Institute for the Protection of Cultural Heritage of Slovenia Restoration Centre THE RESTORATION OF QUAGLIO'S WALL PAINTINGS IN LJUBLJANA CATHEDRAL THE RESTORATION OF QUAGLIO'S WALL PAINTINGS PAINTINGS WALL QUAGLIO'S OF RESTORATION THE IN LJUBLJANA CATHEDRAL THE RESTORATION OF QUAGLIO'S WALL PAINTINGS IN LJUBLJANA CATHEDRAL Ljubljana, 2012 Original title in Slovenian: Zavod za varstvo kulturne dediščine Slovenije Restavratorski center Restavriranje Quaglievih poslikav v ljubljanski stolnici Konservatorsko-restavratorski projekt na poslikavah Giulia Quaglia (1668–1751) na ladijskem oboku in zahodni steni stolne cerkve sv. Nikolaja v Ljubljani, ZVKDS Restavratorski center (2002–2006) RES. 5 publikacije ZVKDS Restavratorskega centra Institute for the Protection of Cultural Heritage of Slovenia Restoration Centre The Restoration of Quaglio’s Wall Paintings This publication is dedicated to three Slovenian art historians: in Ljubljana Cathedral A conservation-restoration project involving the wall paintings created by Giulio Quaglio (1668–1751) Academician Dr. Emilijan Cevc, Prof. Dr. Nace Šumi on the nave vault and the western wall of the Cathedral of St Nicholas in Ljubljana, IPCHS Restoration Centre (2002–2006) RES. 5 and Prof. Dr. Sergej Vrišer. The publications of the IPCHS Restoration Centre Issued and published by: Institute for the Protection of Cultural Heritage of Slovenia, on its behalf: dr. Jelka Pirkovič Introductions: Miljenko Domijan, Jernej Hudolin, Josip Korošec, Msgr. Alojz Uran Authors: Marta Bensa, Giuseppe Bergamini, Josip Korošec, Giovanna Nevyjel, Claudia Ragazzoni, Polonca Ropret, Mateja Neža Sitar, Rado Zoubek Editing sources and literature: Mateja Neža Sitar, Daniela Milotti Bertoni Indexing: Mateja Neža Sitar Editor: Mateja Neža Sitar Members of the editorial board: Ivan Bogovčič, Jernej Hudolin, Josip Korošec (chairman), Msgr. Jožef Lap, Ferdinand Šerbelj Content evaluation: Peter Bukovec (natural science section) Matej Klemenčič (history of art section) Fedja Košir (The creation of a monumental work of art. The painting of the nave vault) Teresa Perusini (conservation-restoration section) Content revision: Ferdinand Šerbelj Translation into English and language editing: Arven Šakti Kralj Szomi: pp. 6, 7, 24–48, 99–121, 132–242 David Limon, Maja Visenjak Limon: pp. 0–5, 8–23, 49–98, 122–131, 243–294 Language revision: Arven Šakti Kralj Szomi, Mateja Neža Sitar Design and layout: Mojca Višner Print: Littera Picta d. o. o., Medvode Print run: 200 copies Ljubljana 2012 Front page: A detail from the wall painting on the nave vault prior to, after and during the restoration, photo: Rado Zoubek and Valentin Benedik, IPCHS RC archive. ZVKDS Restavratorski center, Poljanska 40, 1000 Ljubljana, Slovenia phone: +386(0)12343100, fax: +386(0)12343176, e-mail: [email protected] The authors bear the full responsibility for the content and scope of the articles. © ZVKDS Restavratorski center All rights reserved. No part of this publication may be reproduced, stored or copied in any form whatsoever or by any means, whether electronic, mechanical, by means of photocopying, recording or otherwise, without the prior written permission of the copyright owners. _________________________________________________________________________ CIP - Kataložni zapis o publikaciji Narodna in univerzitetna knjižnica, Ljubljana 75.052(450):929Quaglio G. 726:27-523.4(497.4Ljubljana)(082) 7.025.4(082) The RESTORATION of Quaglio’s wall paintings in Ljubljana Cathedral / [authors Marta Bensa ... [et al.] ; editor [and] indexing Mateja Neža Sitar ; introductions Miljenko Domijan ... [et. al.] ; translation into English Arven Šakti Kralj Szomi, David Limon, Maja Visenjak Limon]. - Ljubljana : Institute for the Protection of Cultural Heritage of Slovenia, 2012. - (Res. : Dela = Papers ; 5) Prevod dela: Restavriranje Quaglievih poslikav v ljubljanski stolnici ISBN 978-961-6902-14-4 1. Bensa, Marta 2. Sitar, Mateja Neža, 1976- 264729088 After the successful completion of the project we would like to thank all who took part and, through their work, special skills, patience and enthusiasm, made an important contribution to- Words of acknowledgement wards the masterful restoration of Quaglio’s wall paintings. Many experts played a direct role in Msgr. Alojz Uran the restoration work on the scaffolding in Ljubljana Cathedral, some from the Restoration Centre, while others were external partners who worked as individuals or as a part of various groups or organisations. Special thanks to all who were involved throughout all the years of the project. Mag. Rado Zoubek, project leader Foreword Institute for the Protection of Cultural Heritage of Slovenia Miljenko Domijan Restoration Centre The project from idea to completion Jernej Hudolin, Josip Korošec 6 Words of acknowledgements, Msgr. Alojz Uran Foreword, Miljenko Domijan 7 Words of acknowledgements Foreword It is with great pleasure that I salute this monograph published by the Institute for the Pro- Man’s incessant endeavours to create a perfect and all-encompassing work of art (perhaps best defined by the German tection of Cultural Heritage of Slovenia (IPCHS) and the Restoration Centre on completion of compilation of words Gesamtkunstwerk), took form over many centuries, more or less successfully in oratories, the space renovation work on the frescoes and the celebration of the 300th anniversary of the consecration of the spiritual community. I am convinced that most would agree with the fact that the pinnacle was achieved in the of the Cathedral of St Nicholas. interiors of Baroque churches during the anti-reformation vigour of Catholicism in Europe. The Italian painter Giulio Quaglio bestowed upon the cathedral the mighty apotheosis of St Wall paintings, most often executed in the a fresco technique, in their emphasised visual narrative imbued with the Nicholas, bishop, patron of boatmen, man of charity and miracles, displaying the victorious cross evangelical message and covering most of the wall surface of the interior, are usually the most obvious visual emanation as consolation to persecuted Christians during the times of the Roman emperors, Diocletian and of such expression. Maximianus. All the suffering and torture withstood by believers of the faith has been transferred For such messages, the quality of the created was not deemed the most important, but it was rather the competitive air into the radiant colour scheme of the glory beyond. that predominated, expressed in the demands of the patron, naturally dependent on the economic and cultural level for Cruel scenes of all kinds of torture, which are depicted on the ceiling of the church nave lose the best possible creation. Therefore more skilful painters stood out, or those that we call artists, whose works changed their tragic nature in the light of Jesus Christ. “God, nailed to the cross, out of all of the wonders of into generally inherited common property. the world, has been shaped with a particular flair by the painter, so that it creates an illusion in the Such a work was also painted by north Italian master Giulio Quaglio in the Ljubljana Cathedral of St Nicholas. It is eyes of all viewers, as if it were really rising upwards,” was written 300 hundred years ago by Dean undoubtedly the most complete work of art in his extensive oeuvre, expressed in a superb settecento manner, which was Dolničar, who also added: “The ceiling of the large new cathedral seems as if it were opening into a new based on the expansive legacy of great cycles of frescos of the Italian cinquecento and seicento. Despite its persuasive expres- space, into other spaces, upwards, to the heavens, to God. The nave vault exceeds all art, imagination, siveness (dominance), Quaglio’s frescoes are perfectly harmonious with the rest of the visual expression in the interior of brilliance and value.” the church, united with the material fervour of the sacred message, and in harmony with the Baroque organ music and The vault of the nave, which had been given a new life by Quaglio’s artful paintbrush, shone songs of believers, they actually come close to a perfect Gesamtkunstwerk. out in front of visitors’ eyes on 19 July 1706, when the painting scaffold was removed. The master The regular, and over the centuries unchanged, purpose of the cathedral is a precious inherited feature, significant for received great praise and admiration from his contemporaries. its permanence and preservation. Despite this, with such “use” changes are taking place in all of its components, including Today we can again admire the original beauty that is further emphasised by the lighting, which the wall paintings, simply from gathering soot and dust, to more aggressive damage, humidity and even changes to the was naturally absent 300 years ago. chemical property of the minerals in the pigments. The restoration work took longer than the original wall and ceiling paintings, which were com- Since these types of conditions, not only alter the original visual impression, but present obvious danger for greater pleted in stages over two years (1705/06). The restorations of the nave vault and the western wall damage to occur, and sometimes the total loss of the work of art, the complete programme of preservation, protection of the Cathedral of St Nicholas required four years' time with short breaks. and renovation of the Cathedral of St Nicholas also included Quaglio’s frescoes. The execution of this task was entrusted I extend my gratitude to those who gave the impetus for this refurbishment, as