-chief of the monograph and wrote a number of catalogue entries for it.
COBISS.SI-ID: 26971181
The paper deals with some as yet unanswered questions about the iconography of Quaglio's ceiling fresco. In contrast to earlier interpretations the central figure is identified as Truth. Special attention is paid to female personifications, having been hypothetically interpreted before as Sibyls or Cardinal Virtues. On the grounds of Ripa's Iconologia and by analogy with the painting concepts of other European libraries of the time, they are now identified as the Four Faculties. New findings complement the hitherto interpretation of the frescoes and place them in a wider European context.
COBISS.SI-ID: 27511085
On the basis of European comparative materials, the paper calls into question the hitherto interpretation of the relief of the dragon devouring a man carved on a stone slab which is built in on the wall of the vestibule of Cmurek castle. The performed investigation has shown that the hitherto identification of the motif as an “allegory of Anger” is not correct. The relief is more closely related to the images of the dragon devouring a man which can frequently be found in Romanesque architectural sculpture and can be understood in the sense of the fight against evil or a moral warning.
COBISS.SI-ID: 29005357
The paper deals with stage art and visual arts that were creatively united in the time of Baroque. The play, staged by the students of the Jesuit College, was an important stimulus for the introduction of the Nepomuk cult in the Slovene lands and, consequently, of visual depictions of the Saint’s life here. Among the patrons was also the Lichtenberg family, who had a chapel erected at Tuštanj Castle and had it decorated with frescoes, expressed the symbolic connection between their surname and the iconography of the Saint. Iconographical concept of the chapel is interpreted in a new way.
COBISS.SI-ID: 28919085
The paper discusses the meaning of an image in the Late Middle Ages. It is not possible to speak about a uniform institutional doctrine in the Church of that time, that would have found expression in the visual arts. Very popular were the scenes that showed the greatest paradoxes; this incomprehensible teaching became understandable, because it was explained by realistic motifs and commentaries taken from daily life. The Church primarily took care of the pastoral function; the image had to produce the desired effect, even though at the cost of inaccuracy or discordance with the teaching.
COBISS.SI-ID: 30831405