Ljubljana kot novi Rim: Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti]
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Slovenian |
| Veröffentlicht: |
Ljubljana
Slovenska Akad. Znanosti in Umetnosti
2013
|
| Schriftenreihe: | Biblioteka / Slovenska Akademija Znanosti in Umetnosti
15 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Zsfassung in ital. und engl. Sprache. - Engl. Zsfassung u.d.T: Ljubljana as the New Rome Bibliografija: str. 181-197 |
| Beschreibung: | 219 S. Ill. 24 cm |
| ISBN: | 9789612680190 |
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Datensatz im Suchindex
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| adam_text |
VSEBINA
PREDGOVOR
.].
:
. 7
UVOD
. 9
ZAČETEK PREOBRAZBE LJUBLJANE: AKADEMIJA OPEROZOV
. 11
UNIVERZALNI ZGLED LJUBLJANE: ANTIČNI RIM
. 23
Antični Rim
v
očeh operozov
. 23
Antični Rim
v
očeh Janeza Gregorja Dolničarja
. 36
IDEALNI ZGLED LJUBLJANE: SODOBNI RIM
. 51
Sodobni Rim
v
očeh operozov
. 51
Sodobni Rim
v očeh
Alesa
Žige Dolničarja
64
PRAKTIČNI ZGLED LJUBLJANE: BENETKE
. 79
Beneška republika
v
očeh operozov
. 79
Beneška republika
v
očeh Aleša Žige Dolničarja
87
Benetke
v
očeh Aleša Žige Dolničarja
97
OSTALI ZGLEDI LJUBLJANE: DRUGA ITALIJANSKA
MESTA
. 123
PREOBRAZBA LJUBLJANE: NOVI RIM
._._._. 129
Nova
stolnica
._._. 129
Javna knjižnica
. 161
SKLEP
. 175
PRIMARNI VIRI
. 181
SEKUNDARNI VIRI
.:. 183
LITERATURA
. 187
KAZALO OSEBNIH IMEN
. 199
RIASSUNTO
. 209
SUMMARY
. 215
SUMMARY
Ljubljana as the New Rome:
The Academy of the Industrious and Baroque Italy
The end of the seventeenth century witnessed the beginning of an economic,
cultural, and artistic flourishing in the Duchy of Carniola, a land in Inner
Austria. This was significantly aided by Italian influence, which was on the
rise across all of the
Habsburg
Monarchy due to foreign-policy interests
(the annexation of the Duchy of Milan and the Kingdom of Naples after
the War of the Spanish Succession), religious preferences (a pro-Catholic
orientation), and the ever-increasing demand for high art by the court,
the Church, and the nobility. Due to its geostrategic location, conditions
for adopting Italian culture were even more favorable in Carniola than
in other Austrian lands. Especially after the
1683
Battle of Vienna, when
Austrian and Ottoman skirmishes caused the border to be moved towards
the interior of the Balkans, Carniola became the center of lively trade
between the Italian states, the Holy Roman Empire, and the Kingdom of
Hungary. After graduating from the Jesuit secondary school in Ljubljana,
Carniolans from various social classes increasingly tended to continue
their studies in theology, law, or medicine at Italian rather than German
universities. It was common practice among members of the nobility to
send their sons to higher-education institutions in Rome, Perugia, Sienna,
Parma, Bologna, Padua, and Venice in order to gain some Italian refine¬
ment. After graduating and before finding a job in their homeland, all of
these young men went on a "grand tour" of all of the major monuments of
Classical Antiquity, the Middle Ages, the Renaissance, and the Baroque.
This tour was practically a "must" and getting to know Italy in this way
largely determined their cultural and artistic horizons. When they returned
to Carniola and took up important positions in the provincial and church
hierarchy, they began supporting and promoting the fashionable Italian
culture that they had grown fond of during their youth and student years.
At the end of the seventeenth century, this intellectual elite began
striving to transform Ljubljana into a regional cultural center following
215
LJUBLJANA
KOT
NOVI RIM
the example of Italian centers, especially Rome and Venice. They created
specialist scholarly and arts societies modeled on the Italian academies. For
example, the religious Academy of the United
(1688)
brought together the
nobility and senior officials, the Academy of the Industrious
(1693)
brought
together scholars, the Confraternity of Saints Cosmas and
Damian
brought
together physicians, the Legal Society
(1698)
brought together lawyers, the
Philharmonic Academy
(1701)
brought together composers and musicians,
and the Academy of the Three Arts brought together architects, sculptors,
and painters. The main designer of this system of academies was the Lju¬
bljana historian and lawyer Janez
Gregor Dolničar.
Ljubljana's connection
with Baroque Italy was supported most successfully by the Academy of the
Industrious
(Academia
Operosorum),
which was chaired by the cathedral
provost Janez
Krstnik Prešeren
and worked closely with the Ljubljana
Diocese. Classical Antiquity was the basis for all of its plans. Like other
European travelers at that time, the academy members mainly admired the
ancient monuments in Rome and to a smaller extent those in other cities
(e.g., those around Naples). They tackled this heritage with the extensive
background knowledge they had acquired during their many years of study
in Ljubljana and Italy. The magnificence of ancient Rome made the greatest
impression on
Dolničar,
who visited the Eternal City in
1679.
He used this
opportunity to compile a list of (mainly ancient) Roman monuments titled
Notabilia
de
Roma. After returning from Italy, he developed
—
based on his
own experiences and the historical discoveries of his uncle Janez
Ludvik
Schönleben
in the hook Aemona vindicata
(1674)—
his belief regarding
Ljubljana's importance as the successor to the Roman town of
Emona,
which was presumed to have been founded by Jason and the Argonauts.
Consequently,
Dolničar
and other academy members developed the
belief that Ljubljana had to be developed by following the example of Rome
and other Italian cities that were the heirs of ancient civilization. In this
respect as well, the members were the most infatuated with the Eternal City
and especially its Renaissance and Baroque phases, which demonstratively
continued traditions from Antiquity. In contrast to their awareness of the
ancient monuments, members mainly became familiar with contemporary
Roman monuments only during their actual visits to Rome, rather than at
school or from books they had purchased earlier. Nonetheless, the luxury of
the new Rome determined their artistic taste and encouraged their reflec-
216
SUMMARY
tions
on Ljubljana's future to an even greater extent. As a representative of
the younger members,
Dolničar's
son
Aleš
Žiga
substantiated the cultural
link between Ljubljana and Rome differently than his father: not with
the Eternal City's historical and religious superiority, but its cultural and
artistic superiority. While living in Rome in
1707
and
1708,
he joined the
Academy of Arcadians, and thus the circle of the greatest Roman writers
and art specialists. In Roman art, he most appreciated the high Baroque,
especially the works of
Gian
Lorenzo Bernini,
Pietro da
Cortona, and
their successors (e.g., Giovanni
Battista Gaulli
and Giovanni Francesco
Romanelli),
as well as Baroque classicists such as Carlo
Maratta.
Regard¬
less of their differences of opinion, the members agreed that Rome was an
indisputable historical, religious, and artistic ideal.
Venice was the second most important model after Rome. The academy
members were aware of the century of disputes between
La Serenissima
and
the
Habsburg
Monarchy, which were mainly caused by the Austrian rule
over the County of Gorizia, the Venetian monopoly in the Adriatic Sea,
and the unresolved issue of the Patriarchate of Aquileia. Nonetheless, the
achievements of the Republic of Venice in its struggles against the Ottomans
and in culture were much more important for Baroque Ljubljana. Due to its
proximity, Venetian culture proved to be an even more practical model than
that of Rome.
Aleš
Žiga Dolničar
studied it the most thoroughly; in
1703
he
visited the city's main monuments and the Carnival celebration, summarizing
his experiences in the essay Descriptio Nobilissimae Urbis Venetiae. Because
he saw the foundations of modern art in the canon of Antiquity, he inclined
toward Venetian classicist artists such asjacopo Sansovino, Andrea
Palladio,
and Girolamo
Campagna.
However, because he saw the apex of modern art
in the Roman Baroque, he favored artists influenced by the Eternal City
the most (e.g.,
Filippo
Parodi
and Giuseppe
Pozzo).
Aleš
Žiga Dolničar
also
described the Italian cities and their monuments in other essays and letters
that he sent home. In this way he maintained contact between the Academy
of the Industrious and Baroque Italy from
1703
to
1708
and thus contributed
significantly to shaping the artistic atmosphere in Ljubljana. In addition to
Rome and Venice, the members were also attracted by a third great center
of Baroque art and culture: Naples. They did not find other cities equally
interesting and were only attracted to them as pilgrimage sites (e.g.,
Loreto)
or places to study (e.g., Perugia and Bologna).
217
LJUBLJANA
KOT NOVÍ
RIM
Based on these cultural and artistic foundations, the Academy of the
Industrious developed its two most important initiatives: the new cathe¬
dral and a public library in Ljubljana. As the main ideologue behind the
academy, Janez
Gregor Dolničar
assigned meaning to the new cathedral at
two levels: conceptual and concrete. In his work
Historia Cathedralis
Eccle¬
siae
Labacensis
(1701—1714),
he intentionally adopted selected schemes,
passages, and formulations from the chronicle
Numismata
Summorum
Pontificum
templi Vaticani
fabricam indicantia
(1696)
by the
Roman
Jesuit
Filippo
Bonanni,
whereby he transcribed the history of the Vatican basilica
onto the history of the Ljubljana cathedral. Thus he constructed a logical
spiritual and artistic gradation for Saint Nicholas' Church in Ljubljana: a
pagan temple from Antiquity, a medieval Christian church, and a modern
Catholic cathedral. According to
Dolničar,
it was only the last architectural
form that fully expressed the thousand years of historical and religious
connection between Saint Nicholas' Church and Saint Peter's Basilica, the
world
s
preeminent and most exalted place of worship. The plan for the
Ljubljana cathedral was namely designed in Rome in
1701
by the famous
Jesuit architect and painter Andrea
Pozzo.
Janez
Gregor Dolničar
used the
same concept for the cathedral's construction and furnishings, which were
headed by his brother, the cathedral dean Janez Anton
Dolničar.
With
his brother's support, he had stone inscriptions from Roman
Emona
built
into the cathedral's walls, he fought for the preservation of some of the
sculptures from the old Saint Nicholas' Church (just like the builders of
the new basilica in the Vatican), he envisaged an obelisk in Saint Nicho¬
las' honor following the model of the Vatican Obelisk, he composed the
inscription for the church's cornerstone following the model of the one for
Saint Peter's Basilica, and, most importantly, it was most probably thanks
to him that the four statues of the
Emona
bishops were erected below the
cupola, imitating Bernini's layout of the crossing in the Vatican basilica.
Semantically, these statues draw attention to the Roman foundations of
the Ljubljana Diocese, and, in terms of design, they draw attention to its
thousand years of connection with Rome as the old imperial center and
new religious one.
At the same time as the new cathedral, the Academy of the Industrious
also planned a new public library. At the academy's initiative, Ljubljana
Bishop
Žiga
Krištof
Herberstein,
Provost
Pre šeren, and Dean
Dolničar
218
SUMMARY
established the Public Library in
1701
(today's Ljubljana Seminary Library),
which was the first public scholarly library in Slovenian lands. In this act,
too, Ljubljana symbolically returned to Roman Antiquity, during which
public libraries flourished. The founders and members provided the library
with its initial holdings by donating their own book collections. In his
work Bibliotheca Labacensis
publica
(1715—1719),
Janez
Gregor
Dolničar
envisaged the Public Library as a Carniolan pantheon, a gallery of the most
important writers and a storehouse of their works. However, in reality
thè
founders and members imitated modern public scholarly libraries in Italy,
such as the Ambrosian Library, Angelica Library, and Casanata Library,
in designing the library. It was housed in the College of Saint Charles
Borromeo next to the Ljubljana cathedral. In
1721,
its ceiling was painted
by
Giulio Quaglio
from Laino near
Como,
and in
1725
it was furnished
with bookshelves and opened to the public. The basic task of this new
institution
—
just like that of the libraries in Milan and Rome—was to
collect the knowledge of modern Europe for intellectuals regardless of their
social status in a planned and comprehensive manner.
The new cathedral and public library heralded Ljubljana's return to
Roman
—
that is, ancient and Christian
—
foundations, and consequently
its practical modeling on modern Italy. This significantly encouraged its
cultural and artistic development in the first half of the eighteenth century:
the predominance of the Italian style, the arrivals of Italian artists, and the
purchases of Italian works of art. In the summer of
1701,
Janez
Gregor
Dolničar
observed the beginnings of the construction of the new cathedral
following the "Roman plan" and the Holy Year pilgrimage processions,
and he recognized a "revived and triumphant Rome" in Ljubljana. It was
primarily thanks to the Academy of the Industrious that for a few decades
Ljubljana truly did develop into a 'Tittle Rome" along the border between
the Holy Roman Empire and Italy.
219 |
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| geographic | Ljubljana / Kulturna zgodovina / 18.st Italien (DE-588)4027833-5 gnd Krain (DE-588)4032741-3 gnd Ljubljana (DE-588)4073953-3 gnd |
| geographic_facet | Ljubljana / Kulturna zgodovina / 18.st Italien Krain Ljubljana |
| id | DE-604.BV041796178 |
| illustrated | Illustrated |
| indexdate | 2025-01-02T19:16:44Z |
| institution | BVB |
| isbn | 9789612680190 |
| language | Slovenian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-027241698 |
| oclc_num | 880966929 |
| open_access_boolean | |
| owner | DE-Re13 DE-BY-UBR DE-12 |
| owner_facet | DE-Re13 DE-BY-UBR DE-12 |
| physical | 219 S. Ill. 24 cm |
| publishDate | 2013 |
| publishDateSearch | 2013 |
| publishDateSort | 2013 |
| publisher | Slovenska Akad. Znanosti in Umetnosti |
| record_format | marc |
| series2 | Biblioteka / Slovenska Akademija Znanosti in Umetnosti |
| spelling | Vidmar, Luka 1977- Verfasser (DE-588)1053773390 aut Ljubljana kot novi Rim Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] Luka Vidmar. [Fotogr.: Gašper Cerkovnik ... ] Ljubljana Slovenska Akad. Znanosti in Umetnosti 2013 219 S. Ill. 24 cm txt rdacontent n rdamedia nc rdacarrier Biblioteka / Slovenska Akademija Znanosti in Umetnosti 15 Zsfassung in ital. und engl. Sprache. - Engl. Zsfassung u.d.T: Ljubljana as the New Rome Bibliografija: str. 181-197 Academia operosorum Labacensium (Ljubljana) Academia operosorum Labacensium (DE-588)1050122585 gnd rswk-swf Geschichte 1690-1730 gnd rswk-swf Geschichte gnd rswk-swf Slovenia / cultural history Kultur (DE-588)4125698-0 gnd rswk-swf Kulturvermittlung (DE-588)4165992-2 gnd rswk-swf Kulturkontakt (DE-588)4033569-0 gnd rswk-swf Italienbild (DE-588)4027834-7 gnd rswk-swf Ljubljana / Kulturna zgodovina / 18.st Italien (DE-588)4027833-5 gnd rswk-swf Krain (DE-588)4032741-3 gnd rswk-swf Ljubljana (DE-588)4073953-3 gnd rswk-swf Academia operosorum Labacensium (DE-588)1050122585 b Geschichte z DE-604 Italien (DE-588)4027833-5 g Kulturkontakt (DE-588)4033569-0 s Kulturvermittlung (DE-588)4165992-2 s Krain (DE-588)4032741-3 g Geschichte 1690-1730 z Ljubljana (DE-588)4073953-3 g Italienbild (DE-588)4027834-7 s Kultur (DE-588)4125698-0 s Cerkovnik, Gašper Sonstige oth Slovenska Akademija Znanosti in Umetnosti Biblioteka 15 (DE-604)BV000892713 15 Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027241698&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB Muenchen 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027241698&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Vidmar, Luka 1977- Ljubljana kot novi Rim Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] Academia operosorum Labacensium (Ljubljana) Academia operosorum Labacensium (DE-588)1050122585 gnd Slovenia / cultural history Kultur (DE-588)4125698-0 gnd Kulturvermittlung (DE-588)4165992-2 gnd Kulturkontakt (DE-588)4033569-0 gnd Italienbild (DE-588)4027834-7 gnd |
| subject_GND | (DE-588)1050122585 (DE-588)4125698-0 (DE-588)4165992-2 (DE-588)4033569-0 (DE-588)4027834-7 (DE-588)4027833-5 (DE-588)4032741-3 (DE-588)4073953-3 |
| title | Ljubljana kot novi Rim Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] |
| title_auth | Ljubljana kot novi Rim Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] |
| title_exact_search | Ljubljana kot novi Rim Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] |
| title_full | Ljubljana kot novi Rim Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] Luka Vidmar. [Fotogr.: Gašper Cerkovnik ... ] |
| title_fullStr | Ljubljana kot novi Rim Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] Luka Vidmar. [Fotogr.: Gašper Cerkovnik ... ] |
| title_full_unstemmed | Ljubljana kot novi Rim Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] Luka Vidmar. [Fotogr.: Gašper Cerkovnik ... ] |
| title_short | Ljubljana kot novi Rim |
| title_sort | ljubljana kot novi rim akademija operozov in barocna italija ob 320 obletnici ustanovitve akademije operozov ob 75 obletnici ustanovitve slovenske aademije znanosti in umetnosti |
| title_sub | Akademija operozov in baročna Italija ; [ob 320. obletnici ustanovitve Akademije Operozov, ob 75. obletnici ustanovitve Slovenske Aademije Znanosti in Umetnosti] |
| topic | Academia operosorum Labacensium (Ljubljana) Academia operosorum Labacensium (DE-588)1050122585 gnd Slovenia / cultural history Kultur (DE-588)4125698-0 gnd Kulturvermittlung (DE-588)4165992-2 gnd Kulturkontakt (DE-588)4033569-0 gnd Italienbild (DE-588)4027834-7 gnd |
| topic_facet | Academia operosorum Labacensium (Ljubljana) Academia operosorum Labacensium Slovenia / cultural history Kultur Kulturvermittlung Kulturkontakt Italienbild Ljubljana / Kulturna zgodovina / 18.st Italien Krain Ljubljana |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027241698&sequence=000003&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=027241698&sequence=000004&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
| volume_link | (DE-604)BV000892713 |
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