xxxxxxxxxxxxxxxxxx Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU France Stele Institute of Art History ZRC SAZU ACTA HISTORIAE ARTIS SlOVENICA 16|1–2 • 2011 Baroque Ceiling Painting Public and Private Devotion in the Towns of Central Europe and Northern Italy LJUBLJANA 2011 xxxxxxx xxxxxxxxxx Acta historiae artis Slovenica ISSN 1408-0419 Znanstvena revija za umetnostno zgodovino / Scholarly Journal for Art History Baroque Ceiling Painting Public and Private Devotion in the Towns of Central Europe and Northern Italy Izdaja / Published by Umetnostnozgodovinski inštitut Franceta Steleta ZRC SAZU / France Stele Institute of Art History ZRC SAZU Glavna urednica / Editor-in-chief Barbara Murovec Uredniški odbor / Editorial board Tina Košak, Ana Lavrič, Barbara Murovec, Mija Oter Gorenčič, Blaž Resman, Helena Seražin Mednarodni svetovalni odbor / International advisory board Günter Brucher (Salzburg), Jaromir Homolka (Praha), Iris Lauterbach (München), Hellmut Lorenz (Wien), Milan Pelc (Zagreb), Paola Rossi (Venezia), Sergio Tavano (Gorizia-Trieste) Lektoriranje / Language editing Philip James Burt, Alessandro Quinzi, Anke Schlecht Prevodi povzetkov in izvlečkov v slovenski jezik / Translations of summaries and abstracts into Slovene Renata Komić Marn, Tina Košak, Ana Lavrič, Franci Lazarini, Katarina Mohar, Mina Mušinović Oblikovna zasnova in prelom / Design and layout by Andrej Furlan Naslov uredništva / Editorial office address Acta historiae artis Slovenica Novi trg 2, p.p. 306, SI-1001 Ljubljana, Slovenija Faks / Fax: +386 1 42 57 800 E-pošta / E-mail: [email protected] Spletna stran / Web site: http://uifs.zrc-sazu.si Revija je indeksirana v / Journal is indexed in BHA, FRANCIS, IBZ, ERIH Letna naročnina / Annual subscription: 35 € Posamezna številka / Single issue: 20 € Letna naročnina za študente in dijake: 25 € Naročila sprejema / Orders should be sent to Založba ZRC / ZRC Publishing Novi trg 2, p. p. 306, SI-1001, Slovenija Faks / Fax: + 386 1 42 57 794 E-pošta / E-mail: [email protected] AHAS izhaja s podporo Javne agencije za knjigo Republike Slovenije. AHAS is published with the support of the Slovenian Book Agency. © 2011, ZRC SAZU, Ljubljana Tisk / Printed by Tiskarna Present d. o. o., Ljubljana Naklada / Print run: 400 Vsebina / Contents Barbara Murovec, Uredniška beseda 5 Preface 7 DISSERTATIONES Martin Mádl Between Meditation and Propaganda Explicit and Implicit Religious Imagery in Baroque Ceiling Painting 11 Manfred Koller Ceiling Painting Techniques around 1700 Questions of Economy, Durability and Function 29 Ana Lavrič The Iconography of Saints in Baroque Ljubljana Per imagines ... sanctos, quorum illae similitudinem gerunt, veneremur 45 Sylva Dobalová The Iconography of St. Wenceslas in Early Baroque Prague The Case of the Wallenstein Palace and Baccio del Bianco 71 Andrzej Kozieł Karl Dankwart’s Pictorial Decoration in the Church of the Assumption of Mary in Kłodzko (Glatz) and the Archbishop Arnošt of Pardubice A Few Words on Marian Devotion in a Small Town in the Counter-Reformation 87 Giuseppina Raggi Collegare la terra al cielo La quadratura come “architettura dinamica” dell’anima 103 Esther Meier Der offene Himmel Theologie und Gestalt des Bildprogramms der Stiftskirche zu Waldhausen 117 Julian Blunk Der Maler und sein himmlisches Pendant Andrea Pozzos „Selbstreflexionen“ in Sant’Ignazio 127 Marinella Pigozzi Decorazione e devozione nell’Oratorio del Serraglio a San Secondo Parmense L’ architettura virtuale di Ferdinando Galli Bibiena per l’Assunzione della Vergine 143 Erika Giuliani Gioacchino Pizzoli (1651–1733) L’ eco della tradizione 157 Jozef Medvecký Praecursor Domini Der Gewölbefresken-Zyklus in der Universitätskirche des hl. Johannes des Täufers in Trnava (1700) und die Frage nach ihrer Urheberschaft 167 Michaela Šeferisová Loudová Wandmalerei um 1700 in der Stadt Jihlava (Iglau) Bürger als Mäzene, Bürger als Publikum 181 Gabriele Schmid Contemplatio und actio Die Fresken der Ursulinenkirche zu Straubing als Bildungseinrichtungen 195 Steffi Roettgen Imperium sine fine dedit Kaiser-Ikonographie am Abend des Barock Zur malerischen Ausstattung der Villa Poggio Imperiale in Florenz unter Großherzog Pietro Leopoldo von Toskana (1768–1778) 209 János Jernyei-Kiss Die performative Kraft der Deckenmalerei Religiöse Erfahrung und Bildrhetorik im Spätwerk von Maulbertsch 237 APARATUS Izvlečki in ključne besede / Abstracts and key words 249 Sodelavci / Contributors 259 Viri ilustracij / Photographic credits 263 IMAGINES Barvna priloga / Color plates 268 Uredniška beseda Po petnajstih letih in petnajstih številkah znanstvena revija Acta historiae artis Slovenica spreminja svojo vizualno podobo in frekvenco izhajanja. V belo odeta bo odslej v branje ponujena dvakrat letno, poleti in ob koncu koledarskega leta. Prehod zaznamuje dvojna tematska številka, v kateri je zbranih petnajst razprav o baročnem stro- pnem slikarstvu v angleškem, nemškem in italijanskem jeziku s povzetki v slovenščini. Nastale so na podlagi referatov na mednarodnem znanstvenem simpoziju Ceiling Painting around 1700. Public and Private Devotion in the Towns of Central Europe and North Italy / Stropno slikarstvo okoli leta 1700. Javna in zasebna pobožnost v mestih srednje Evrope in severne Italije, ki je potekal v Ljubljani od 16. do 18. oktobra 2008 v soorganizaciji Umetnostnozgodovinskega inštituta Fran- ceta Steleta ZRC SAZU in Raziskovalne skupine za baročno stropno slikarstvo v srednji Evropi (Research Group for Baroque Ceiling Painting in Central Europe). Ob predsedniku skupine, akad. prof. dr. Franku Büttnerju z Bavarske akademije znanosti, sta v organizacijskem odboru sodelo- vala še dr. Martin Mádl z Umetnostnozgodovinskega inštituta Češke akademije znanosti in doc. dr. Werner Telesko iz Komisije za umetnostno zgodovino Avstrijske akademije znanosti. Avtorji člankov iz Avstrije, Češke, Italije, Madžarske, Nemčije, Poljske, Slovaške in Slovenije predstavljajo številna nova spoznanja o srednjeevropskem in italijanskem stropnem slikarstvu, tej značilni in izrazno učinkoviti umetnostni zvrsti 17. in 18. stoletja, s katerimi pomembno prispevajo k razume- vanju baročne umetnosti. Barbara Murovec Preface After fifteen years and fifteen issues, the scholarly journal Acta historiae artis Slovenica appears with a new design and publication frequency. It will now be published twice a year, in summer and at the end of the year. This transition is being marked by a double thematic volume, bringing together fifteen articles on Baroque ceiling painting in English, German and Italian, with summaries in Slovenian. They are based on papers presented at the international conference Ceiling Painting around 1700: Public and Private Devotion in the Towns of Central Europe and North Italy / Stropno slikarstvo okoli leta 1700. Javna in zasebna pobožnost v mestih srednje Evrope in severne Italije, held in Ljubljana between 16th and 18th October 2008, and organised by the France Stele Institute of Art History at the Sci- entificR esearch Centre of the Slovenian Academy of Sciences and Arts and the Research Group for Baroque Ceiling Painting in Central Europe. The President of the group, Prof. Dr. Frank Büttner from the Bavarian Academy of Sciences and Humanities, Dr. Martin Mádl from the Institute of Art History at the Academy of Sciences of the Czech Republic and Univ. Doz. Dr. Werner Telesko from the Commission for the History of Art at the Austrian Academy of Sciences collaborated on the organizing committee. The articles written by scholars from Austria, the Czech Republic, Ger- many, Hungary, Italy, Poland, Slovakia and Slovenia reveal new findings on Central European and Italian ceiling painting, a highly expressive art form typical of the 17th and 18th centuries, making significant contributions to our understanding of Baroque art. Barbara Murovec Baroque Ceiling Painting Public and Private Devotion in the Towns of Central Europe and Northern Italy DISSERTATIONES Acta historiae artis Slovenica 16|1–2 ∙ 2011, 11–28 Between Meditation and Propaganda Explicit and Implicit Religious Imagery in Baroque Ceiling Painting Martin Mádl Art history, and the history of early modern art in particular, rests on the assumption that artistic manifestations and the various types of artistic commission reflect the social and cultural environ- ment of their patrons.1 Although external structures cannot explain all the constituents of a visual culture, we could still agree that the social system influences certain aspects implicitly present in works of art. It is within the social framework that we can recognise and specify some of the principal conditions of artistic production and of the distribution and reception of art in general.2 In the sense of Karl R. Popper’s Open Society and its Enemies, European towns were examples of enclosed societies with a kind of collectivistic society for a long time. In the past, urban society was based on inner cohesion and personal relationships. Social life in urban communities was distin- guished by sharing and struggling for common goals and values, as well as by participation in their defence against common threats and interventions. In general, an enclosed society tends to behave as a kind of homogenous body, restraining personal initiatives, individual decisions and autonomous criticism. In consequence, supporting assimilation and integration and intervening against plural- ity is characteristic of an enclosed society. Although Popper’s concept was developed as a critique of modern totalitarian and authoritative