This paper explains of why the church of the Discalced Carmelite Order at Kostanjevica - part of the German province - copies the typology of the Venetian church Scalzi of the same order despite hostility between the Habsburgs and the Serenissima. This topic was presented on the international 65th annual conference SAH 2012-Society of Architectural Historians, Detroit, Michigan, 18.-22.4.2012, in the section "Not the Jesuits: "other" counter-reformational architecture" [COBISS.SI-ID 34124589].
COBISS.SI-ID: 35096365
The paper is a comprehensive presentation of the Monastery of the Discalced Augustinians complex in Ljubljana. Based on the archival and artistic sources, it provides additional information on the architectural history, thus enabling a plausible reconstruction of the church and the monastery. It combines the material approach with the chronological one, and by publishing extracts from the Discalced Chronicle, which is an important artistic-historical source, enables verification of the interpretation. Moreover, the plan of the church is represented, which was approbated in Rome at the end of 1656 by the general procurator.
COBISS.SI-ID: 35096621
The paper briefly presents characteristic iconographic themes in Baroque Ljubljana, which, on the one hand, are related particularly to the introduction of the cults of new saints or those who were previously unknown in Carniola, and on the other hand, to the revival of the worship of old saints, especially those related to ancient Aemona. Thematic novelties in the field of arts were brought especially by monastic orders (the new ones, settled in Ljubljana in the period of counterreformation and re-catholicisation, Jesuites, Capuchins, Discalced Augustinians, Poor Clares and Ursulines, as well as the old, but newly revived Augustinians, Franciscans and Teutonic Knights), who eagerly promoted the worship of their own saints and patrons (e. g. St. Anthony of Padua, St. Francis Xavier, St. Ignatius, St. Augustine, St. Nicolas of Tolentino, St. Ursula). Their images were placed in monasteries’ premises and publicly exposed in the monastic churches, by which Ljubljana was given a characteristic stamp of their presence.
COBISS.SI-ID: 33515309
In the cloister of the Cistercian abbey of Stična, the earliest monastery in Slovenia, founded in 1136 several pieces of Romanesque architectural sculpture were discovered in 2002. With a thorough comparative analysis the author of the study managed to find close connections of Stična with the Cistercian 12th century art in Burgundy, place of origin of this monastic order. The cognition that Stična and Slovenian countries were directly connected with one of artistically most advanced countries in Europe of the time – France - is important for the entire Central Europe.
COBISS.SI-ID: 31960877
The paper calls attention to the painting collection in the Ursuline convent in Ljubljana. Among numerous significant pictures it also contains The Death of St. Ursula by P. Owereg. The painting is noted in a document of c. 1715 (J. G. Thalnitscher: Annales Urbis Labacensis), but it was believed to be lost. Linking it with the master (subsequently corroborated by the discovery of his signature) is particularly important, because, as a rule, it is difficult to relate mentions of artists’ names and works of art in inventories to the surviving paintings.
COBISS.SI-ID: 30849581